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<span style="margin:0px; font-size:15px; color:rgb(32,31,30); text-align:left; background-color:rgb(255,255,255)"><span class="markpwt8lfbut" style="margin:0px; font-family:Calibri,Helvetica,sans-serif; font-size:11pt">MLA</span><span style="font-family:Calibri,Helvetica,sans-serif; font-size:11pt"> </span></span><span style="margin:0px; font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(32,31,30); text-align:left; background-color:rgb(255,255,255)">LLC
Korean Forum invites paper submissions for 2023</span><span style="margin:0px; font-size:15px; color:rgb(32,31,30); text-align:left; background-color:rgb(255,255,255)"><span style="font-family:Calibri,Helvetica,sans-serif; font-size:11pt"> </span><span class="markpwt8lfbut" style="margin:0px; font-family:Calibri,Helvetica,sans-serif; font-size:11pt">MLA
Convention</span></span><span style="margin:0px; font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(32,31,30); text-align:left; background-color:rgb(255,255,255)">, to be held in San Francisco (Jan 5-8). Please see session details below.
</span><span style="margin:0px; font-size:15px; color:rgb(32,31,30); text-align:left; background-color:rgb(255,255,255)"><span style="background-color:rgb(255,255,255); display:inline!important; font-family:Calibri,Helvetica,sans-serif; font-size:11pt">Shorter
versions of the CFPs are also available on</span><span style="margin:0px; font-family:Calibri,Helvetica,sans-serif; font-size:11pt"> </span><span class="markpwt8lfbut" style="margin:0px; font-family:Calibri,Helvetica,sans-serif; font-size:11pt">MLA</span><span style="background-color:rgb(255,255,255); display:inline!important; font-family:Calibri,Helvetica,sans-serif; font-size:11pt">'s
website. </span></span><span style="margin:0px; font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(32,31,30); text-align:left; background-color:rgb(255,255,255)">The submission deadline is March 10th. Thank you for your support and interest
- please feel free to circulate and share the CFPs widely! </span><span style="margin:0px; font-size:15px; color:rgb(32,31,30); text-align:left; background-color:rgb(255,255,255)"><br>
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<span style="font-family:Calibri,Helvetica,sans-serif; font-size:11pt"><</span><b style="font-weight:normal"><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400">Peninsular Predicaments: Post/Colonial Korea-Japan
Textual Encounters></span></b></div>
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<span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400; line-height:normal">Both realities on and representations of the Korean peninsula in the 20</span><span style="font-size:12pt; font-family:'Times New Roman'; color:#000000; font-weight:400"><span style="font-size:11pt; vertical-align:super; font-family:Calibri,Helvetica,sans-serif; line-height:normal">th</span></span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400; line-height:normal"> century
have been mediated to an overwhelming degree by Japanese imperialism and its aftereffects. While Korean writers living in colonial Chosŏn and postcolonial North and South Korea have retrospectively interrogated the psychosocial meanings and legacies of Japanese
colonial occupation, the work of decolonization still remains an unfinished project, especially as concerns the diasporic Korean population across the Strait in Japan. Such postcolonial reckoning is further hindered by the taboo, still predominant in present-day
North and South Korea, against Korean writings in Japanese for their purported contamination by pro-Japanese (</span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400; font-style:italic; line-height:normal">ch’inil</span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400; line-height:normal">)
sentiment. This panel therefore seeks to explore how textual interconnections on the Korean peninsula may aid our understanding of Korea’s postcolonial predicament. From the imperial gaze of Japanese travel monologues in the early twentieth century to quotidian
narratives by Japanese residents in colonial Korea and </span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(32,31,30); background-color:rgb(255,255,255); font-weight:400; line-height:normal">writing produced in Japan</span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400; line-height:normal"> by
Korean intellectuals to postcolonial writings by Zainichi Korean residents of Japan, many have sought to render Korea’s necessarily transnational history under and after Japanese empire legible through literary representation. How do respective literary forms
such as travel writing, autobiography, narrative fiction, or the modern epic differentially offer privileged media through which to understand this postcolonial experience? How does the work of literary translation – either as objective compulsion or internalized
split subjectivity – alternatively facilitate or hinder our understandings of historical process and subject formation? What can the diverse writings in Japanese – the language both grammatically and geopolitically closest to Korean – tell us about the particularity
of Korea’s postcolonial dilemma? Contributions from scholars working on any aspect of 20</span><span style="font-size:12pt; font-family:'Times New Roman'; color:#000000; font-weight:400"><span style="font-size:11pt; vertical-align:super; font-family:Calibri,Helvetica,sans-serif; line-height:normal">th</span></span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400; line-height:normal"> century
Korea-Japan textual interrelations in the fields of literature, history, and media are welcome.
</span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:700; line-height:normal">Please send a 250-word abstract and one-page C.V. to Kevin M. Smith (</span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(149,79,114); font-weight:700; line-height:normal">kevsmith@berkeley.edu</span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:700; line-height:normal">)
by March 10</span><span style="font-size:12pt; font-family:'Times New Roman'; color:#000000; font-weight:700"><span style="font-size:11pt; vertical-align:super; font-family:Calibri,Helvetica,sans-serif; line-height:normal">th</span></span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:700; line-height:normal">,
2022.</span></p>
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<b style="font-weight:normal"><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400"><</span><span style="font-size:12pt; font-family:'Times New Roman'; color:#000000; font-weight:400"><b style="font-weight:normal"><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400">Critical
Resonances: Sonic Culture in Modern and Contemporary Korea></span></b></span></b></div>
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<span style="font-weight:400; font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); line-height:normal">In recent years, innovative research in the humanities has sought to go beyond existing emphases on the textual and the visual by looking
toward the sonic and aural dimensions of cultural production, socio-political practice, and historical experience. This panel draws upon such developments by focusing on the study of sound, soundscapes, and sonic culture in modern Korea. How does an emphasis
on the aural, its contours, and its transformations change our understanding of modern Korea? How does it illuminate non-hegemonic forms of cultural and/or political practice? What does it tell us about communities and or experiences that have been marginalized
from the canonical narrative of modern Korea history and identity? How have sonic forms of culture, practice, and experience interacted with and reshaped textual, visual, and embodied ones? Papers relating to any period of the modern and/or contemporary eras
are welcome, as are papers that look beyond the Korean peninsula to consider transnational exchanges and/or Korean diasporic cultures. Potential topics may include: the use of sound or music as a political form; histories of the technical reproduction, transmission,
or amplification of sound or music; the relationship between sound and text, touch, gesture, object, or image; the transformation of listening practices or other forms of sonic consumption; changing concepts of “noise”; the emergence of site-specific soundscapes
or sound environments. </span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); line-height:normal">Please send </span><span style="font-size:12pt; font-family:"Times New Roman"; color:rgb(0,0,0)"><b style=""><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); line-height:normal">250-word
abstract and one-page CV by March 10</span><span style="font-size:12pt; font-family:"Times New Roman"; color:rgb(0,0,0)"><span><sup><span style="font-family:Calibri,Helvetica,sans-serif; font-size:11pt; line-height:normal">th</span></sup></span><span style="font-family:Calibri,Helvetica,sans-serif; font-size:11pt; line-height:normal"> </span></span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); line-height:normal">to
Jon Kief (</span><a href="mailto:kief@unc.edu" style=""><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(17,85,204); text-decoration:underline; line-height:normal">kief@unc.edu</span></a><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); line-height:normal">).
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<span style="font-family:Calibri,Helvetica,sans-serif; font-size:11pt"><</span><span style="color:rgb(0,0,0); font-family:Calibri,Helvetica,sans-serif; font-size:11pt; font-weight:400">The Working Conditions of Translation in Contemporary Korea></span></div>
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<span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400; line-height:normal">South Korean fiction and film has experienced unprecedented exposure in the last decade, crowned by wins such as the International
Booker Prize for </span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400; font-style:italic; line-height:normal">The Vegetarian</span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400; line-height:normal"> (Han
Kang, 2016) and the Academy Awards and Golden Globe for </span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400; font-style:italic; line-height:normal">Parasite</span><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(0,0,0); font-weight:400; line-height:normal"> (Bong
Joon Ho, 2020). These successes have cast the limelight on those mediators of text: the translators. Translators have made it possible to overcome what Bong called the “one-inch-tall barrier of subtitles” and to embrace translation as “a selling point,” as
Han’s translator Deborah Smith noted. One of the drivers of Korea’s dramatic rise as a “cultural superpower” in the field of literary translation are translation institutes and government-supported grants for translations. Their support of translators, unique
in today’s global landscape, has transformed the working conditions of translation. Translation academies, writers’ festivals, and publishing grants are among the diverse government-funded activities. </span><span style="color: rgb(0, 0, 0); font-family: Calibri, Helvetica, sans-serif; font-size: 11pt; font-weight: 400;">This
panel is interested in exploring the relationship between institutionalized translation and the quickly transforming field of literary translation. Translation is no longer perceived as an invisible act that is solely interested in finding equivalences that
reinforce existing conditions of exchange and static forms of knowledge. Rather, translation is increasingly thought of as a process that carries within it the radical potential to be transformative on both ends of the source and target languages and/or cultures.
We ask: what are the conditions in which the cultural knowledge of Korea is translated? In what ways does translation enable new possibilities of encounter between languages and cultures? How has the institutionalization of translation facilitated or hindered
the conditions within which we engage with translation as theoretical reckoning and practical work? How does translation help us problematize the national boundaries and identity-related postures (race, gender, and class) that impact the representation of
minorities, and allow us the opportunity to think anew about the ethics of difference involved in such representation?</span><span style="color: rgb(0, 0, 0); font-weight: 400; font-size: 11pt; font-family: Calibri, Helvetica, sans-serif; line-height: normal;"> </span><span style="color: rgb(0, 0, 0); font-weight: 400; font-family: Calibri, Helvetica, sans-serif; font-size: 11pt; line-height: normal;">Topics
of interest may include the conditions in which translators work, translation as craft and translation as industry, translation as a mode of soft power, translation and the politics of representation, controversies in translation, translation and gender, intermedial
translation, translation and adaptation, cinema and subtitling, etc. </span><span style="font-weight: bold; color: rgb(0, 0, 0); font-family: Calibri, Helvetica, sans-serif; font-size: 11pt; line-height: normal;">Please send a 250-word abstract and one-page
CV to Dafna Zur (</span><span style="font-weight: bold; font-family: Calibri, Helvetica, sans-serif; font-size: 11pt; color: rgb(5, 99, 193); line-height: normal;">dafnaz@stanford.edu</span><span style="font-weight: bold; color: rgb(0, 0, 0); font-family: Calibri, Helvetica, sans-serif; font-size: 11pt; line-height: normal;">)
and Susan Hwang (</span><span style="font-weight: bold; font-family: Calibri, Helvetica, sans-serif; font-size: 11pt; color: rgb(5, 99, 193); line-height: normal;">shwang1@iu.edu</span><span style="font-weight: bold; color: rgb(0, 0, 0); font-family: Calibri, Helvetica, sans-serif; font-size: 11pt; line-height: normal;">)
by 3/10/2022.</span></p>
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<span style="font-weight:400; color:rgb(0,0,0); font-family:Calibri,Helvetica,sans-serif; font-size:11pt; line-height:normal"><</span><span style="font-weight:400; color:rgb(0,0,0); font-family:"Times New Roman"; font-size:12pt"><b style="font-weight:normal"><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(32,31,30); font-weight:400; line-height:normal">Transpacific
Imaginaries of Racial Apocalypse: Labor and Technology in the Age of the Pandemic></span></b></span></p>
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<span style="font-weight:400; color:rgb(0,0,0); font-family:"Times New Roman"; font-size:12pt"><b style="font-weight:normal"><span style="font-size:11pt; font-family:Calibri,Helvetica,sans-serif; color:rgb(32,31,30); font-weight:400; line-height:normal">Long
CFP TBA</span></b></span></p>
<p dir="ltr" style="line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;"><span style="color: rgb(0, 0, 0); font-family: "Times New Roman"; font-size: 12pt;"><b style=""><span style="font-size: 11pt; font-family: Calibri, Helvetica, sans-serif; color: rgb(32, 31, 30); line-height: normal;"><b style=""><span style="font-weight: 400; font-size: 11pt; font-family: Calibri, Helvetica, sans-serif; color: rgb(32, 31, 30); background-color: rgb(255, 255, 255);">Inviting
submissions on racial apocalyptic imaginaries related to pandemics, working conditions, or 'colorblind' technologies, addressed at the intersection of Asian American and Korean Studies.
</span><span style="font-size: 11pt; font-family: Calibri, Helvetica, sans-serif; color: rgb(32, 31, 30); background-color: rgb(255, 255, 255);">250-word abstract and one-page CV to
</span><span style="font-size: 11pt; font-family: Calibri, Helvetica, sans-serif; color: rgb(17, 85, 204); background-color: rgb(255, 255, 255);">jinah.kim@csun.edu</span><span style="font-size: 11pt; font-family: Calibri, Helvetica, sans-serif; color: rgb(255, 0, 0); background-color: rgb(255, 255, 255);"> </span><span style="font-size: 11pt; font-family: Calibri, Helvetica, sans-serif; color: rgb(32, 31, 30); background-color: rgb(255, 255, 255);">by
3/10/2022.</span></b></span></b></span></p>
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<span style="font-family:Calibri,Helvetica,sans-serif; font-size:11pt"></span><font face="Angsana New, serif" color="#333399"><span style="font-family:Calibri,Helvetica,sans-serif; font-size:11pt"><b>Susan Hwang</b></span></font>
<div><font face="Angsana New, serif" color="#333399"><b><br>
</b><span style="font-family:Calibri,Helvetica,sans-serif; font-size:11pt"><b></b></span></font></div>
<div><font face="Angsana New, serif" color="#333399"><span style="font-family:Calibri,Helvetica,sans-serif; font-size:11pt">Assistant Professor of Korean Literature & Cultural Studies</span></font></div>
<div><font face="Angsana New, serif" color="#333399"><span style="font-family:Calibri,Helvetica,sans-serif; font-size:11pt">Department of East Asian Languages & Cultures</span></font></div>
<div><font face="Angsana New, serif" color="#333399"><span style="font-family:Calibri,Helvetica,sans-serif; font-size:11pt">School of Global & International Studies</span></font></div>
<div><font face="Angsana New, serif" color="#333399"><span style="font-family:Calibri,Helvetica,sans-serif; font-size:11pt">Indiana University Bloomington</span></font></div>
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