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Heroes& Villains 2015 : REPRESENTING HEROES & VILLAINS 2015


When Mar 25, 2015 - Sep 1, 2015
Submission Deadline Sep 1, 2015
Notification Due Dec 1, 2015
Final Version Due Sep 1, 2016

Call For Papers

Call for Papers: 5,000 words in English
Editor: Professor Leo J Loveday, Dept. of English, Doshisha University, Kamigyo-ku, Kyoto, 602-8580 Japan.
The editor’s previous publications include: "Contextual Identities: A Comparative and Communicational approach" (co-editor with E.Parpala Cambridge Scholars Press (forthcoming, 2015); "Language Contact in Japan". (Oxford University Press, 1996) and "The Sociolinguistics of Learning and Using a Non-native Language" (Pergamon Press, 1982) among others.

Heroes and villains constitute archetypal figures in every culture and have fired the human imagination ever since story-telling began. This collection of case-studies sets out to explore how different works of literary art portray their personages in ways which allow us to identify such archetypal qualities. Above all, the main focus is on the symbolic means employed to paint a character as a hero (heroine) or villain(ess). The perspective is multidisciplinary and brings together the insights of linguists, semioticians and researchers into literary and cultural studies and stylistics. The texts under scrutiny may come from different cultures and times and may include genres as diverse as, for instance, novels, drama, poetry, children’s literature, fairy tales or mythology.
Of particular relevance are the following themes and issues:
- How is the speech of the characters constructed to contribute to their archetypal delineation? What kind of linguistic devices, strategies, features, speech acts etc. are employed to mark the hero or villain?
- Is there (hidden) linguistic symbolism used to communicate something about the characters? i.e. their names, the locations they move in? e.g. the name of the female central character, Blanche DuBois in Tennessee Williams’ "A Streetcar Named Desire", alludes to the purity and innocence of the color white (“blanche” in French).
- How does their behavior represent, embody, challenge or subvert a particular moral stance?
- What symbolic (semiotic) resources apart from dialog and action does the artist exploit and to what effects do they echo or earmark the archetype? e.g. colors, objects, human physical features, phenomena from nature etc. e.g. the physically abused bull terrier belonging to Bill Sykes in "Oliver Twist".
- How does the tool of metaphor (imagery) contribute to archetypal moulding? e.g. Rochester in "Jane Eyre" is associated with birds of prey.
- What are the expectations (schemata) concerning a hero and villain that can be inferred from the work and how are they related to the particular cultural and historical context of its producer? To what extent are they fulfilled?
- How does the artist make an anti-hero different from the conventional model?
- What is the underlying psychological mapping that resonates with the social psyche of the audience? e.g. a Cinderella or Messiah model? On the other hand, is the villain a fundamental coward, abuser or corruptor? How is this profiling artistically crafted & symbolised?
- Is simplistic, antithetical categorization inapplicable to your case-study? e.g. Odysseus is both a trickster (with his Trojan horse subterfuge) and a hero; does the character morph between the states of hero and villain?

If you are interested in contributing, please send an abstract of around 200 words to the following email address: together with details about your academic background and previous publications by 1. September 2015. NOTE: Submissions must be original and not have been previously published or currently under consideration for publication. Manuscripts must be written in English and will be required to follow the guidelines of the publisher. (This project is now in the conception stage and it is planned that the papers will appear with a reputable publisher in the UK.)

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