LINGUIST List 31.690

Mon Feb 17 2020

Confs: Ling & Literature/Spain

Editor for this issue: Lauren Perkins <>

Date: 17-Feb-2020
From: Carmen Gregori-Signes <>
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Date: 03-Nov-2020 - 06-Nov-2020
Location: Valencia, Spain
Contact: Carmen Gregori-Signes
Contact Email: < click here to access email >
Meeting URL:

Linguistic Field(s): Ling & Literature

Meeting Description:

Popular culture has undoubtedly been influenced by TV series, shows and sitcoms ever since television became a commodity in the middle-class household. Such series epitomise the rich, diversified heritage of twentieth and twenty-first-century consumer culture, reflecting in one way or another the social and political scenario of their time. The ideas and concepts beneath successful series are the product of the times; and it is also the politics, financial demands and established ethos of such times that determine and often limit the direction of the show and the type of discourse it assimilates.

Although hit series have always drawn enthused groups of followers, fandom itself seems to have become an empowered phenomenon in the last decades and particularly in the last few years. Indeed, with the advent of personalised service that streaming media, downloading, and video-on-demand offer, our emotional and social connections to series have shifted. The fact that companies such as Netflix or Amazon have, following the footsteps of long-established public or cable channels such as HBO, ventured into producing their own original series or miniseries goes to show the extent to which (digital) TV series (DTVS) have gained momentum and are currently one of the most profitable initiatives in the entertainment industry. Substantial investments into quality script writing, casting, special effects, directing, editing, and marketing, among other procedures, have ultimately delivered to the public all sorts of audio-visual fictional narratives that address the concerns and interests of a highly diversified viewership that is constantly under the scrutiny of production companies. This cultural phenomenon has caught the attention of scholars who, from a range of disciplines, have approached the multi-signifying discursive significance that fictional DTVS, as stories and products, have in current society.

In line with such scholarship, this conference aims to create a space in which to analyse, discuss and debate the discursive and narrative aspects of fictional DTVS. We seek to explore how competing discourses enable or confront identity politics, how narrative structures implode viewer expectations, how genre conventions are reinvented through discourse and audio-visual rhetoric, and to ultimately delve into what such strategies say about English-speaking cultures and communities.

Conference topics may include, but are not limited to:
- Multimodal discourses in DTVS.
- The function of dialogue and other forms of narrative in DTVS.
- Characterisation. Innovations and stereotyping through characters’ unique discourse.
- Identity politics based on race, ethnicity, religion, age, class, or species in DTVS.
- Gender and sexuality in DTVS. The use of DTVS as an innovative space for raising awareness about social inequality
- Sexual and gender-based politics. Denunciation of patriarchal discourses, feminist utopias and dystopias.
- Posthuman, transhuman, biotechnological and ecocritical discourses in DTVS: the overcoming of humanism and the blurring of the boundaries between the human, the technological and the animal.
- From Ageing to Disability Studies in DTVS: portrayals of old age, illness, disease, and the handicapped subject.
- Screen adaptations. Conventional vs. experimental structures and narrative plots in DTVS.
- Fandom-related discourses and industries.

P.S. We invite you to contribute to the list of Online Bibliographic References on (Digital) TV Series (see also Bednarek, M., & Zago, R. 2019)

Conference Information:

The objective of this conference is to gather papers that study TV series from as wide a range of disciplines as possible.

We are still accepting abstracts! Three types of proposals will be considered:

Individual papers:
Please submit a 400-500-word abstract (excluding references), along with 5 keywords and a short bio-note. Each speaker will be given a maximum of 20 minutes for his or her presentation. More interactive types of presentations are encouraged (as opposed to reading the paper). Abstracts should include theoretical framework, methodological approach, findings and references.

Round tables:
Round tables should not be conceived as a panel. They are to be designed according to a particular topic of debate that is discussed amongst 3-4 participants (and potentially attendees), all of which bring in different perspectives. The proposal should include both the individual abstracts (400-500 words each) and an abstract by the chair (400-500 words) on the development of the round table (summarising previous research, setting the scope of the presentations and including open questions to engage with the audience). 5 keywords and a short bio-note of the participants must also be included.

These should be practical and conducted by professionals and specialists, within the entertainment industry, with experience in DTVS. Please submit a 1000-word description of the topic and the design of the workshop itself.

Please submit abstracts via

Early Bird Registration is still open and can be accessed at:

Page Updated: 17-Feb-2020