Call for Papers/Proposals for the Popular Culture Section of SAMLA
15-17 November, 2002--Baltimore, MD
VEHICULAR MYTH: TRAINS, PLANES, AUTOMOBILES, AND
OTHER VESSELS OF MEANING
How do images of vehicles entrain meaning in popular culture?
>From Apollo's chariot to that red convertible in Route 66 to Mad Max's
postapocalyptic war wagon, these images have moved us. What do
they tell us about the themes of individual works or about the
psychological or social implications of their structures--assumptions of
gender, race, age, class? Is the symbolic space within the Titanic
different from the space within the starship Enterprise? When Tracey
Chapman sings of that "fast car," will it arrive at the same destination
as the crosstown bus in The Graduate? What do we know about a
vampire who chooses to drive a convertible in Los Angeles (Angel)?
Why is it right that Hitchcock's strangers meet on that train? Does it
matter that Sandra Bullock gets to drive the bus in Speed? Why is it
that Remington Steele rides in a limousine while Laura Holt drives a
VW Rabbit? Has anyone noticed that Buffy the Vampire Slayer does
not drive a car? For that matter, how many female heroes have
powerful vehicles? Do we really want to talk about Thelma and Louise?
Papers or one-page abstracts should be submitted by March
31 (revised from the originally announced due date) to
Rhonda Wilcox
Humanities Division
Gordon College
Barnesville, GA
30204
Email submissions to rhonda_w@falcon.gdn.peachnet.edu are
acceptable but should be confirmed by separate email inquiry.
Presenters must be members of SAMLA by July 1, 2002, to receive
convention materials. Papers should have a maximum reading time of
20 minutes.
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