Call For Applications: Funded Ambedkar Summer School 2024-Indian Institute of Dalit Studies- May 19-24, 2024

Ambedkar Summer School, a week-long residential programme, organised by IIDS and RLS, aims to develop the capacity of youths from marginalised social groups by strengthening the knowledge discourse and critical understanding of issues related to public policy in practice through reading/writing, dialogue, debates, discussions and critical questioning using lived experiences.

Young research scholars and activists who are working on inter-group inequality, marginalization and social exclusion in public policy in India can apply.

The applicants need to send extended abstract (around 1000 words) along with annotated bibliography on the Public Policy and Marginalized Social Groups. 

The applicants also need to send their detailed CV along with the application.

The organisers will bear the cost of travel (train AC three tier), boarding and lodging during the course of the programme.

Applications should be sent by email to the programme convener  at 

ambedkarschooliidsrls@gmail.com.

Last date of application: March 25, 2024

Notification to the selected participants: April 5, 2024

Ambedkar Summer School 2024: May 19-24, 2024

For  more details: https://dalitstudies.org.in/ambedkar-summer-school/

or 

https://www.facebook.com/rosaluxsouthasia

CFP International Conference “Literary Recycling for Postdigital Readers.” A Digital Epistemology for the Recycling of Literatures?: Digital Literary Studies under Debate -Sep 26 - 27, 2024

Now that we live immersed in the postdigital era without hardly noticing it and that any given cultural object seems susceptible to be recycled by a digital technology available to anyone, it is time to ask ourselves about the underlying conceptual and methodological models that these technologies impose.

What kind of cultural recycling (of reading, of literatures, of literary histories) are the so-called Digital Humanities proposing? We observe that the construction of digitised corpora, the essentially quantitative and probabilistic methods, and the capacity of machines to quantify data propose a model of objectivity, a single epistemology that seems to clash with plural hermeneutics.

If these methods make it possible to look at the past through new lenses, how can we do so without forgetting the interstices and ambiguities that they leave out?  Can phenomena of the past, such as the transcultural or transtemporal interweavings and the mediality of other eras (in contrast to the present one) be helpful to understand more precisely the mediatisation and recycling of literature today? Particularly, those mediations and recycling carried out by Digital Humanities’ methods?

It is not a new model, it is an old one: we only have to take a look at its history (its promises can already be found in nineteenth-century positivism) or at the institutionalisation of Digital Humanities as a disciplinary field, which tends to be conservative in its principles and hierarchies. Nevertheless, this model is considered innovative in terms of its creation, modification, and introduction of a socio-cultural use in literary studies. This is indeed why we must question the epistemological bias of this model. In culture, in literatures, biases are observable. We need to critically question the specific characteristics of digital methodologies in the field of literary studies and their underlying conceptualisations and epistemologies, since they can guide future approaches, as well as point to its limitations and blind spots: we need Critical Digital Humanities.

Contributions may focus on one of the following aspects:

- Theories and methods of literary analysis in Digital Humanities: limitations and how to overcome them.

- Methods and applications of the digital analysis of literary corpora and texts as forms of cultural recycling: underlying conceptualisations.

- Analysis of mixed methods that blend previous literary-theoretical traditions and procedures that are specific to the Digital Humanities: epistemological foundations.

- Analysis of processes of cultural and transtemporal interweaving in literatures using digital methodologies: possibilities and limitations.

- Macro-recycling of literary histories: new focuses, blind spots.

The languages of the conference will be Spanish, English and German. Guest lectures will be translated into Spanish.

Key speakers: Anita Traninger (Freie Universität Berlin) and Rabea Kleymann (Technische Universität Chemnitz)

Interested applicants can send their proposals including name, institution, email address, title of the proposal, keywords and an abstract of at least 250 words to reclit-ji@ucm.es by March 15, 2024. The committee's decision on the acceptance of the proposals will be notified within two months.

A monographic publication will be released with the contributions selected by the scientific committee.

Faculty of Philology, Complutense University of Madrid, September 26 and 27, 2024

Organised by LEETHI Group

Coordinators: Miriam Llamas, Amelia Sanz, Secretary: Irene Pérez

Scientific Committee: Tina Escaja (The University of Vermont), Alckmar Luiz dos Santos (Universidade Federal de Santa Catarina), Teresa Numerico (Università degli studi Roma Tre), Manuel Portela (University of Coimbra), Johanna Vollmeyer (Universidad Complutense de Madrid)

Web of the event: https://www.ucm.es/leethi/literary-recycling-for-postdigital-readers 

Call for Chapters – Cultural Depictions of the Stepmother: Literature, Stage, and Screen

This call is for abstracts for a scholarly, international edited collection entitled, Cultural Depictions of the Stepmother: Literature, Stage, and Screen. Currently I am seeking a number of academics and professionals in the field who might like to send me an abstract for consideration for inclusion in the book.

The aim of this scholarly edited collection is to reveal how, in any society, the personal expectations and actual experiences of the stepmother may differ from the societal and cultural expectations and realities of the role. The further aim is to show how the stepmother is perceived in the popular views of a particular society, as demonstrated in the literature, stage, screen, and pop culture narratives, of that society.

To whatever degree, every culture in the world is different to all others. Yet, in any culture, religious and cultural beliefs are inseparable, intrinsic one to the other, and are important to the traditions, customs, practices and laws of any particular culture or society. One figure that remains consistent in almost every culture, and that attracts the attention, is the stepmother. Regardless of whether a culture is mainly monogamous or polygamous, the stepmother is one of the female figures that are central to the family, the community and hence the society and the culture. Various sources define the stepmother as: a woman who is married to one’s father after the divorce or separation of one’s parents or the death of one’s natural mother; a non-biological female parent who is married to a child’s biological male parent. An added complexity exists: statistics indicate that globally, there has been an increase of children born outside of marriage and who are raised by their cohabiting or non-cohabiting parents. Thus, a stepmother can be a woman who either marries or is the female partner of a man who has biological children resulting from a former marriage, or a previous union with some other woman. A woman may also become a stepmother by default as in the case of, say, raising the children of a deceased (or otherwise absent) relative, or an orphan or an abandoned child as if her own offspring. Thus, given that cultural and religious, and social traditions, and laws vary widely across the globe, a woman may become the stepmother either by fact or by custom, or by religious or civil law, or by de facto relationship, or by guardianship. In most though not necessarily all cultures, and according to the religious and cultural beliefs and laws of a culture, as well as the civil laws of that country, a man who has been but is no longer married may remarry; and in some other cultures also, a man who is currently married may marry or take a second wife who may be expected to act as stepmother to his biological children by another previous marriage or union that has ended, or by agreement between the child’s/children’s biological parents.

It is generally understood that whether she is welcomed by her new family or not, a man’s first wife or female partner brings with her some baggage into the life of the man she either weds or cohabits or has a relationship with, and hence into the family into which she marries or enters in some way. Perhaps this may be more so in the case of the stepmother—a second (or further) wife or female partner of a man who already has a biological child/or children from a former relationship. Sometimes, too, a woman who becomes a stepmother will bring her own biological offspring into the union. It is well documented that parenting can be a difficult task at times. For a stepmother, the challenges, problems, and the difficulties in raising some other woman’s biological children may differ to those experienced by the biological mother. Questions arise: within any culture, what are the implications for a woman who weds or become the female partner of a widower or a divorced or separated man who is actively involved with, or is responsible for, his biological child/children from a previous union? Likewise, what are the implications for a stepmother in a) a polygamous arrangement, and b) for a stepmother in a monogamous relationship?

Some suggestions for potential contributors to consider, and that could be addressed, may include but not limited to, are:

What are the cultural and social duties and expectations of the stepmother; and what are her personal realities and expectations, as depicted in the popular culture of a particular culture/society? Is it possible to detect differences or sameness between the fictionalized portrayals and the realities and social dictates of that culture?

How do class, ethnicity, culture, race, gender, and possibly history, shape depictions of the stepmother, as indicated in the popular screen, stage, and literary productions of any one particular culture?

What is the range of ways in which the stepmother is represented in the popular/social culture of the various societies?

Are there any powerful cultural or socially historical antecedents for the representations of the stepmother in popular/social culture, as screen, stage, and literary productions?

What are the creators’ and/or the producers’ intentions behind their portrayals of the stepmother; what are their messages for their audiences?

How would we establish the underlying cultural, historical, or production motivations for particular depictions of the stepmother? How often, if at all, are these representations told from the point-of-view of the stepmother herself? Alternatively, how often, if at all, are these representations told from the point-of-view of the stepchild/stepchildren, or the husband or partner of that woman herself?

Is there a difference between the ways in which the stepmother is depicted in film for small and large screen, and between those mediums to the depictions in drama, and to literature? Or in these depictions, is there a reasonably broad consensus between these genres?

This collection of scholarly essays will make an intervention in the field: it will be the first of its kind to make a comprehensive study of what being a stepmother means to and for the woman, to the family, the community, the culture, and the society to which she belongs. This to investigate whether or not there are characteristic features of the stepmother between cultures that may have either some similarity, or that are totally dissimilar; explore the popular beliefs and popular culture in relation to stepmother-hood in any one or more society/ies; document and record how various eastern and western societies perceive and represent the socially and culturally important figure of the stepmother in screen, stage, and literary works, including folk tales and pop culture narratives; indicate if there is agreement or difference between the various cultures on how the figure of the stepmother is depicted in popular culture to the viewing/reading audiences; establish a new and dynamic area of theoretical research crossing family studies, women’s studies, cultural studies, social history, gender studies, social studies, and the humanities in general; point the way to possible future cross-disciplinary work through examining various peoples and societies by way of cultural depictions of the stepmother; and permit scholarly consideration of the extent to which the creators and producers of narratives about the stepmother place this figure on the perimeter of society or at its center.

Submission instructions:

At this initial stage, in lieu of “chapters,” this proposed work, Cultural Depictions of the Stepmother, calls for extended abstracts for consideration for inclusion in the book.

The extended abstracts must be more than 1,500 words and less than 2,000 words. Full-length chapters of not less than, say, 7,000 words, and no more than 8,500 words each (including notes but excluding references lists, title of work, and key words), will be solicited from these abstracts.

Please keep in mind that your essay-chapter will be written from your extended abstract. Your abstract will carry the same title as your essay-chapter

To be considered, an abstract must be written in English, and submitted as a Word document.

When writing your abstract use Times New Roman point 12, and 1.15 spacing.

At the beginning of your extended abstract, immediately after the title of your work and your name, add 5 to 8 keywords that best relate to your work.

Use the Chicago Manual of Style 16th Edition.

Since this work is intended for Lexington Books, USA, please use American (US) spelling not English (UK) spelling, and not Australian English spelling.

Use the Merriam-Webster’s Collegiate Dictionary.

For this project it is most important to use an impersonal academic voice when writing your abstract, and possibly your chapter later. That is, do not use the teacherly voice (“as we will see…”; “here we see…”; “as it will become clear”; …); and do not use 1st person or the personal voice (I; We will find; We find; You; Us; …).

Use endnotes not footnotes, use counting numbers not Roman numerals, and keep the endnotes to a bare minimum, working the information into the text where possible.

Do cite all your work in your extended abstract as you would in a full chapter: a) In the body of the abstract, add parenthetical in-text citations (family name of author and year, and page number/s) (e.g. Smith 2019, 230); b) And fully reference all in-text citations in detail and in alphabetical order, in the References list at the end of your abstract.

Please send your completed abstract as a Word document attached to an email, by the date given in this call for papers.

To this same email please also attach, as separate Word documents, the following:

Your covering letter, giving your academic title/s, affiliation, your position, and your home and telephone numbers, your home address, and your email contact details.

A short bio of no more than 250 words.

Your C.V., including a full list of your publications and giving the publishing details and dates, and including those in press.

Deadline for abstract submissions: April 30, 2024

Editor: Dr Jo Parnell, PhD| Researcher, and Honorary Lecturer, School of Humanities and Social Science, College of Human and Social Futures, University of Newcastle, Australia.

Papers should be forwarded to:

Jo.Parnell@newcastle.edu.au or annette.parnell@newcastle.edu.au or joandbobparnell@bigpond.com

Call For Applications : Summer workshop on The Question of Representation in #Contemporary #Indian #Literature( Funded Accommodation)-University of Tübingen, Germany

Summer Workshop at the University of Tübingen, Germany

10-12.06.2024 (in person)

In Chaucer’s The Canterbury Tales, The Wife of Bath refers to the Aesopian fable of the painting of the lion. The lion complains about the painting, which demonstrates a man defeating a lion, and asserts that the painting would look very different if a lion had painted it. And so asks the Wife of Bath: ‘Who painted the lion, tell me, who?’

If the dominant narrative is shaped by the powerful and the victorious, then voice, narration, and representation become powerful tools, especially for marginalized groups.. Re-examining and interrogating these frames of reference help to find new answers to important questions: who gets to tell whose story? Who has what at stake and who is representing whom? Where does the line between fiction and authentic representation get drawn?

Who is allowed to tell whose story? If in fiction one is allowed to only tell their own privately lived experiences, how is that fiction? What does it do to representation of groups that are already endangered?

In this context, the question of authentic voice and its representation looms paramount and the writing of literature its biggest ally.

Gayatri Chakrovarty Spivak asked in her influential work ‘Can the Subaltern Speak?’ (1988), and scholarly work in literary and critical studies is still attempting to satisfactorily answer the question. Are the powerless ever able to raise their voice in a world where even the medium of language is biased to favor those in power?

Postcolonial and subaltern studies have repeatedly questioned the ways in which established ideologies suppress the needs and demands of the most vulnerable sections of a society. These questions take on even more significance in literature from India where issues of caste, class, religion and gender, and the many inbuilt inequalities and discriminations, constantly determine identity and its representation. The reading of literature presents a richer understanding of this new and complex world, where capitalism disrupts and catapults lives, and a postcolonial framework seeks to define itself without its colonial past, and not simply react to it.

The workshop’s interdisciplinary approach looks at the topic and the literary frameworks that surround it from two points of view: the literature on the page and its many facets, as well as the tools employed in the writing of that literature. The two-pronged outlook will help deepen the understanding of what is perceived as literature and its production.

The workshop encompasses the wider areas of subaltern and postcolonial studies, as well as the craft employed in a work of literature. Researchers are invited to engage with the questions of representation and its nature in contemporary Indian literature, as well as in the wider postcolonial framework.

The following themes within research will be given priority for participation:

· Subaltern and marginalized voices in Indian literature

· Point of view and narrative in fiction

· Representation of the subaltern

· Identity and power in terms of religion, caste, class, gender, and sexuality

· Writing and marginalized voices

· Narrative and language

· Revisionist narratives

· Identity politics in Indian literature

· The writing of contemporary Indian fiction

· Identity in postcolonial literature

· Postcolonial subjects and identities

· Nation, nationalism and literature

· Perspective and voice in creative writing

For an interdisciplinary approach, we encourage participants who work in literary studies, creative writing, history, philosophy, anthropology, cultural studies, linguistics, psychology, political sciences, sociology, and artificial intelligence for arts to apply.

We invite researchers to present 20 minute presentations of papers and articles. Abstracts of up to 300 words, with a brief bio note, and a short academic CV, should be sent to srishti.chaudhary@uni-tuebingen.de or on the form linked here:

https://forms.gle/GBML7SoGMiFJrKmy7

Deadline: 15.03.2024

Notice of acceptance: 22.03.2024

The accommodation for the duration of the workshop for all participants is funded as a part of the Excellence Strategy of the German Federal and State Governments.

Transportation costs will have to be self-funded.

srishti.chaudhary@uni-tuebingen.de

Srishti Chaudhary

Call For Research Articles on Film Studies in Southeast Asia, China, East Asia, and India's Northeast-Rising Asia Journal

 Rising Asia Journal invites Research Articles on Film Studies in the geographical areas of Southeast Asia, East Asia (Japan, China, the Koreas, and Taiwan), and India's North-East Region, on all aspects of these Asian societies. Authors may use any thematic or theoretical discourse such as gender, race, colonialism and post-colonialism, and others.

Articles should be between 5,000 to 10,000 words in length, with footnotes, and Works Cited.

Authors are urged to visit the journal's website at www.rajraf.org to read the submission guidelines. 

Articles should be original, and should offer a new and innovative perspective.

Please send your articles to our Editorial Board Member Professor Tuan Hoang at tuan.hoang@pepperdine.edu as well as to our Editor-in-Chief Dr. Harish C. Mehta at hmehta76@yahoo.caRising Asia Journal invites Research Articles on Film Studies in the geographical areas of Southeast Asia, East Asia (Japan, China, the Koreas, and Taiwan), and India's North-East Region, on all aspects of these Asian societies. Authors may use any thematic or theoretical discourse such as gender, race, colonialism and post-colonialism, and others.

Articles should be between 5,000 to 10,000 words in length, with footnotes, and Works Cited.

Authors are urged to visit the journal's website at www.rajraf.org to read the submission guidelines. 

Articles should be original, and should offer a new and innovative perspective.

Deadline for submissions:  June 1, 2024

full name / name of organization:  Rising Asia Journal

contact email:  tuan.hoang@pepperdine.edu

Please send your articles to our Editorial Board Member Professor Tuan Hoang at tuan.hoang@pepperdine.edu as well as to our Editor-in-Chief Dr. Harish C. Mehta at hmehta76@yahoo.ca

Call For Articles : Special Issue “World Mythology and Ecocriticism: Remembering Nature as a Sacred Teacher”-Rachel McCoppin - Humanities Journal

Special Issue “World Mythology and Ecocriticism: Remembering Nature as a Sacred Teacher”

A special issue of Humanities.

This Special Issue focuses specifically on the role that nature plays within world mythology. The environment undoubtedly played a crucial role in developing the mythological narratives of many cultures throughout the globe. Many cultures regarded nature as sacred, envisioning aspects of the environment, being directly related to divine beings, sacred forces, teachers, etc. Often, cultures imagined that the representatives of nature needed to be appeased in order to gain harmony with their environments. Many cultures also used their mythology to connect nature to the lives of human beings—connecting the cycle of the seasons to the life cycle of humans for instance. Identifying humans as inextricably connected with the natural world allowed a myriad of cultures to find meaning in their own lives, as nature in myth was often portrayed as a teacher, guide, source of inspiration, etc., for the characters within the myth, as well as the audiences of the myth. As civilizations grew and developed, often the mythological references to the importance of nature as something sacred diminished, but some mythic texts still imparted messages that strove to maintain reverence for the environment. Given the contemporary environmental crisis, it is important to look back on the texts that were once sacred to a people, in order to remember the great value of finding our own reverence in the natural world.

This Special Issue is particularly interested in receiving articles that discuss global mythological texts from an ecocritical lens. Articles that examine myths that connect natural occurrences to the lives of humans—looking at age from the standpoint of seasonal change, accepting death as a natural occurrence, etc., are especially desirable. Additionally, texts that present nature as a divine being, sacred embodiment, source of inspiration, source of contention, etc., are welcomed. Articles that focus on global creation myths, myths that present nature as divine, myths of humans contending with nature, either through marriage to a natural element, battling with a natural representative, or even becoming a natural element, are all highly desirable. Additionally, myths that mark a time of transition of values in the portrayal of the environment, such as the progression from hunter/gatherer methods to agricultural methods, or the destruction of the environment as technology advanced, are desired. Finally, myths that focus upon the heroic journey, casting the protagonist as a personification of nature, or showing the protagonist as failing or succeeding upon his or her quest because of nature, are especially sought after. This Special Issue is interested in mythic texts from around the world, from any era.

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All papers will be peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Humanities is an international peer-reviewed open access quarterly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords:

World Mythology

Ecocriticism

Mythic Studies

Environmental Studies

Hero’s Journey/Quest

This special issue is now open for submission.

deadline for submissions: December 10, 2024

contact email: mccoppin@umn.edu

Call for essays for special issue of Journal of Global #Postcolonial Studies on contemporary African novelists in America

 Call for Papers for forthcoming special issue on Contemporary African Novelists in America 

Guest editor Simon Lewis is seeking manuscript submissions for a special issue on contemporary African writers who have come to prominence in the United States over the last two decades. 

When Chimamanda Ngozi Adichie burst onto the North American publishing scene in 2003, the publication of her brilliant debut novel Purple Hibiscus didn’t just signal the start of a single author’s brilliant career. It also forged a path for a whole new generation of African novelists who had come to America as immigrants or students and who have been mining that experience in their writing. Writers born in Africa who studied at American universities – Teju Cole, Taiye Selasie, Yaa Gyasi, Uzodinma Iweala, NoViolet Bulawayo and Akwaeke Emezi, to name just a few – have followed in Adichie’s footsteps. Purple Hibiscus has been to these writers what Gabriel García Márquez’s One Hundred Years of Solitude (1967) was to aspiring Latin American writers during the Latin American literary boom of the 1960s and 1970s, and what Salman Rushdie’s Midnight’s Children (1981) was to the proliferation of Indian writers in English from the 1980s on. 

In addition to articles analyzing individual authors and/or their work, we warmly invite essays on any of the following themes:

 Immigration;

 Racism;

 Diaspora; 

 Gender; 

 Sexuality; 

 History;

 Regionalism; 

 Education; 

 Publishing.

Submission Instructions: Manuscripts of c. 5,000 words and following MLA guidelines for formatting should be submitted by September 1, 2024 according to the Journal’s guidelines at https://journals.upress.ufl.edu/jgps 

Preliminary ideas and/or complete articles can be submitted to the guest editor at: Simon Lewis, English Department, College of Charleston, LewisS@cofc.edu

Contact Information

Simon Lewis, Department of English, College of Charleston

Contact Email

lewiss@cofc.edu

URL

https://journals.upress.ufl.edu/jgps/cfp

Attachments

Journal of Global Postcolonial Studies

Call for Submissions- International #Gender and #Sexuality Studies #Conference on "Recognition, Resistance, Resilience,"

 The International Gender and Sexuality Studies Conference, hosted by the University of Central Oklahoma’s Women’s Research Center and the BGLTQ+ Student Center in collaboration with the UCO chapter of the National Organization for Women, is calling for submissions for its ninth annual conference. Themed "Recognition, Resistance, Resilience," the conference aims to foster diverse perspectives on these themes.

The deadline for abstract submissions is Friday, April 19. To submit an abstract, visit go.uco.edu/igss. The conference is scheduled for Sept. 28–29, and will take place in the UCO Nigh University Center, located on Central’s campus.

The conference invites students, faculty, staff, scholars, activists and artists to propose presentations or performances in creative disciplines such as literature, theater, music, dance and visual art. All interested parties are invited to submit abstracts for papers, panels, roundtable discussions and/or poster presentations that explore issues related to women, gender and sexuality studies. Submissions from various disciplines, including social sciences, humanities, fine arts, activism and STEM fields, are encouraged. The selection committee interprets the theme broadly, embracing intersectional and interdisciplinary thinking.

This year’s keynote speaker is Anna Cox, M.F.A., author of "I Keep My Worries in My Teeth" and director of the Studio School at Oklahoma Contemporary.

Drawing from her background in photography and pedagogy, she will deliver a talk on her fiction writing practices and collaborations with artists.

Contact Information

Lindsey Churchill, Ph.D., director of the Women’s Research Center and the BGLTQ+ Student Center

Contact Email

lchurchill@uco.edu

URL

http://go.uco.edu/igss

Seeking Chapter Submissions: Going to the Movies with CS Lewis-#Cambridge Scholars Publishing

 Going to the Movies with C.S. Lewis, Call for Chapters

An edited collection tentatively titled “Going to the Movies with C.S. Lewis” is seeking chapter submissions. The book is expected to be published through Cambridge Scholars Publishing.  

Having been born many years after C.S. Lewis died I of course never had the opportunity to watch a movie with the man. However, over the years I feel, as many others probably feel as well, like Lewis accompanies me as I watch movies, read books, attend church services, and make other daily pursuits. Lewis’ works shape my thinking on many theological, educational, and cultural matters like few other authors’ works do.

This book is an attempt to take some of those insights from C.S. Lewis and apply them to film studies. It will explore the thought and theology of C.S. Lewis by connecting his work with film theory, specific films, and adaptations of his work. In many ways it is a book meant to explore how Lewis’ thought can help us view films.

The following categories are meant to act as general guidance for sections of the book:

1. Exploring Film Theory with C.S. Lewis
2. Exploring Individual Films with C.S. Lewis
3. Analyzing Lewis’ Life through Films of About Lewis
4. Analyzing Lewis’ Fiction through Adaptations of his works

Some chapter ideas that would fit into the above categories include, but are not limited to:

1. The Four Loves on film
2. Lewis’ approach to literature as a guide to approaching film
3. “On the Reading of Old Books” and On the Watching of Old Movies
4. Lewis’ idea of fantasy in relation to particular films
5. Ideas in his essays or books that relate to film studies, film theory, or individual films
6. The many different Narnia adaptations (comparisons between the versions or examinations of particular films as adaptations of the original stories)
7. Lewis’ thoughts on Christmas and Christmas movies (what would Lewis think of Hallmark Christmas movies?)
8. Lewis portrayed on film – how does this change the way he is viewed?

Again, these are only suggestions. Anything connecting Lewis’ thought with the cinema will be considered.  

Submission Procedure

Please submit a chapter proposal by March 31, 2024 which includes the following: title, abstract, and a short biography of the author(s). Proposals should be a maximum of 500 words written in English, using Microsoft Word format, Times New Roman, 12 pt. font. Please send the Word document as an attachment to the book editor (Bryan Mead, bmead@etbu.edu). Authors of accepted proposals will be notified and sent specific submission guidelines. Chapter contributions should be at least 4,000 words and will follow Chicago style (footnotes and bibliography). Submissions are welcome from early career researchers and established scholars.

If your proposal is accepted, chapter submissions will be due by September 15, 2024. Proposal acceptance does not guarantee chapter’s inclusion in the book.

Editor Information: Bryan Mead, Ph.D, is Assistant Professor of English at East Texas Baptist University where he teaches film studies, literature, and composition. He is the author of Writing in Film Studies, From Professional Practice to Practical Pedagogy (Cambridge Scholars Publishing, 2024). Bryan has also published many essays in journals such as Journal of Religion & Film, Journal of European Popular Culture, Americana: The Journal of American Popular Culture, Intégrité: A Faith and Learning Journal, and Film & History. His essays have also appeared in edited volumes such as J.R.R. Tolkien and the Arts: A Theology of Subcreation (Square Halo Press, 2021), Representations of Sports Coaches in Film: Looking to Win (Routledge, 2017), and The Arts of Memory and the Poetics of Remembering (Cambridge Scholars Publishing, 2016).

Call For Papers on Verge: Studies in Global Asias Issue 11.2 Special Issue: The Asian Century: Idea, Method, and Media

 

What is the Asian Century? Are we living in it? Do its recent invocations—by writers and readers, politicians and pundits, journalists and academics—mark a return to earlier eras of relative Asian centrality on the world stage or announce a future we have yet to inhabit? Is it a paranoid, U.S.-centered discourse of Western decline or a triumphant announcement of Asian economic-semiotic arrival? Is the Asian Century an aspiration or a threat—and to whom?

The term “Asian Century” has more than one origin story. Narrators are multiple, located in both Asia and the West. In a 1988 summit, China’s Deng Xiaoping, alongside Indian Prime Minister Rajiv Gandhi, may have coined the phrase by calling it into question: “In recent years, people have been saying that the next century will be the century of Asia and the Pacific, as if that were sure to be the case. I disagree with this view.” For Deng, skepticism about the inevitability of Asia’s rise was going to be crucial to the India-China partnership against the “developed” world; his skepticism hasn’t aged well. In the wake of the 2008 financial crisis, US Secretary of State Hillary Clinton declared a “pivot to Asia” in “America’s Pacific Century.” Clinton’s emphatic recapitulation of the “Asian Century” revived Western tropes of Asian ascendancy that predated Asia’s contemporary economic rise by more than a hundred years, while betraying American anxieties about the decline of US hegemony. In fact, both Deng and Clinton were responding to a process that had been underway since at least the early-1970s: the “long downturn” or tendential decline in profitability of Western economies that ran alongside the “economic miracles” of many Asian economies, including Japan’s Cold War-era boom and India’s and China’s eventual liberalization. For some, the Asian Century was, or is, a solution. Now, in an era of mounting deglobalization, its contradictions are just as sharply felt as its curious staying power.

What distinguishes the current round of Asian Century discourse is perhaps its mutual construction by “Asians” and “Westerners” alike. When the Asian Century came into wide currency in the 1990s, replacing a then-regnant “Pacific Rim” and “Pacific Century” rhetoric, it remediated a long history of similarly totalizing visions that issued not least from the “Asians” themselves: from Japan’s monstrous pursuit of the Greater East Asian Co-prosperity Sphere and Ferdinand Marcos’s dictatorial imposition of neoliberal programs in the Philippines, to the advertisement of the “Singapore model” and even China’s “century of humiliation,” which continues to vouchsafe its nationalist ressentiment. As Wang Hui’s analysis of the politics of imagining Asia has shown, visions of the Asian Century betray contradictory regionalist and nationalist ambitions that are held in focus by the apparatuses of the state and the culture industries. Thus Asian Century discourse is typically inflected by a nation or speaker’s position vis-a-vis key market and state brokers. Given that the meaning of “Asia” looks different depending on the vantage of Taiwan, Sri Lanka, Vietnam, or for that matter Saudi Arabia, what is the role of pan-Asian alliances and inter-Asian competition in constituting the Asian Century? Is Asia “one”—or only in the eyes of the West?

This special issue invites critical perspectives from scholars working in and across multiple languages and disciplines. We seek submissions that explore the Asian Century as idea, method, and media, and that examine its genealogies and itineraries from a range of contexts and histories, including of labor, empire, capital, war, technology, pandemics, dispossession, modernization, culture, and aesthetics. With “idea, method, and media,” we intend to inspire, but not circumscribe, the possible range of disciplinary approaches and primary sources that might be enlisted in responding to this call. Indeed, the idea of the Asian Century may very well be predicated on counter-articulations of its impossibility. While the Asian Century may appear at first as periodizing marker or geopolitical diagnostic, we propose that it can also be read across media and cultural forms, as an affective relation to the past, present, and future, as a structure of feeling, and as a visual and sensorial regime. Finally, in proposing the Asian Century as method, we seek to revisit and reimagine the interdisciplinary stakes of the longstanding conversation on “Asia as method.”

For example, what humanistic and social scientific methods can best track the concept’s intellectual and institutional emergence, circulation, and mediation, including well before the 21st century? How might regional Asian rivalries shape the supply chains and the capital flows of emerging trade blocs like the Regional Comprehensive Economic Partnership (RCEP) and the Trans-Pacific Partnership (TPP)? How have cultural production and intellectual exchange furnished the cognitive and affective frameworks for these blocs, and for Asian visions of global expansion like China’s “Belt and Road” initiative, South Korea’s cultural exports, and Taiwan’s advanced semiconductor industry? Given the increasing salience of the Asian Century as a concept for periodizing the contradictions of neoliberal capitalism, how might we trace its effects and iterations in and beyond political economy? What was the Asian Century, understood as visions and projections of Asia’s rise promoted by those who stood to benefit from such characterizations? What of the legacy and future of Third World decolonization and Indigenous struggles when Asian peripheries become, or have threatened to become, global powers? Rather than take for granted the rise of Asia as such, we seek to understand how and why Asia’s ostensible ascendance has seen not a lessening but rather a retrenchment of the conditions of planetary inequality.

Essay Submissions

Essays (between 6,000–10,000 words) and abstracts (125 words) should be submitted electronically through this submission form by May 1, 2024 and prepared according to the author-date + bibliography format of the Chicago Manual of Style. See section 2.38 of the University of Minnesota Press style guide or chapter 15 of the Chicago Manual of Style Online for additional formatting information.

Authors’ names should not appear on manuscripts; instead, please include a separate document with the author’s name, address, institutional affiliations, and the title of the article with your electronic submission. Authors should not refer to themselves in the first person in the submitted text or notes if such references would identify them; any necessary references to the author’s previous work, for example, should be in the third person.

Please direct all inquiries to verge@psu.edu.

Contact Email

verge@psu.edu

URL

https://sites.psu.edu/vergeglobalasias/

Attachments

verge-112-cfp-asian-century-idea-method-and-media.pdf

CFP: Two days seminar on Tales of Timelessness: Understanding the Heritage of Bengal-March 21- 22, 2024, Kazi Nazrul University

 Call For Papers

Panchakot Mahavidyalaya, Purulia, is organizing a two-day seminar on 'Tales of Timelessness: Understanding the Heritage of West Bengal' from 21st and 22nd March 2024. On this occasion, we are pleased to announce a call for papers, inviting research students and independent scholars to submit their original research (300-400 words abstract) along with their bio-note to suvajit.halder@panchakotmv.ac.in.

Last Date of Abstract Submission: 1st March 2024.

Concept Note

Understanding/conserving heritage is more than creating museums or collecting artifacts, stories, and songs. Heritage is a living experience that weaves together the threads of our past, present, and future. It goes beyond the surface, delving into the stories, values, and legacies that shape our identities as individuals and communities.

At its core, heritage encapsulates tangible and intangible expressions of human creativity and achievement. It encompasses historical sites, cultural practices, languages, folklore, and collective memories that bind a society. Heritage is a repository of knowledge, a bridge between generations, and a testament to the diversity of human experiences.

Heritage is dynamic, evolving with time while retaining its intrinsic essence. It reflects the continuous interplay between tradition and modernity, adaptation, and preservation. Recognizing and safeguarding heritage becomes a collective responsibility as it contributes to a sense of belonging and shared identity within communities.

Moreover, understanding heritage fosters an appreciation and respect for cultural diversity. It encourages cross-cultural dialogue, allowing individuals to embrace the richness of traditions different from their own. Heritage becomes a source of inspiration, a reservoir of creativity that sparks innovation while grounding societies in their roots.

In essence, understanding heritage is an invitation to explore the roots of our existence, to appreciate the cultural mosaic that defines us. It prompts us to preserve, celebrate, and transmit our heritage to future generations, ensuring that the stories of our past continue to resonate in the present and echo into the future. Heritage is not merely a static snapshot of history; it is a vibrant, ever-unfolding narrative that invites us to connect, learn, and carry forward the legacy of our shared human experience.

Nestled in the eastern part of India, Bengal is a state that exudes cultural richness and historical significance. Many of its treasures are still unexplored but significant in understanding the richness of Bengali culture. For instance, Garh Panchakot of Purulia district, which holds immense significance in the history of this region, remains historically unexplored. Another example is Telkupi village, containing the finest and largest number of temples in one place in the Chota Nagpur circle of Bengal, unknown to many Bengalis. Moreover, the opulent tradition of handicrafts, paintings, dance, and plays in these regions remains unheard of by many scholars and the common masses. Therefore, to explore and understand the heritage of Bengal more thoroughly, we invite scholars and professionals to present their research in the seminar entitled 'Tales of Timelessness: Understanding the Heritage of West Bengal.'

Objective: 

The primary objective of this seminar is to provide a comprehensive exploration of West Bengal's heritage, shedding light on its historical, cultural, and architectural significance. Participants will gain insights into the evolution of the state's heritage and its impact on contemporary society.

 

Themes

Historical Narratives:

• Historical events, chronology of lesser-known dynasties, epigraphic, and numismatic studies.

Cultural Narrative:

• Exploring the vibrant festivals and traditions that define the cultural ethos of West Bengal.
• Analyzing the role of literature, music, and performing arts in preserving and promoting cultural heritage.

Architectural Marvels:

• Investigating the architectural heritage of West Bengal, including iconic structures, temples, and palaces.
• Discussing the fusion of indigenous and foreign architectural styles that characterize the region.

Food/Dress/Residence:

• Delving into the unique culinary traditions of West Bengal, including the world-famous Bengali cuisine.
• Understanding the historical and cultural significance of traditional dishes and culinary practices.
• Exploring diverse traditions of dresses of Bengal.
• Different styles of houses and their ornamentation.

Craftsmanship and Handicrafts:

• Showcasing the intricate craftsmanship and traditional handicrafts passed down through generations.
• Discussing the role of artisans in preserving and promoting West Bengal's artistic heritage.

Socio-economic study of different heritage sites.

Exploring the possibility and making a plan to make lesser-known Heritage sites a tourist attraction.

 

Exploring the Heritage sites of Purulia with special reference to Garh Panchakot and its surrounding areas.

 

Expected Outcomes

• Increased awareness and appreciation of West Bengal's rich heritage.
• Creation of a platform for interdisciplinary dialogue and collaboration.
• Generation of research and documentation to contribute to the preservation of West Bengal's cultural legacy.

Free accommodation may be offered at the college hostel, subject to availability. The seminar committee can also arrange accommodation at resorts (Panchet Hill) for participants on payment. No TA will be provided to the participants. 

 

Registration fees: 

For offline presentation: INR 1500/- 

For online Presentation: INR 500/-

Selected papers will be published in a special issue of PANCHAKOTesSAYS: Multidisciplinary, Refereed, International Journal, ISSN: 0976-4968.

https://journal.panchakotmv.ac.in

For any queries, please feel free to write to us at suvajit.halder@panchakotmv.ac.in.

N.B.: A guided tour of Garh Panchakot will be organised for the Participants after the Seminar.

Contact Information

For any queries, please feel free to write to us at suvajit.halder@panchakotmv.ac.in.

Contact Email

suvajit.halder@panchakotmv.ac.in

Attachments

tales-timelessness.pdf

CFP: Intersecting Ecologies: Navigating Crises, Traumas, and Movements in Asian Comparative Literature and Film _ October 10- 12, 2024,

CFP: Intersecting Ecologies: Navigating Crises, Traumas, and Movements in Asian Comparative Literature and Film

Rocky Mountain Modern Language Association 77th Annual Convention

Conference Date: October 10-12, 2024

Location: Las Vegas, Nevada

The “Intersecting Ecologies and Narratives: Navigating Crises, Traumas, and Movements in Asian Comparative Literature and Film” panel welcomes scholars to an interdisciplinary exploration at the intersection of ecological themes, migration and refugee experiences, medical humanities, and the post-COVID era within the context of Asian literature and film.

Our panel aims to engage in comparative analyses across various regions and genres within Asian literature and film, focusing on their navigation of crises and traumas, particularly those related to ecological themes. We invite contributions that dissect not only ecological crises and traumas from diverse perspectives but also complex relationships between humans and nature, cultural identities and environmental narratives, ecofeminism, and ecology's implications in the age of globalization.

We seek to foster a dialogue that connects Asian comparative literature and film with the broader fields of environmental humanities, migration and refugee studies, medical humanities, and reflections on the post-COVID world. We encourage submissions that explore the intersections of ecological crises with human health, displacement, environmental activism, and migration narratives, offering new insights into the challenges and opportunities these intersections present.

Highlighted topics for exploration include but are not limited to:

• Reflections on nature and the human condition within Asian literary traditions.
• Analyses of nature, technology, and modernity, and their implications for health and displacement in Asian contexts.
• Intersections between environmental and medical humanities focus on Asian narratives that address the health implications of degradation.
• Explorations of gender and nature within the framework of feminist ecologies in Asian contexts.
• Investigations into the portrayal of animals and anthropomorphism in Asian literature and cinema.
• Cross-cultural and interregional narratives of ecology, crisis, and movement, including Forrester (forest-based) fiction that envision alternative ecological futures.
• Discussions on the dynamics between ecology, globalization, and their impacts on health, migration, and the environment in Asian comparative literature and film.
• Insights into the post-COVID landscape through world literature and cinema, with a lens on ecological activism.

Contact Information

Submissions should consist of a 250-word abstract and a brief biography (2-3 sentences), formatted as a DOC document, to be sent to Yueming Li at yul282@ucsd.edu by March 15, 2024. The convention’s presentations will be conducted in English.

Contact Email: yul282@ucsd.edu

Call For Applications: Inlaks Shivdasani #Scholarships for Indian Students to Study in USA, UK, and European institutions in a full-time Masters, MPhil, or Doctoral programme.

ABOUT THE SCHOLARSHIP

Since 1976, Inlaks Shivdasani Scholarships have been granted to over 480 Indian students to read at top-rated USA, UK, and European institutions in a full-time Masters, MPhil, or Doctoral programme.

We award up to USD 100,000 to cover programme tuition as well as scholars’ living expenses, healthcare, and one-way airfare for the scholar.

The Foundation has joint-scholarship arrangements with Imperial College, London, the Royal College of Art (RCA), London, the University of Cambridge (Cambridge Trust), Paris, King’s College London (for PhD. Students*) and Hertie School, Berlin.

The Foundation gives scholarships in a variety of subjects but  DOES NOT  fund the following courses:Business and Finance

• Computer Science
• Engineering**
• Fashion Design
• Film and Film Animation***
• Hospitality and Tourism
• Indian Studies without Contemporary Relevance
• Management Studies (i.e. MBA)
• Medicine, Dentistry, and related therapies
• Music****
• Public Health

*Faculties of Social Sciences, Public Policy, Arts & Humanities only.

**We consider applications to pursue study in Engineering and Natural Sciences at Imperial College, London.

***We consider applications to pursue Documentary filmmaking.

****We consider applications to pursue study in Western Classical singing.

TERMS OF THE SCHOLARSHIP

The maximum funding given by the Foundation is USD 100,000.

If the total funding required to complete the proposed course of study exceeds the above amount, at the time of application candidates must show evidence that they can cover the additional costs on their own with proof of documents.

If successful, applicants are required to report any additional funding sources, to the Foundation when they are received.

Applications made to Imperial College, London, the Royal College of Art (RCA), London, the University of Cambridge (Cambridge Trust), Paris and King’s College London and Hertie School, Berlin will benefit from additional funding through the Foundation’s joint scholarships with these institutions and can exceed the USD 100,000 limit while making an application.

A candidate’s proposed course of study cannot require long duration of fieldtrips to India during the study tenure. Applications made under the King’s College London collaboration covering PHD students in Social Sciences, Public Policy, Arts & Humanities are exempted from this condition.

If the scholarship does not commence within nine months of award, it will be forfeited.

ELIGIBILITY CRITERIA

1. All Indian passport holders who are resident in India at the time of application born on or after 1st January 1994 and hold a degree from a recognised university in India.

2. Candidates who hold a good undergraduate degree from a recognised university abroad must have resided continuously, been employed, or have been studying in India for at least two years after their under-graduation are eligible to apply. If you are in the final year of graduation and awaiting results, you are eligible to apply.

3. Required minimum percentage/grade

1. For Social Sciences, Humanities, Law, Fine Arts, Architecture and related subjects, candidates must have a minimum academic grade of 65%, CGPA 6.8/10, or GPA 2.6/4 from a recognized university/institution.

2. For Mathematics, Sciences, Environment and related subjects, candidates must have a minimum academic grade of 70%, CGPA 7.2/10, or GPA 2.8/4 from a recognized university/institution.

4. It is essential to have prior admission to the institution and course chosen at the time of the application. The Foundation will not consider candidates without evidence of admission.

5. Candidates who have an English language certification as a conditional part of their offer letter need to attain that certification before applying for the scholarship.

6. Candidates who have received a deferred offer of admission must have a valid offer for the academic year 2024-25 to be eligible for the 2024 scholarships

7. Candidates having a postgraduate qualification (e.g. Master’s or PhD) from an institution abroad are not eligible to apply.

8. Candidates who are already studying or have started their postgraduate education at an institution abroad are not eligible to apply.

APPLICATION INSTRUCTIONS.

1. Please read all the instructions carefully and have all your documents and information ready.

2. The last day to submit your application is till 12:00pm (afternoon) on 22nd March 2024.

3. Please do not wait till the last day/minute to submit your application.

4. This is a one sitting online application submission. It cannot be saved.

5. Only one submission per candidate will be accepted. Incomplete applications will not be accepted.

6. When you begin to fill your application, make sure you have good internet connectivity and uninterrupted time in hand

7. On starting to fill the form, you will receive a verification code on your email address which needs to be entered in the form so keep your email open.

8. You cannot save your progress while completing the online application and you will not be able to edit the application after submission. Please do not refresh the page at any point.

9. Please take screen shots as you progress through the online application in case you face a technical error while submitting your online application, send an email with a screenshot of the error indication to: techsupport@inlaksfoundation.org

10. For any other query please write to applications@inlaksfoundation.org

11. When you click ‘Submit’ it may take some time for the application to be submitted. Please be patient and do not click any additional buttons or you may lose your work.

12. The Application form comprises 7 sections

1. Personal Information

2. Proposed Programme

3. University Education

4. Work Experience/Projects pursued

5. Statement of Purpose

6. 2 References

7. Declaration

13. Each section has varied number of fields to be filled along with documents to be uploaded

14. Fields marked with ‘*’ and drop downs are mandatory. You will not be allowed to proceed or submit the application without filling these fields

15. Please keep the following documents handy in PDF file format since you will need to upload them at various points in the application under different sections

1. Mandatory

1. Passport – (if expired, continue to upload old passport along with the receipt of application made for a new one as one PDF file document)

2. Updated Resume/Curriculum Vitae

3. Photo (JPEG or PNG)

4. Admission/offer letter. *If you have not received your admission/offer letter by 22nd March, kindly attach the acknowledgement of your application to the said University in a PDF file format. You can separately email the admission/offer letter to applications@inlaksfoundation.org latest by 12pm (afternoon) 31st March 2024 and we will attach it to your application. However, this will only be accepted if you have submitted your full application form by 22nd March and not accepted in isolation.

5. Fee Statement

6. Proof of additional funding

7. Degree certificates and marksheets

8. Course related portfolio/links/writing samples

9. Optional and/or if relevant

i. TOEFL/IELTS/GRE score sheets (if relevant to your programme)

ii. Academic distinctions, grant, scholarships, prizes etc if any

iii. Extracurricular attainments if any

16. On format of documents

1. Your photograph must be uploaded in JPG or PNG format and documents must be in PDF format.

2. Once you select your choice of subject, a relevant prompt will appear in the application for you to attach your portfolio/links/writing sample.

Please scroll down to the prompt, select and attach them

1. Applicants for Documentary film, Dance, Theatre, and Music (Western classical-vocal) must paste links to their performances

2. Applicants for Media and Journalism, English Literature must upload their writing samples in PDF file format and / or links.

3. Applicants for Architecture, Fine and Applied art, Urban planning and related subjects must upload their portfolios in PDF file format.

17. All the academic qualifications beginning from your first degree that have been completed/are in progress have to be mentioned at the time of making an application for the scholarship.

18. Eligible Percentage

1. For Social Sciences, Humanities, Law, Fine Arts, Architecture and related subjects, candidates must have a minimum academic grade of 65%, CGPA 6.8/10, or GPA 2.6/4 from a recognized university/institution.

2. For Mathematics, Sciences, Environment and related subjects, candidates must have a minimum academic grade of 70%, CGPA 7.2/10, or GPA 2.8/4 from a recognized university/institution.

19. On fees and funding (In case this information is incorrectly filled, the application will be disqualified.)

1. Applicants must indicate the tuition fees and health insurance for the entire duration of their course. For information on the health insurance amounts check with the university for the exact amounts.

2. If you are making an application to read for a PhD programme, please ensure that you mention the fees for all the years of your study.

3. With respect to the fee statement to be uploaded

1. If the tuition fees are mentioned in the offer letter, then highlight the fee and upload the letter in the fee statement section as a PDF File format document.

2. If the tuition fee is not mentioned in the offer letter, then from university website, download the tuition document and highlight the fees of the course you have admission of and upload it as a PDF file format.

4. For proof of additional funding, you may attach one or more of any of the following (as ONE PDF file format only):

1. Personal bank statements

2. Parents/Relative bank statements and/or investment with letter of authority

3. Personal investment documents (no property documents allowed)

4. Approval letter of educational loan

5. If you have already received and/or additional scholarship, please upload a proof of document from the University or scholarship organisation. If you are waiting for results then kindly let us know through email with proof by 10th April 2024 at applications@inlaksfoundation.org .

6. Living allowance is ‘auto-calculated’ as per Foundation guidelines. Travel amounts for a one-way ticket will be provided in addition to the tuition, maintenance and health insurance

7. The total support from the Foundation cannot exceed USD 100,000. The Foundation does not give any scholarships for visas, travel and health insurance in isolation.

20. On your references

1. Please inform your referees, that they will receive an email from the Foundation with a link to upload their reference letters; these links are valid for 7 days from the day of application and cannot be extended.

2. For applications made on 22nd March 2024, the referee link will be valid for seven days post submission till 29th March 2024.

3. The reference letter must be on a letterhead.

4. For students, 2 academic referees are required, for those working, one of the referees can be a professional one

5. In case the referee cannot find the email, ask them to check their spam folder

21. On submitting the application

1. Confirmation of your submitted application will be emailed to your verified email address.

2. If you encounter an error while submitting your online application, send an email with a screenshot of the error indication to:techsupport@inlaksfoundation.org

22. For any other query please write to applications@inlaksfoundation.org

SELECTION PROCEDURE

An independent, Inlaks Selection Committee is appointed to select successful applications for scholarships.

Applicants are assessed on not only their past and present achievements but also on their future potential. Candidates applying for scholarships in art and design (fine/performing arts) will be primarily assessed on their portfolios.

The selection process consists of three stages:

(1) Review of eligible applications

(2) Online preliminary interviews with candidates chosen from the review and

(3) A final in-person interview with those who succeed in the preliminary interview.

Candidates who do not receive any communication from the Foundation by 19th April 2024 must assume that their applications have not been successful.

For More Details, Please Visit: https://www.inlaksfoundation.org/scholarships/how-to-apply/