Dear all,

I am writing to share a call for abstracts for an upcoming special issue of the Journal of Sound and Music in Games, focusing on the sound and music of Supergiant Games’ 2020 video game, Hades:

https://www.sssmg.org/wp/tag/jsmg/

Call for Papers:

Affective Politics and the Policing of the Social Through Popular Music (deadline to submit abstracts, 15th of December)

Special Issue of the Journal of Extreme Anthropology, https://journals.uio.no/JEA

The ‘affective turn’ across the humanities and the social sciences suggests that we pay attention to how affects create subjectivities, build communities and shape new forms of politics in the making (White 2017, Desai-Stephens & Reisnour 2020, Gregg & Seigworth 2010 and Clough & Halley 2007, Goodwin et. al. 2001). In other words, it encourages us to study how affective bodies ‘act and are acted upon’ (Seigworth and Gregg 2010: 1) as people engage with each other and with sensory objects (e.g. musical sounds), politically and socially, within specific contexts. These insights have implications for our understanding of politics, of the social, as well as how we understand social control and the ‘policing’ of the social. Instead of excluding objects from the social and privileging theories modelled on structure and agency (e.g. Giddens 1984, Bourdieu 1984), scholars are now redefining agency as relational (Barad 2003, 2007; Latour 2007, 2013). This has led to new research on how sensory objects, such as sounds and music, shape subjectivities, build communities and instigate politics through affect, within and across, contexts (Bøhler 2017, 2021; Shank 2014; Guilbault 2019; Schiermer 2021a, 2021b; Muniagurria 2018; Duque and Muniagurria 2022; Stover 2017, 2017).

Asia Pacific Business Review Special Issue:

The Globalization of Postcolonial Pop Music: Putting the Success of the K-pop Industries into Theoretical Perspectives

Guest Editors:

Professor Jangwoo Lee, School of Business Administration, Kyungpook National University & Success Economy Institute, Korea

Professor Paul Lopes, Dept. of Sociology, Colgate University, USA

Professor Chris Rowley, Kellogg College, Oxford University & Bayes Business School, City, University of London, UK

Professor Ingyu Oh, Faculty of Foreign Studies, Kansai Gaidai University, Japan

Professor Lynn Pyun, Graduate School of International Studies, Ewha Womans University, Seoul, Korea

Over the last two decades. the South Korean music market has grown into the seventh largest in the world, while its boy band BTS was ranked number one in 2021 as the most popular and best-selling global artist by IFPI (International Federation of the Phonographic Industry). All these factsare simply confounding to many pundits of the industry as no postcolonial music market has achieved global breakthroughs as such other than South Korea. Only three countries in Asia are listed on the top 10 global music markets: Japan (2^nd), China (6^th) and South Korea (7^th). Among these, South Korea is the only postcolonial country that became independent from Japan after the Second World War.