Author Archive

Call For Chapters: The X-Men Films: A Cultural Analysis

July 16, 2014

Call for Chapter Proposals on the X-Men Films

We would like to invite submissions of chapter proposals for an edited
book on the X-Men film franchise. The volume, to be published by
Rowman & Littlefield, is titled “The X-Men Films: A Cultural Analysis”
and seeks to present scholarly research on the movies, their
audiences, and their place within the entertainment industry. The
overarching framework is cultural studies and media studies, yet the
approach is interdisciplinary, so we welcome submissions that involve
related disciplines.

The book focuses specifically on the X-Men movies (not the comics) as
popular culture products of international relevance. While the films
are rooted in the original Marvel series, they depart from it in
various ways, constituting their own conceptual universe. Therefore,
chapter proposals may consider the X-Men’s transformation from comics
to movies, but should not deal primarily with the comic books.

Proposals may focus on any of the X-Men’s movie characters, on themes
that run across several films, or on particular installments of the
series—including the original trilogy that started in the year 2000,
the recent prequels, and the ‘Wolverine’ offshoots. Since the
franchise continues to expand (two more movies are already slated for
release in upcoming years) we are looking for research that is
relevant and timely. In particular, proposals may address textual
aspects of the X-Men films, consider them in relationship to social
and political issues, compare them to other superhero movie series, or
provide an understanding of their audiences. Proposals that deal with
topics of importance for international/intercultural communication are

The following is a preliminary list of topics of interest:
- Social issues reflected in the X-Men films
- Political subtexts found in the X-Men films
- Individual characters’ analysis (Wolverine, Prof X, Magneto, Mystique…)
- Representations of gender, race, class, age, and sexual orientation
- Issues of diversity, disability, inclusiveness, and marginalization
- Issues of otherness, identity, trauma, and belonging
- Portrayals of violence and war in the X-Men films
- Historical references (e.g. the Holocaust, the Vietnam War)
- Representations of power, politics, and the government
- Moral dilemmas, personal choices, and issues of social responsibility
- Portrayals of science, technology and change
- The X-Men’s transformation from comics to movies
- Industry aspects of the film franchise
- The X-Men in relationship to other Marvel superhero films (e.g. Avengers)
- Marvel’s X-Men versus DC-based series (e.g. Batman, Justice League)
- Original research on audiences and fans
- International/intercultural perspectives on the X-Men
- Beyond the X-Men: related themes in popular culture

Please send a 600-word abstract of your proposed chapter to, along with a short bio and contact
information. The deadline for proposals is September 27, 2014.

The chapter selection will seek to represent a variety of analytical
perspectives, disciplinary frameworks, and thematic clusters. The full
chapters will be 5,500 – 6,000 words long and the manuscripts will be
due in January 2015, with further revisions due in May 2015.

If you have questions, please contact Claudia Bucciferro, assistant
professor of communication studies at Gonzaga University, at or (509) 313-3635.

CFP: Harry Potter on the Page and on the Screen: Adaptation/Reception/Transformation

July 13, 2014

Harry Potter on the Page and on the Screen: Adaptation/Reception/Transformation

The eight film versions of the seven Harry Potter novels represent an unprecedented cultural event in the history of cinematic adaptation. The movie version of the first Harry Potter book, Harry Potter and the Philosopher’s/Sorcerer’s Stone, premiered in 2001, in between publication of the fourth and fifth books of this global literary phenomenon. As a result, the production and reception of both novel and movie series became intertwined with one another, creating multiple combination of fans who accessed the series first through the books, first through the movies, and in various other combinations. The decision to cast three young age appropriate actors who would mature along with their fictional counterparts further represents a cross-pollination of the interpretive process, as readers began experiencing the newly emerging novels in terms of the visual imagination of their screen experiences.

Harry Potter on the Page and on the Screen: Adaptation/Reception/Transformation is an essay collection that proposes to explore the cultural, political, aesthetic, and pedagogical implications of the adaptation of this generation-defining young adult narrative in order to expand our scholarly understanding of this far-reaching international literary and cinematic event, consider what we can learn about the process of cinematic adaptation of literary sources, and facilitate the classroom exploration of the Harry Potter series.

Some questions that might be considered:

· How does the overlapping adaptation history of the Harry Potter series affect theoretical questions of fidelity, interpretation, and transformation in film adaptation studies?

· In what ways do the novel and movie series represent the same or different narrative universes?

· How does the dual experience of the novel and movies affect the reception process of Harry Potter fans?

· How do the different media versions of the Harry Potter series impact representations of gender, race, ethnicity, and sexuality?

· How was the dual development of the novel and film series affected by the concurrent development of Web 2.0 and interactive fan culture?

· How has the larger political and social context, particularly 9/11 and the wars of the 21st century, shaped the adaption and reception experience of Harry Potter?

· How have fan communities responded to issues of fidelity and interpretation within the film series? How have fan communities influenced the production process of the movie adaptations?

· How do specific examples of individual novel/movie adaptations represent different issues and developments related to the development of the dual media Harry Potter series?

Interested contributors may email inquiries or one page abstracts by 15 August 2014 to:

John Alberti
Department of English
Northern Kentucky University
Highland Heights KY 41099

Andy Miller
Department of English
Northern Kentucky University
Highland Heights KY 41099

CFP: The Scandinavian Invasion: Perspectives on the Nordic Noir Phenomenon

July 9, 2014

The Scandinavian Invasion: Perspectives on the Nordic Noir Phenomenon
Edited by William Proctor

The crime genre has a long-established history in the Scandinavian countries: from the ten-part series of novels by Sjöwall and Wahlöö featuring Inspector Martin Beck to Henning Mankell’s critique of Swedish society through the lens of the Kurt Wallander novels. Since the publication of Stieg Larsson’s The Millennium Trilogy in 2005 featuring anti-heroine, Lisbeth Salander, we have seen the birth of a global phenomenon that has spread across multiple media windows including literature, film and, most notably perhaps, television. Authors such as Jo Nesbo (The Snowman), Lars Kepler (The Hypnotist), Lotte and Søren Hammer (The Hanging) and more besides, regularly feature in book store charts and on internet shopping sites. In the UK, BBC Four continue to champion the genre by airing The Killing, Borgen, and more recently, The Bridge alongside other series, such as Mammon and Arne Dahl. How can we begin to account for the popularity of the so-called Nordic Noir genre in the UK and beyond? How has this impacted other texts outside of the Scandinavian Peninsula? What can audiences and fan cultures teach us about this phenomenon? More simply, why Nordic Noir and why now?The term itself, Nordic Noir, has also grown beyond its initial ambit to encompass multiple genres rather than restricted to crime or the police procedural. Arrow Films releases Scandinavian drama on the Nordic Noir label which includes crime, but also, other genres, such as history (Anno 1790), for instance. In this way, the genre has expanded in significant ways as a ‘cultural category’ that is discursively constructed rather than confined to a limited and finite designation. Following Jason Mittell, the Nordic Noir genre ‘operates in an ongoing historical process of category formation genres are constantly in flux, and thus their analyses must be historically situated’ (2004: xiv). This collection aims to offer a varied range of perspectives on the Nordic Noir phenomenon and invites scholars to submit abstracts of 300 – 500 words. I am particularly interested in audiences and fan cultures, but other avenues of exploration may include (but not limited to):

· Genre analysis.
· History
· Society and Culture.
· Literature, Cinema, Television.
· Non-Crime texts (such as Akta Manniskor or Anno 1790 and so forth).
· Reception and Audiences.
· Gender.
· Sexuality.
· Representation.
· Influence and impact in other cultures.
· The new wave of literature.
· Industry.
· Branding.

All proposals will be considered within the remit of Nordic Noir and its impact. Deadlines for abstracts: October 1st 2014. This will form part of the proposal to Edinburgh University Press who have expressed an interest in the project. Abstracts to be forwarded to: Please send any queries, ideas etc to the same.

Call for Submissions: Edited collection on the CW television series Arrow

July 2, 2014

Call for Submissions: Edited collection on the CW television series Arrow

Editors: Jim Iaccino, Cory Barker, and Myc Wiatrowski

In just two years on the air, the CW’s Arrow has garnered both fan and critical acclaim for its ambitious storytelling, well-produced action sequences, and solid performances. Arrow’s stories and characters offer opportunities for discussions of justice and vigilantism, masculinity, dual identities, and aesthetics. Furthermore, the series has thrived in adapting DC Comics stories and characters to television, but also in translating the spirit and stylistic flourishes of comics to the televisual medium. Arrow therefore also raises important questions about media franchising, adaptation, medium specificity, and industry trends. As a young series, very little has been written about Arrow in academic circles. This collection of essays seeks to provide the opening large-scale investigation into the CW series and examine Arrow from multiple perspectives and disciplines.

Potential topics for discussion include, but are not limited to:

Representations of masculinity, femininity, race, sexuality, class, and family within Arrow
Explorations of justice, violence, the greater good, and morality within Arrow
Examinations of secret (and dual) identities, teamwork, and secret keeping within Arrow
Deceptions of a “realistic” superhero story and the slow introduction of more fantastical elements within Arrow
Arrow’s narrative techniques, including the preponderance of flashbacks and serialization
Arrow’s fight choreography and action set pieces
Chapters discussing individual episodes or story arcs within Arrow
Chapters discussing particular character arcs or relationships (Oliver-Felicity, Oliver-Slade, Thea-Roy, etc.) within Arrow
Arrow as an adaptation of the pre-existing Green Arrow stories and its employment of characters and arcs from the larger DC Comics universe
Evolution of the Arrow figure from the Smallville series to the current show
Arrow as part of the recent push for superhero series on television (including comparisons between Arrow and Marvel’s Agents of S.H.I.E.L.D., Arrow and The Flash)
Critical reception to Arrow
Arrow themes in popular culture
Fan readings, productions, and activities related to and about Arrow
This collection is under contract with McFarland, so all that remains is securing the contributions in a timely fashion for a planned text publication in late 2015-early 2016.

The deadline for proposals of 500 words is August 31, 2014. Please email your abstract and a brief bio to Please put “Arrow Abstract” in the subject line. If an abstract is selected for the collection, full essays of 5,000-7,000 words will be due by December 1, 2014.

Call for Chapters: A Netflix Reader: Critical Essays on Streaming Media, Digital Delivery, and Instant Access

July 2, 2014

Call for Chapters: A Netflix Reader: Critical Essays on Streaming Media, Digital Delivery, and Instant Access, an edited collection on the cultural impact of Netflix, currently under contract with McFarland.

Areas of analysis: American Studies, Business Studies, Communication, Cultural History, Cultural Studies, Fan Studies, Film and Television Studies, Folklore, Gender Studies, Internet Studies, Media Studies, New Media, Political Policy Studies, Popular Culture Studies, Technology Studies, Telecommunication.

Editors: Cory Barker and Myc Wiatrowski, Indiana University
The editors of Popular Culture in the Twenty-First Century (2013, Cambridge Scholars Publishing) and Mapping Smallville: Critical Essays on the Series and Its Characters (2014, McFarland).

When Reed Hastings and Marc Randolph launched Netflix in 1997, they could not have predicted that their company would eventually be the catalyst for a number of shifts in media production, distribution, and consumption. What began as a way to subvert egregious late fees charged by video store chains like Blockbuster has grown into a digital distribution behemoth. Netflix and its approximately 31 million subscribers are now responsible for more than a third of all downstream Internet traffic in North America. Netflix’s practices have directly affected distribution models for film and television, changing not only what we watch, but also how and when we watch it. The popularity and ubiquity of its service has had a dramatic impact on technological developments, necessitating new, Netflix-ready devices and platforms. Recently, Netflix has been at the center of public policy debates, particularly those regarding net neutrality. Yet, despite these very real and noticeable impressions on American culture, very little has been written about Netflix in critical and academic circles. This collection of essays seeks to rectify this academic blind spot and examine Netflix from multiple perspectives and disciplines.

Potential topics for discussion include, but are not limited to:

• Netflix’s impact on the broadcast television paradigm
• The role of Netflix in debates on net neutrality
• How Netflix has altered or highlights patterns of media consumption in individuals and groups (including binge watching)
• Netflix’s influence on technological developments
• How Netflix’s success has created market competition (Amazon Prime, Hulu+, etc.)
• Explorations of Netflix’s business failures (e.g. Qwickster)
• Explorations of Netflix’s expansion into international markets
• Analyses of Netflix original programming
• Fan responses to Netflix programming and/or campaigns to relaunch failed network programs

The deadline for proposals of 500 words is August 29, 2014. Please email your abstract and a short biography or CV as Word docs to The subject line should contain the writ-er’s surname followed by “Netflix Abstract” (e.g. Wiatrowski Netflix Abstract).

For selected abstracts, full essays of 6,000-9,000 words (inclusive of citations and endnotes) will be due December 19, 2014.

Transformative Works and Cultures journal- new issue published – special issue on materiality and object-oriented Fandom

June 16, 2014

Dear all,

Transformative Works and Cultures has published a new issue, edited by Bob Rehak and focusing on materiality and object-oriented fandom. Please see below for the issue link and table of contents.

Vol 16 (2014)
Table of Contents

Materiality and object-oriented fandom
Bob Rehak

From Dalek half balls to Daft Punk helmets: Mimetic fandom and the crafting
of replicas
Matt Hills

Exhibiting fandom: A museological perspective
Dorus Hoebink, Stijn Reijnders, Abby Waysdorf

It’s not all about the music: Online fan communities and collecting Hard
Rock Café pins
Lincoln Geraghty

Peril-sensitive sunglasses, superheroes in miniature, and pink polka-dot
boxers: Artifact and collectible video game feelies, play, and the
paratextual gaming experience
Ian M. Peters

A pragmatics of things: Materiality and constraint in fan practices
Benjamin Woo

The invisible teenager: Comic book materiality and the amateur films of Don
Matt Yockey

The heterogeneity of maid cafés: Exploring object-oriented fandom in
Luke Sharp

Cosplaying the media mix: Examining Japan’s media environment, its static
forms, and its influence on cosplay
Matthew Ogonoski

The butcher, the baker, the lightsaber maker
Forrest Phillips

Written on the body: Experiencing affect and identity in my fannish tattoos
Bethan Jones

Fitting Glee in your mailbox
. wordplay

Interview with Mark Racop
Matt Yockey

Beyond souvenirs: Making fannish items by hand
Dana Sterling Bode

Interview with Kandy Fong
Francesca Coppa

Cult collectors: Nostalgia, fandom and collecting popular culture, by
Lincoln Geraghty
Michael S. Duffy

Anime’s media mix: Franchising toys and characters in Japan, by Marc
Brandeise Monk-Payton

Send in the clones: A cultural study of the tribute band, by Georgina
Sun-ha Hong

CFP: TRANSITIONS 5 – New Directions in Comics Studies, October 25th 2014, Birkbeck, University of London

May 27, 2014

Call for Papers:
TRANSITIONS 5 – New Directions in Comics Studies

Saturday October 25th 2014 at Birkbeck, University of London

Keynote: Dr Jason Dittmer (UCL, Captain America & the Nationalist Superhero)
Respondent: Dr Roger Sabin, Central Saint Martins, Comics, Comix & Graphic Novels)

We are pleased to announce the call for papers for the forthcoming 5th Transitions symposium, promoting new research and multi-disciplinary academic study of comics/ comix/ manga/ bandes dessinée and other forms of sequential art. By deliberately not appointing a set theme, we hope to put together a programme reflecting the diversity of comics studies. We welcome abstracts for twenty minute papers as well as proposals for panels.

Possible topics include, but are not limited to:

text-oriented approaches – studies of key creators – historical and contemporary studies of production and circulation of comics – readerships and fan cultures – critical reception – formats, platforms and contexts – the (im)materiality of comics – archival concerns – formalist/narratological approaches – comics and aesthetics – adaptation, convergence and remediation – international iterations and transnational comics – children’s comics – political comics – comics and cultural theory – ideological/discursive critiques – web comics – graphic medicine – non-fiction comics – comics as historiography – comics practice and theory– cultural histories/geographies…

Abstracts for twenty minute papers should be no more than 250 – 300 words. Proposals for papers and panels should be sent as Word documents, with a short biography appended, and submitted by the 30th of July 2014 to Hallvard, Tony and Nina at

Transitions is supported by Comica, The Centre for Contemporary Literature (Birkbeck), and the Contemporary Fiction Seminar.

CFP: Manga Futures: Institutional and Fannish Approaches in Japan and Beyond, University of Wollongong, 31 October – 2 November 2014

May 27, 2014

Call for Papers

“Manga Futures: Institutional and Fannish Approaches in Japan and Beyond”

Manga Studies is now emerging as an important field of scholarship and
criticism within Japanese Studies and Cultural Studies, but its
methodologies and theoretical foundations are still being developed in
relation to both existing academic disciplines and everyday practices.
This conference approaches “manga culture” in the broadest
sense.Speakers address the interrelations between aspects of
production, distribution and consumption inside and outside of Japan.
Perspectives adopted include institutionally established
industry-insiders,fandom-based creators and critics, and academics
with social-science and humanities-oriented backgrounds. Manga has
given rise to a new participatory culture which reaches far beyond
graphic narratives. Today’s students are not simply consumers of
manga. They live in a convergent media environment where they occupy
multiple roles as fans, students and “produsers” (producers + users)
of Japanese cultural content. Many students are engaged in
“scanlation” and “fansubbing” sites as well as the production and
dissemination of dōjin (fan-produced) work. These practices contribute
to manga’s global appeal, influence and ease of access, but also raise
ethical and legal issues, not least infringement of copyright. In
addition to invited speakers who include manga researchers and
creators from Japan, Japanese Studies experts, language teachers and
other stakeholders, the organizers welcome critical contributions
which reflect on how the study of manga should develop as a scholarly
field to support young people’s enthusiasm and ensure the prosperity
of manga culture now and into the future.

Paper proposals are invited on the following themes:

• Fan appropriations of and contributions to manga culture in Japan and beyond
• Commonalities and differences in fandom-based creation and criticism
between Japan and other countries
• Ethical and legal challenges in the production and consumption of
manga (copyright, representations of violent and sexual content,
potential fictional “child abuse” images etc.)
• Institutional support for or criticism of manga culture
• The use of manga in Japan studies and Japan language pedagogy
• The future of “manga studies” – theory and methods

Please note that the above issues may be also addressed via
discussions of manga-related media such as anime and video games.

Due date for proposals: 13 July 2014
Notification of acceptance: August 2014
Deadline for registration: 3 October 2014

You may submit your abstracts by using our submission form.

Stay tuned for updates by subscribing to our mailing list or following
us in social media.

Reminder: CFP The Fan Studies Network 2014 Conference

May 26, 2014

Dear all,
we just wanted to offer a little reminder that abstracts for the Fan Studies Network conference 2014 are due in at the end of this week (by Sunday 1st June)!

You can read the CFP here:

The video of last year’s event is here:

We hope to see you there!

CFP: Otherness and Transgression in Celebrity and Fan Cultures, Aarhus University, Denmark, 21-22 November 2014

May 8, 2014

Otherness and Transgression in Celebrity and Fan Cultures
Hosted by the Cultural Transformations Research Group, Aarhus University.
November 21-22, 2014

Keynote speaker:
Matt Hills, Aberystwyth University –
“Fans as Celebrities, Celebrities as Fans: The Rise of an Affective Economy?”

The notions of otherness and transgression play an essential part in the cultural work and practices celebrities and fandoms perform inasmuch as these concepts are inseparable from the celebrity and fan cultural processes of social in/exclusion, identification and dissociation, uniformity and diversification,
and forces both drawing and disrupting demarcations between normalcy and deviance. To the extent that these processes are actively shaped by and partake in shaping our desires, contempt, ways of thinking and being, otherness and transgression constitute pertinent sites for critical exploration within
the two overlapping fields of research, Fan and Celebrity Studies.
A complex and multivalent term, otherness is conventionally signaled by markers of “difference” and the unknown. As difference remains a condition for any determinate sense of identity, otherness is also inevitably implicit and complicit in considerations of subjectivity, identity, and sameness rendering it a pivotal aspect in discussions on both their constitution and impossibility. Likewise, in the field of Fan and Celebrity culture – where categories such as class, gender, race, sexuality, and age dynamically intersect and interact in manifold ways – the identity work, social meanings, and cultural preferences informing both these cultures’ production and consumption of cultural and media texts are also
constantly negotiated. Reflexive of the values, biases, and tensions of the social body, they are useful indicators of contemporary configurations and devices for othering; for example, the ways in which the discourses of immorality, pathology, monstrosity, impropriety, and cultism, among others, inform the construction of difference, and function as vehicles for othering that additionally cut diagonally across various imbricating “-isms,” such as racism, heterosexism, ageism, ableism, and lookism.
As difference often implies the perception of deviance, otherness is accompanied by the constant impending threat of transgression, to undo and redraw the differentiating limits determining the
provisional identities of entities, behaviors, and bodies. While transgression refers to a violation and exceeding of bounds, it also ambiguously realizes and completes these boundaries as it helps define them and reaffirms a given social order by designating the illicit. This dialectic of the de/stabilizing
effects of transgression summons further inquiry in relation to fandoms and celebrity cultures, in which deviance is an attractive commercial component. Construed as particularly excessive, both celebrity personas and subcultural fan practices are defined by their distance from the norm, but where celebrity
culture concerns the consumption of transgressive content and narratives of extraordinary personalities, in the case of fan culture, consumption itself is purportedly transgressive. Celebrities are conventionally conceptualized as power-saturated signs seductively reinforcing cultural norms – either
through glossy portraits of charismatic individuals advertizing luxurious lifestyles and the censure of celebrities in the scandal genre respectively – and fandoms, conversely, as subversively contesting these norms through the fetishistic appropriation of cultural icons, media products, and playful textual poaching. However, hardly homogenous, both celebrity power and fandoms channel a multitude of contradictory and inconsistent ideological inflections, and entail a complex mesh of conformity and heterogeneity, which informs, for example, the social interaction among fans and their interpretive communities, whose internal fractions struggle over affect and meaning, as well as the pervasive circulation and currency of certain im/proper celebrity images and fan identities. Accordingly, the need to study, explain, and analyze the semiotic labor invested in the celebrity sign and by the fan in a given media product respectively only becomes greater.
In light of today’s new socio-political subjectivities, prosumer and participatory culture, new technologies and distributive modes, expanding networks, and means of communication enabling transcultural proximity between individuals from different parts of the world, new encounters, expressions, and understandings have emerged and with it, transformed nuances of othering, saming, and transgression. As a result, Fan and Celebrity cultures, are in need of a reappraisal in which the new
fickle and permeable boundaries between identities, cultural practices, private and public spheres, products and consumers, celebrity and fan bodies, intimacy and estrangement are investigated.
Refracting otherness and transgression from overlapping prisms, the pleasures, representations, productions, and affects of celebrity and fan cultures opens up a fruitful and invigorating space for further research.
It is this variety of formulations which this conference wishes to convene on from divergent disciplinary
and theoretical perspectives. The Cultural Transformations Research Group at Aarhus University
therefore invites submissions exploring celebrity and fan cultures within the scope of the critical spaces
and contexts offered by otherness and transgression.

The Intersection of Celebrity and Fan Studies
Sex, Gender, Sexual Differing, and Queering the Fan / Celebrity Body
Cross-Over Celebrities; Ethnicity, Hybridity, and Fandom in Transcultural Contexts
Celebrity Representations of Dis/ability and through Fan Works
The Intersectionalities of Social Categories in Celebrity and Fan Cultures
Notoriety, Infamy, Scandal, Deviance, and Excess
Social Media and the Construction of Celebrity as Other
The Construction of Otherness in Fandom and Fan Works
Monstrosity, the Abject, and Uncanny in Fan Fiction, Fandoms, and Celebrityhood
Pathology, Addiction, Cultism, Confession, and Therapy
Mashing and Vidding: Viral and Violating
Authenticity, Secrecy, Intimacy, and Publicity
Post-feminist Celebrity Narratives and Cultural Forms
Power, Prosumerism, and Participatory Culture
New Modes of Self-Other Relations within Para-social Contexts
Fan and/or Celebrity Shaming
The (Im)Material Other Worlds of Fandoms and the Alternative Spaces of Fan Communities

We are pleased to announce that qualified research papers are considered for prospective publication in
a special issue of the peer-reviewed journal Otherness: Essays and Studies, Submitted articles will follow the standard review process of the

The conference is open to scholars and students of all disciplines. Those wishing to participate in the
conference are invited to submit an abstract of no more than 300 words to the organizers at by Friday, August 22, 2014. The convenors will have reviewed the
abstracts and notified the authors of whether their proposals have been accepted no later than
September 12, 2014. Papers may be given in English with citations in any language, and are limited to
20 minutes.
All questions regarding conference content (abstracts, presentations, speakers etc.) may be directed to
the organizers at

Matthias Stephan, Ph.D. scholar Claus Toft-Nielsen, Ph.D.
Lise Dilling-Hansen, Ph.D. scholar Susan Yi Sencindiver, Ph.D.


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