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<title>Paper Submission</title>
<link>https://pcaaca.org/forums/posts.aspx?group=250547&amp;topic=1751966</link>
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<lastBuildDate>Tue, 30 Jun 2026 10:31:33 GMT</lastBuildDate>
<pubDate>Mon, 4 Nov 2024 13:34:06 GMT</pubDate>
<copyright>Copyright &#xA9; 2024 Popular Culture Association</copyright>
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<title>Paper Submission</title>
<link>https://pcaaca.org/forums/posts.aspx?group=250547&amp;topic=1751966</link>
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<description><![CDATA[Paper proposal submissions for the 2024 PCA National Conference are now open! Gretchen and I are excited to read all of your fantastic proposals as they start to role in. Please be patient with us as we learn to navigate the new website, it may take us a little longer to respond that it has in the past. Feel free to send us an email with any questions.]]></description>
<pubDate>Sun, 10 Sep 2023 20:56:22 GMT</pubDate>
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<link>https://pcaaca.org/forums/posts.aspx?group=250547&amp;topic=1799445</link>
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<description><![CDATA[Hi Sam! here is my abstract, I could not find a place to submit it, but if I just missed it, please tell me how to get there!!!]]></description>
<pubDate>Mon, 4 Nov 2024 14:32:15 GMT</pubDate>
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<link>https://pcaaca.org/forums/posts.aspx?group=250547&amp;topic=1799446</link>
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<description><![CDATA[PCA/ 2025Representations of the Shōjo: Between Identity and DifferenceFrenchy Lunning Abstract“Technologies of visuality played a crucial role in the conceptual articulation of the figure of the doppelgänger,” states Baryon Tensor Posadas, in his compelling book, Double Visions, Double Fictions: The Doppelgänger in Japanese Film and Literature, and hence lays out a case for the study of visuality, particularly in the study of the doppelgänger and the double – not quite the same thing, yet each informing and orbiting the other as documents which inform this study. As part of my research on the subjectivity of the Japanese shōjo, the images of the double and the doppelgänger intertwine and mirror each other as they appear continually as shōjo images in magazines, illustrations, advertisements, photography, manga, anime, and film – themselves  mechanisms of doubling, from the late 19th century to the present. Using these myriad images as informing objects, which as Posadas suggests, “are perceived to be indexical images that threaten to replace the subjects they capture,” yet as immediate doubles – then later, performing as doppelgängers themselves, they trouble the notion of identity of the shōjo subject largely assumed to be stable, yet once the magnifying glass is produced, she is revealed to be profoundly unstable and troubling, particularly in the first half of the 20th century in Japan. Going with Posadas and then beyond him to reframe the analysis of this peculiar doubling option, chosen at that moment by both the female subjects and the mostly male artists alike, is quest of this essay.]]></description>
<pubDate>Mon, 4 Nov 2024 14:34:06 GMT</pubDate>
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