Writing a Conference Abstract
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Writing an Abstract for a Conference Paper
1) Ensure that your ideas are well thought out and follow a logical, coherent flow:
2) Ensure that the abstract relates to the conference theme (for the Rushton this can be anything related to language, literature, or culture):
3) Ensure that practical aspects of the abstract comply with requirements:
4) Limit amount of references cited in abstract:
5) Look at past abstracts/conference papers to pick up the tone and style of that particular organization’s conferences.
6) Have someone read your abstract: such as a professor, colleague, or friend.
7) Submit on or before the due date and in the required way:
Ensure you include your name, title, organization and contact details, including phone, fax, street address and email.
8) Finally, remember that your abstract serves two purposes:
Example: 1. Lynda Kelly, Head, Australian Museum Audience Research Centre, 1 February, 2002. See Writing An Abstract. Minor modifications made by Anne Duggan.
The following abstract is from a professional academic conference. It and others are posted on the Kentucky Foreign Language Conference site.
Image and Narrative Voice in Les Enfants Terribles and Journal d’un curé de campagne
Two of the most original French films of 1950, Melville’s Les Enfants Terribles and Bresson’s Journal d’un curé de campagne were adaptations of widely read novels. Although very different, each film bears the trace of its novelistic source in the form of voice-over narration. This paper will examine the use of narrative voice in these two films.
Long considered suspect in a medium that is supposed to relate stories primarily with images, voice-over narration has gained acceptance by recent film scholars. However, the venerable distinction between word and image remains virtually unquestioned. Drawing on the work of André Bazin and Mikhail Bakhtin, this paper will argue that narrative voice cannot, in fact, be separated from the images created by these two films. This paper will examine the image-making use of voice-over narration in each film. Through analysis of both spoken discourse and visual text, it will show how voice-over narration is used to create the image of the author in Les Enfants Terribles, while in Journal d’un curé de campagne narration is used create the image of the writer. Together these two films offer an interesting, and ironic, means to explore the distinction, articulated by Bakhtin, between the sacerdotal author and the writer, who attempts to make meaning that is not foreordained.
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