Thursday, February 9, 2017

CFP Ray Bradbury And Horror Fiction, Special Issue of The New Ray Bradbury Review (5/1/2017)

Ray Bradbury And Horror Fiction: The New Ray Bradbury Review special issue

Event: 03/21/2019
Abstract: 05/01/2017

Location: Indianapolis, IN, USA
Organization: Center for Ray Bradbury Studies

Ray Bradbury and Horror Fiction

The problem of genre is especially complicated when it comes to Ray Bradbury. The author of The Martian Chronicles, Dandelion Wine, The Halloween Tree, Something Wicked This Way Comes, The Illustrated Man, Fahrenheit 451, and innumerable poems, comic books, short stories, radio, TV, and movie scripts alchemically combined elements as diverse as rockets and hauntings, uncanny phenomena and freak shows, the Cthulhu mythos and common serial killers. The New Ray Bradbury Review seeks essays for a special issue dedicated to Ray Bradbury’s unique brand of horror fiction.

Bradbury began his writing career with a homemade pulp, Futuria Fantasia, modeled on Farnsworth Wright’s Weird Tales. Many of his early stories were based on Poe, including “The Pendulum” (1939) and “Carnival of Madness” (1950, revised as “Usher II” in The Martian Chronicles). Poe also is at the center of “The Mad Wizards of Mars” (1949, best known as “The Exiles” in The Illustrated Man, 1951), a story that is also populated by many of the horror and dark fantasy writers of the last two hundred years. Lovecraft’s influence is traceable as well: “Luana the Living” (a fanzine piece from 1940) and “The Watchers” (1945), a tale that centers on a Lovecraftian horror of unseen forces bent on destroying anyone who discovers their presence beneath the surface of everyday life. Concurrently, Bradbury explored aspects of the American Gothic (see, for example, his carnie tales in Dark Carnival [1947], The Illustrated Man [1951], and The October Country [1955]). His later career saw a return to gothic fantasy elements, now playfully blended with other genres in such novels as Death is a Lonely Business (1985) and A Graveyard for Lunatics (1990). Some of his early gothic fantasy was revisited in his late career with the novelized story-cycle From the Dust Returned (2001).

The New Ray Bradbury Review, produced since 2008 by the Center for Ray Bradbury Studies at Indiana University and published by Kent State University Press, seeks articles on topics including (but not limited to):

• Bradbury and the pulps
• Bradbury and the American Gothic (including circus and freak show stories)
• Bradbury and mythology
• Bradbury and the problem of genre (ways literary historians have catalogued or miscatalogued his work)
• Bradbury’s literary reputation (and similar problems faced by writers as diverse as Carson McCullers and Stephen King)
• Bradbury and the Lovecraft Circle, including Robert Bloch, August Derleth, and Frank Belknap Long
• Bradbury and the Southern California circle, including Richard Matheson, Charles Beaumont, William F. Nolan, George Clayton Johnson
• Bradbury and related short story writers, such as Roald Dahl, Nigel Kneale, Theodore Sturgeon, Fritz Leiber, Harlan Ellison, Neil Gaiman
• Unproduced works or adaptations, for example Bloch’s Merry-Go-Round for MGM (based on Ray Bradbury's story "Black Ferris”)
• The Halloween Tree (novel, screenplay, and/or animated adaption), Something Wicked This Way Comes (novel, stage play, and/or Disney film), The October Country or the collection Bloch and Bradbury: Whispers from Beyond
• Bradbury and literary agent/comic book editor Julius Schwartz
• Bradbury’s stories for the radio programs such as Dimension X and Suspense, TV series such as The Alfred Hitchcock Hour, or horror tales adapted for EC Comics or other outlets
• Bradbury’s own adaptations for the TV series The Ray Bradbury Theater.
• The art of the animated Halloween Tree and later films such as The Nightmare Before Christmas

Proposals of up to 500 words should be submitted by May 1, 2017, to guest editor Jeffrey Kahan ( Authors of selected abstracts will be notified by July 1, 2017. Full drafts (5,000 to 7,000 words) will be due by December 1, 2017. The issue is provisionally scheduled for spring 2019.

Contact Email:

CFP Special Gothic Edition of the Journal of New Zealand Literature (2/3/2017)

An intriguing idea:

Special Gothic Edition of the Journal of New Zealand Literature

Event: 07/17/2017
Abstract: 02/03/2017
Location: New Zealand
Organization: Journal of New Zealand Literature

The Journal of New Zealand LIterature i(JNZL) is the only international, peer-reviewed journal devoted to New Zealand literary studies. In 2017, JNZL will publish a special edition devoted to Gothic and it welcomes the submission of papers (4000-5000 words) on any aspect of the Gothic as it relates to New Zealand literature.

Topics can include, but are not limited to:

  • Haunting and spectrality
  • Domestic Gothic
  • Rural Gothic
  • Monsters and the monstrous
  • The Uncanny
  • Memory and Trauma
  • Gothic intertextualities
  • Genre and the Gothic
  • Regionalities and geographies
  • Postcolonial Gothic
  • Maori Gothic

The deadline for expressions of interest is 3 February 2017. These should include an abstract of the proposed paper (250 words) and a short bio (100 words).

Completed papers are due 17 July 2017.

Please email expressions of interest and completed papers to the guest edition Dr Erin Mercer at:

For more information please email Erin Mercer or visit the JNZL website:

Contact Email:

CFP At the Mercy of Monsters: Essays on the Rise of Supernatural Procedural Dramas Collection (3/18/2017)

An intriguing idea; I wish them luck with the collection:

At the Mercy of Monsters: Essays on the Rise of Supernatural Procedural Dramas

Event: 03/18/2017
Abstract: 03/18/2017

Editors Szanter and Richards seek original essays for an edited collection on Supernatural Procedural Dramas on television. While the crime procedural still remains one of the most recognizable genres on television, post-millennial incarnations of the genre often include considerations of the supernatural in tandem with crime solving and justice. Long running shows, such as The X-Files, as well as newer iterations of this phenomena, like Lucifer, present crime solving as an action best done by, or in cooperation with, supernatural beings. This collection aims to explore how this new, evolution of the crime drama reflects potential dismay about the nature of the criminal justice system and/or its on screen interpretations.

Chapters in the proposed collection can focus on one or more of the following categories:

• Explorations of why the criminal procedural genre needed (wanted?) to incorporate supernatural elements? The traditional criminal procedural can clearly stand on its own, so why modify it in this way now? How does supernaturalism impact the crime genre’s conventions?
• Analyze how particular shows incorporate or discuss “isms.” We welcome chapters tackling how specific supernatural crime dramas deal with Feminism, Marxism, Queer studies, and Masculinity studies, among others. Of particular interest to the editors are non-binary gender and sexuality, feminism, race, “passing,” and non-traditional/deconstructed families or relationships
• Do a theoretical analysis on any of the following TV shows: Lucifer, iZombie, Sleepy Hollow, Grimm, Fringe, The X-Files, Twin Peaks, Medium, Warehouse 13, Tru Calling, Forever, The Dresden Files, New Amsterdam, The Gates, Pushing Daisies, Forever Knight, and Special Unit 2.
• Modern monster theory as an important element of pop cultural study and relevance in an era of growing interest in popular depictions of law enforcement and the criminal justice system.
• How have shows like Lucifer and Grimm evolved out of shows like Buffy the Vampire Slayer, Supernatural, Torchwood, and Angel? While not specifically coded as criminal procedurals, these older series combine practices of detection and justice with conceptions of the supernatural as a given in their story worlds.
• How do shows like Sherlock, True Lies, Eureka, and Psych play with the line between supernaturalism and criminal justice? Though not inherently supernatural in nature, these shows present a new interpretation of the criminal procedural as dependent on or modified by a particular individual’s “powers” or talents? How do these shows walk this line without truly being supernatural?
• Attempts to address how superhero narratives fit into this will also be considered. How do shows like Jessica Jones, Luke Cage, or Daredevil fit into this burgeoning supernatural crime drama genre? While often showcasing vigilante justice over and above law enforcement, how do superhero shows present characters who work around the system with their individual “powers”?
• Why do some series, like Sleepy Hollow or Grimm, retain long term public interest whereas other series, such as Moonlight, Forever, New Amsterdam, get canceled after one season? What is the difference in staying power?
• Examinations of the place/function of romance in supernatural crime dramas. Relationships often crop up between supernatural characters and humans. Are these relationships more/less present in supernatural crime than in traditional crime procedurals?
• How is this burgeoning new supernatural procedural genre perhaps just an extension of the Gothic? Does this simply resurrect Gothic tendencies towards supernaturalism and detection? Discuss patterns of detection or Gothic elements in these shows/series. Does the supernatural procedural drama continue in that same tradition?

Abstract Due Dates
Preference will be given to abstracts received before March 18, 2017. Abstracts should be no longer than 350 words and be accompanied by a current CV.
Contact us and send abstracts to Ashley and Jessica at or visit our website at

Contact Email:

CFP Found Footage Magazine - Call for Papers Issue #4 (6/1/2017)

Of potential interest:

Found Footage Magazine - Call for Papers Issue #4

Event: 06/01/2017
Abstract: 06/01/2017

Location: SPAIN
Organization: Found Footage Magazine

Found Footage Magazine is a printed film studies journal. It offers theoretical, analytical and informative content that hinges on the practice of found footage filmmaking including all its eclectic manifestations: recycled cinema, essay film, appropriation cinema, collage film, and compilation film…

Thus, FFM provides an unique forum for the critical thinking, study and dissemination of those practices that part from the re-use of extant images as a methodological strategy addressed to the composition of a new audio-visual discourse.


For more information please visit:

Contact Email:

CFP Comics and Monsters—Monsters and Comics (expired)

Sorry to have missed posting this sooner:

Comics and Monsters—Monsters and Comics (CSSC May 11-12, Toronto)

Event: 05/11/2017 - 05/12/2017
Abstract: 01/03/2017

Location: Toronto, Canada
Organization: Canadian Society for the Study of Comics

Comics and Monsters—Monsters and Comics
Canadian Society for the Study of Comics (May 11-12, Toronto)

This proposed panel explores the relationship between the monstrous (whether fantastic, gothic, or science fiction) and comics. With the formation of the Comics Code Authority in 1954, the “monstrous” has stood at the centre of aesthetic, historical, critical, and cultural debates around comics and graphic novels. Such efforts to regulate and ban a bestiary of the most fantastic and gothic monsters highlight the complex relationship between content and form that infuses the visual and textual dynamics of the monstrous in comics. Papers may focus on past or present treatments of the monstrous, including specific creatures and monsters, specific artists, or specific comic series.

Send a 200-word abstract and 50-word bio by 3 January 2017 to Chris Koenig-Woodyard, The panel will be proposed for the Canadian Society for the Study of Comics conference, 11-12 May 2017, Toronto (hosted in collaboration with the Toronto Comic Arts Festival (

Contact Email:

CFP Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay (1/31/17

Sounds like a great idea; sorry for the late post:

The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies
Event: 10/31/2017
Abstract: 01/31/2017

Location: Uk & Sweden
Organization: Staffordshire University & University of Gothenburg

The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies

deadline for submissions:
October 31, 2017
full name / name of organization:
steve webley / Staffordshire University UK & Peter Zackariasson/ University of Gothenburg
contact email:

The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies

The Playful Undead and Video Games

Critical Analyses of Zombies and Gameplay - abstract due date 31/Jan/2017

please see link below for further details

The zombie has had a glorious evolutionary journey. From its humble beginnings in early cinema, where it was portrayed as a somnambulistic Haitian drone, it has evolved into a diseased cadaverous cannibal that has managed to infect all forms of contemporary media and take centre stage in popular culture. The turbulent decade of the 1960s saw the Haitian zombie reinvented and radically politicized by the independent filmmaker George A. Romero. Over the following decade the zombie became a key component in politicizing the horror genre itself. Once considered as puerile teenage entertainment, horror was to become a serious tool for social commentary. With the growth of consumerism and later Cold War narratives the zombie became an ideological entity in its own right, animating the horror genre as a mythic form of social critique, and creating the ideologically charged post-apocalyptic survival space onto which audiences projected their desires, fantasies, and fears.

Since the early 2000s and the beginnings of the war on terror the zombie has continued to evolve and grow in popularity. Its presence can today be observed across the mediascape, from literature and graphic novels, to film and television series, to art and music, to video games. In fact, it is hard to avoid a video game that somehow includes a zombie. They dominate all gaming markets from app store based mobile and casual games, through indie titles and fan-made mods, to AAA productions. The zombie has become a video game enemy par excellence, appearing in such dedicated franchises as Resident Evil or in hugely popular downloadable content and add-ons to games such as ‘Nazi Zombies mode’ for Call of Duty. Moreover, even games that are not overtly of the zombie apocalypse canon contain both antagonists and protagonists that can effectively be labelled Undead. Titles as diverse as World of Warcraft or the Fallout franchise utilize the zombie and its undead tropes to create deep and meaningful characters and interactive experiences for players to indulge their fantasies.

Building on the cultural fascination with zombies this book will offer different ways to understand the roles of zombies in video games: Johan Huizinga (1938) posited that ‘… All play means something…!’ So we ask what can a focus on play and interactivity bring to the growing corpus of work developed on zombies in film and other media? Why the fascination? What practices have evolved? How and why are zombie based games designed and developed? What are the consequences? What does it mean to participate in an interactive zombie apocalypse? What does it mean to play with, or as, the undead?

This call for chapters will consider contributions from a wide set of academic disciplines, for example: economics, cultural theory, sociological studies, social psychology, psychology, politics, business, design, arts, history, philosophy, literature, and film. Today the study of zombies as a topic within many of these disciplines has become popular, resulting in articles, chapters and books. This book will build on the existing interest that is dispersed into different outputs, exploring this phenomenon in a multidisciplinary Routledge Advances in Game Studies publication.


Please submit one page abstract (500-600 words), plus references. In this abstract it is important that you 1) highlight your focus on zombies and video games, 2) draw out your theoretical framework you plan to apply, and 3) state possible contribution made in the chapter. In addition to the abstract we ask you to submit a short bio, including key publications and academic discipline/school. Expected length of final chapter, 5000-6000 words.

Time plan 2017

January 31 – Deadline abstract

April 30 – Deadline chapter, first draft

May – Workshop (planned for Staffordshire or Gothenburg)

August 30 – Deadline chapter, second draft

October 31 – Deadline, final chapter


Stephen J. Webley, Staffordshire University,

Peter Zackariasson, University of Gothenburg,

please see link below

Contact Email:

CFP Literature and the Sea Collection (3/1/17)

Note interest in "sea monsters":

CFP: Literature and the Sea (Edited Collection)
Event: 03/01/2017
Abstract: 03/01/2017

Location: Troy, AL
Organization: Troy University

Call for Papers

Literature and the Sea: Maritime Literary Currents

Abstracts are invited for a proposed collection of essays on literature and the sea, broadly defined. Proposed papers may focus on the literature of any country and any literary period, but please keep in mind that the language for the volume will be English. Cambridge Scholars Publishing has already expressed interest in publishing this collection.

Topics might include (but are not limited to) the following:

• Literature of or about the sea
• Metaphorical seas
• Mexico and the sea
• Mythology and the sea
• Sublimity and the sea
• Transatlantic/transpacific confluences
• Oceania and island culture
• Caribbean authors and the sea
• International trade
• Environmental literature and the sea
• Politics
• Aquatic life and literature
• Seascapes in literature
• Recreation and the sea
• Tourism
• Ships and shipping
• Navigation
• Maps
• War and other conflict
• Visual art
• Travel writing
Sea monsters
• Shipwrecks and survival
• Piracy
• Storms
• Atlantis
• Utopias/dystopias
• Fantasy and the sea

The editors will choose contributions based on submitted abstracts, which we will then send to the publisher as part of a book proposal. Full-length essays of 5000 to 7000 words will be due a few months thereafter, at which point we will begin the editing phase of the project.

For consideration, please send a 500-word abstract and one-page CV to by 1 March 2017. All submissions will receive responses, so if you do not hear from us within a few days of submission, please check with us to make sure we received your material.

Editors ------------------
Ben P. Robertson
Katona D. Weddle
Ekaterina V. Kobeleva
Shannon Thompson

Contact Email:

CFP Found Footage Horror Films Collection (3/1/17)

Essays on Found Footage Horror Films
Event: 09/20/2017
Abstract: 03/01/2017

From the earliest example of mockumentary horror filmmaking with Cannibal Holocaust, found footage has become a trope du jour in the horror film genre. FF films are found in a variety of mediums: feature length films, shorts, and web series. According to the site, the sub genre's narrative structure can be identified into four categories:

First person perspective (a.k.a. point of view) style – filmed/recorded from the perspective of the main character who is experiencing the event while holding the camera

Mockumentary (a.k.a. pseudo-documentary style) – filmed/recorded in the form of interviews and investigative reporting of the event

News Footage style – Footage from a professional news crew investigating the event

Surveillance Footage style – Footage from a stationary camera automatically filming/recording the event

In considering a film “found footage”, the source of the footage must be established to the audience. Other aspects of the subgenre include small cast sizes, limited locations and unknown casting.

Since The Blair Witch Project which used low-budget filming techniques and mass marketing ploys to raise hype of its release, the sub genre had an enormous output of product, the majority created by amateur filmmakers looking to recreate the Blair Witch success. Independent filmmakers and distributors have released effective FF films that use horror and Found Footage tropes in smart ways ([REC], TrollHunter, Creep). The recent sequel of The Blair Witch Project has been noted by critics for its use of improving on a sub genre which was said to be exhaustive, building on the conversation about found footage film as a growing art form. It is noteworthy that the rise of dependence on technology in America has lead to a new self-awareness in the sub genre with films such as Diary of the Dead and Unfriended.

Despite the influx of Found Footage films into the horror circuit and across mediums such as film, youTube, and exclusively on streaming sites, very little has been written about this specific type of horror filmmaking. This proposed edited book focuses on and explicitly includes a variety of perspectives of context of Found Footage Horror Films from The Blair Witch Project to the Present day. The essays in this collection will seek to survey the past 17 years and the way the subgenre has transformed perspectives on horror films and 21st century culture.

This call for chapters will consider contributions from a wide set of academic disciplines with a focus on film studies, for example: cultural theory, sociological studies, social psychology, psychology, politics, arts, history, philosophy, literature, and film.

McFarland Publishing is interested in publishing the collection.


Please submit one page abstract (500-600 words).

In this abstract it is important that you 1) highlight your focus on found footage and horror films, noting its impact on various fields of research, culture, and technique 2) draw out your theoretical framework you plan to apply, and 3) state possible contribution made in the chapter.

In addition to the abstract we ask you to submit a short bio. Expected length of final chapter, 5000-6000 words.

Time plan 2017

March 1 – Deadline abstract

March 30-Notification of Accepted/Rejected Abstract

June 1st – Deadline chapter, first draft

August 15– Deadline chapter, second draft

September 20 – Deadline, final chapter

Contact Email:

Thursday, January 12, 2017

CFP Spaces and Places of Horror (4/15/2017)

The Spaces and Places of Horror

Announcement published by Francesco Pascuzzi on Wednesday, January 11, 2017
Type: Call for Publications
Date: January 1, 2017 to April 15, 2017
Subject Fields: Cultural History / Studies, Film and Film History, Humanities, Area Studies, Graduate Studies


I am seeking essays in English to include in a volume tentatively entitled "The Spaces and Places of Horror," to be published by Vernon Press. I will serve as the editor of the volume.

This volume aims to explore the complex, layered horizon of landscapes in horror film culture to unpack the use that the horror genre makes of settings, locations, spaces, and places, be they physical, imagined, or altogether imaginary. Different theoretical frameworks are welcome, and relevant comparative studies among American, European, and/or non-Western cinema are strongly  encouraged.

Please send 500-word abstracts to Francesco Pascuzzi ( by April 15, 2017. Notification of acceptance should be expected by late April.


Francesco Pascuzzi
Ramapo College
Contact Info:

Francesco Pascuzzi
Contact Email:

Thursday, January 5, 2017

Frankenstein and the Fantastic Blog

The Fantastic (Fantasy, Horror, and Science Fiction) Area is pleased to announce the launch of its new outreach effort, Frankenstein and the Fantastic. The new blog can be accessed at

I will eventually be migrating the Frankenstein related links from this site to the new one. 

Michael Torregrossa
Area Chair

Wednesday, November 16, 2016

Reading List: Vampires and Zombies: Transcultural Migrations and Transnational Interpretations

Monsters Studies now at UP of Mississippi:

Vampires and Zombies: Transcultural Migrations and Transnational Interpretations

Edited by Dorothea Fischer-Hornung and Monika Mueller

240 pages (approx.), 6 x 9 inches, introduction, 9 b&w illustrations, bibliography, index

9781496804747 Printed casebinding $65.00S

Essays that hunt down what happens when the undead go global

Contributions by Katarzyna Ancuta, Daniella Borgia, Timothy R. Fox, Richard J. Hand, Ewan Kirkland, Sabine Metzger, Timothy M. Robinson, Carmen Serrano, Rasmus R. Simonsen, and Johannes Weber

The undead are very much alive in contemporary entertainment and lore. Indeed, vampires and zombies have garnered attention in print media, cinema, and on television. The vampire, with roots in medieval European folklore, and the zombie, with origins in Afro-Caribbean mythology, have both undergone significant transformations in global culture, proliferating as deviant representatives of the zeitgeist.

As this volume demonstrates, distribution of vampires and zombies across time and space has revealed these undead figures to carry multiple meanings. Of all monsters, vampires and zombies seem to be the most trendy--the most regularly incarnate of the undead and the monsters most frequently represented in the media and pop culture. Moreover, both figures have experienced radical reinterpretations. If in the past vampires were evil, blood-sucking exploiters and zombies were brainless victims, they now have metamorphosed into kinder and gentler blood-sucking vampires and crueler, more relentless, flesh-eating zombies. Although the portrayals of both vampires and zombies can be traced back to specific regions and predate mass media, the introduction of mass distribution through film and game technologies has significantly modified their depiction over time and in new environments. Among other topics, contributors discuss zombies in Thai films, vampire novels of Mexico, and undead avatars in horror videogames. This volume--with scholars from different national and cultural backgrounds--explores the transformations that the vampire and zombie figures undergo when they travel globally and through various media and cultures.

Contents (from WorldCat)

The Smiling Dead; Or, On The Empirical Impossibility Of Thai Zombies / Katarzyna Ancuta --
"She Loves The Blood Of The Young" The Bloodthirsty Female as Cultural Mediator in Lafcadio Hearn's "The Story of Chugoro" / Sabine Metzger --
Octavia Butler's Vampiric Vision Fledgling as a Transnational Neo-Slave Narrative / Timothy M. Robinson --

Appetite For Disruption The Cinematic Zombie and Queer Theory / Rasmus R. Simonsen --
Vampiros Mexicanos Nonnormative Sexualities in Contemporary Vampire Novels of Mexico / Danielle Borgia --
Hybridity Sucks European Vampirism Encounters Haitian Voodoo in The White Witch of Rosehall / Monika Mueller --

Revamping Dracula On The Mexican Silver Screen Fernando Mendez's El vampiro / Carmen Serrano --
The Reanimation Of Yellow-Peril Anxieties In Max Brooks's World War Z / Timothy R. Fox --

"Doctor! I'm Losing Blood!" "Nonsense! Your Blood Is Right Here" The Vampirism of Carl Theodor Dreyer's Film Vampyr / Johannes Weber --
Disruptive Corpses Tales of the Living Dead in Horror Comics of the 1950s and Beyond / Richard J. Hand --
Undead Avatars The Zombie in Horror Video Games / Ewan Kirkland.

Dorothea Fischer-Hornung, Heidelberg, Germany, is senior lecturer (retired) in the English Department and the Heidelberg Center for American Studies, Heidelberg University. She is the editor of Aesthetic Practices and Politics in Media, Music, and Art: Performing Migration and founding coeditor of the interdisciplinary journal Atlantic Studies Global Currents. Monika Mueller, Bochum, Germany, is senior lecturer of American literature and culture at the University of Bochum, Germany. She is the author of George Eliot U.S.: Transatlantic Literary and Cultural Perspectives.

240 pages (approx.), 6 x 9 inches, introduction, 9 b&w illustrations, bibliography, index

Reading List: Monstrous Progeny

Another Frankenstein book released this summer:

Monstrous Progeny: A History of the Frankenstein Narratives

By Lester D. Friedman, Allison B. Kavey

256 pages, 37 photographs, 6 x 9

Paper,August 1, 2016$27.95

Cloth,August 1, 2016$90.00

PDF,August 1, 2016$27.95

EPUB,August 1, 2016$27.95

About This Book
Mary Shelley’s 1818 novel Frankenstein is its own type of monster mythos that will not die, a corpus whose parts keep getting harvested to animate new artistic creations. What makes this tale so adaptable and so resilient that, nearly 200 years later, it remains vitally relevant in a culture radically different from the one that spawned its birth?
Monstrous Progeny takes readers on a fascinating exploration of the Frankenstein family tree, tracing the literary and intellectual roots of Shelley’s novel from the sixteenth century and analyzing the evolution of the book’s figures and themes into modern productions that range from children’s cartoons to pornography. Along the way, media scholar Lester D. Friedman and historian Allison B. Kavey examine the adaptation and evolution of Victor Frankenstein and his monster across different genres and in different eras. In doing so, they demonstrate how Shelley’s tale and its characters continue to provide crucial reference points for current debates about bioethics, artificial intelligence, cyborg lifeforms, and the limits of scientific progress. 
Blending an extensive historical overview with a detailed analysis of key texts, the authors reveal how the Frankenstein legacy arose from a series of fluid intellectual contexts and continues to pulsate through an extraordinary body of media products. Both thought-provoking and entertaining, Monstrous Progeny offers a lively look at an undying and significant cultural phenomenon.
Table of Contents
Introduction: Singing the Body Electric
1         In a Country of Eternal Light: Frankenstein’s Intellectual History
2         The Instruments of Life: Frankenstein’s Medical History
3         A More Horrid Contrast: From the Page to the Stage
4         It’s Still Alive: The Universal and Hammer Movie Cycles
5         The House of Frankenstein: Mary Shelley’s Step Children
6         Fifty Ways to Leave Your Monster
           Select Bibliography

Reading List: Cambridge Companion to Frankenstein

I was pretty excited to discover this book over the summer. It looks like an invaluable resource. 

The Cambridge Companion to Frankenstein

Part of Cambridge Companions to Literature
Editor: Andrew Smith

Date Published: August 2016
format: Paperback (Also available in hardcover and as an ebook)
isbn: 9781107450608
length: 288 pages
dimensions: 227 x 151 x 15
contains: 10 b/w illus.

The Cambridge Companion to Frankenstein consists of sixteen original essays on Mary Shelley's novel by leading scholars, providing an invaluable introduction to Frankenstein and its various critical contexts. Theoretically informed but accessibly written, this volume relates Frankenstein to various social, literary, scientific and historical contexts, and outlines how critical theories such as ecocriticism, posthumanism, and queer theory generate new and important discussion in illuminating ways. The volume also explores the cultural afterlife of the novel including its adaptations in various media such as drama, film, television, graphic novels, and literature aimed at children and young adults. Written by an international team of leading experts, the essays provide new insights into the novel and the various critical approaches which can be applied to it. The volume is an essential guide to students and academics who are interested in Frankenstein and who wish to know more about its complex literary history.
  • Provides a comprehensive and accessible overview of the novel using a number of different approaches by leading scholars
  • Explores themes and theories such as gender and identity, the environment, politics and science of the time
  • Looks at Frankenstein in popular culture today including adaptations on stage, television, the graphic novel and in children's literature

Table of Contents

Introduction Andrew Smith

Part I. Historical and Literary Contexts:
1. Frankenstein: its composition and publication Charles E. Robinson
2. Contextualising sources Lisa Vargo
3. Romantic contexts Jerrold E. Hogle
4. The context of the novel Catherine Lanone
5. Scientific contexts Andrew Smith
6. Frankenstein's politics Adriana Craciun

Part II. Theories and Forms:
7. The female Gothic Angela Wright
8. What is queer about Frankenstein? George E. Haggerty
9. Race and Frankenstein Patrick Brantlinger
10. Frankenstein and ecocriticism Timothy Morton
11. The posthuman Andy Mousley

Part III. Adaptations:
12. Dramatic adaptations of Frankenstein Diane Long Hoeveler
13. Frankenstein and film Mark Jancovich
14. Literature David Punter
15. Frankenstein in comics and graphic novels Christopher Murray
16. Growing up Frankenstein: adaptations for young readers Karen Coats and Farran Norris Sands

EditorAndrew Smith, University of Sheffield
Andrew Smith is Reader in Nineteenth-Century English Literature at the University of Sheffield. His 18 books include the forthcoming Gothic Death 1740–1914: A Literary History, The Ghost Story 1840–1920: A Cultural History (2010), Gothic Literature (2007, revised edition 2013), Victorian Demons (2004) and Gothic Radicalism (2000). He edits, with Benjamin Fisher, the award-winning series Gothic Literary Studies and Gothic Authors: Critical Revisions. He also edits, with William Hughes, The Edinburgh Companions to the Gothic series. He is a past President of the International Gothic Association.

Wednesday, August 17, 2016

Reading List: Magic in Medieval Manuscripts

Sophie Page’s Magic in Medieval Manuscripts is part of a series celebrating the art of illuminated manuscripts held by the British Library, and it offers an interesting look at magical belief and practices in the Middle Ages. The opening chapter focuses on magicians in medieval literature, but the remainder of the book is grounded in reality, exploring how real magicians were believed to employ their craft. 

Details from the publisher as follows:

Magic in Medieval Manuscripts

By Sophie Page
University of Toronto Press, Scholarly Publishing Division © 2004
World Rights
65 Pages

ISBN 9780802037978
Published Sep 2004

Magic existed in diverse forms in the Middle Ages, from simple charms to complex and subversive demonic magic. Its negative characteristics were defined by theologians who sought to isolate undesirable rituals and beliefs, but there were also many who believed that the condemned texts and practices were valuable and compatible with orthodox piety.

Magic in Medieval Manuscripts explores the place of magic in the medieval world and the contradictory responses it evoked, through an exploration of images and texts in British Library manuscripts. These range from representations of the magician, wise-woman and witch, to charms against lightning, wax images for inciting love, and diagrams to find treasure. Most elaborate of all the magical practices are rituals for communicating with and commanding spirits. Whether expressions of piety, ambition, or daring, these rituals reveal a medieval fascination with the points of contact between this world and the celestial and infernal realms.

Sophie Page is a lecturer in the Department of History at University College London.

Friday, August 12, 2016

CFP Preternature (no deadline)

CfP: Preternature: Critical and Historical Studies on the Preternatural

The journal “Preternature: Critical and Historical Studies on the Preternatural” is currently seeking original submissions. Preternature is indexed by both JSTOR and Project MUSE.

Preternature provides an interdisciplinary, inclusive forum for the study of topics that stand in the liminal space between the known world and the inexplicable. The journal embraces a broad and dynamic definition of the preternatural that encompasses the weird and uncanny—magic, witchcraft, spiritualism, occultism, esotericism, demonology, monstrophy, and more, recognizing that the areas of magic, religion, and science are fluid and that their intersections should continue to be explored, contextualized, and challenged.

A rigorously peer-reviewed journal, Preternature welcomes submissions of original research in English from any academic discipline and theoretical approach relating to the role and significance of the preternatural. The journal publishes scholarly articles, notes, and reviews covering all time periods and cultures. Additionally, Preternature is pleased to consider original editions or translations of relevant texts from contemporary or ancient languages that have not yet appeared in scholarly edition or been made available in English.

Contributions should be roughly 8,000–12,000 words (with the possibility of longer submissions in exceptional cases), including all documentation and critical apparatus. If accepted for publication, manuscripts will be required to adhere to the Chicago Manual of Style, 16th edition (style 1, employing footnotes).

To submit a manuscript to the editorial office, please visit
and create an author profile. The online system will guide you through the steps to upload your article for submission to the editorial office.

Inquiries may be directed to the Editor, Debbie Felton, at:

CFP Conference on Mermaids, Maritime Folklore, and Modernity (3/31/17; Copenhagen 10/24-27/2017)

Sounds like a great idea for a conference:

CfP: Conference on Mermaids, Maritime Folklore, and Modernity

Conference on Mermaids, Maritime Folklore, and Modernity
24-27 October 2017, Copenhagen, Denmark

This interdisciplinary conference addresses the prominence of the mermaid and related creatures from folklore, myth, legend, and the imagination in 19th, 20th, and 21st-Century culture.

The past decades have seen an explosion of mermaid imagery in western and, increasingly, global popular culture. This is particularly evident in cinema, television, literature, and various web-based forms but is also widely diffused in music, design, performance, cosplay, and other activities. Simultaneously, mermen, selkies, sirens, and newer figures such as caecelia and merlions have been subject to representation and discussion in a range of contexts. From Hans Christian Andersen’s story ‘The Little Mermaid’ (Den lille Havfrue) to Jennifer Donnely’s WaterFire Saga, from Curtis Harrington’s Night Tide to Stephen Chow’s The Mermaid (美人鱼), from Edvard Eriksen’s iconic ‘The Little Mermaid’ statue to Banksy’s Dismaland distortion, from the mermaid show at Weeki Wachi Springs to the digital mermaids at Macau’s City of Dreams, mermaids have served as figures of romance, horror, comedy, mystery, lust, and adventure across countless media and cultural practices.

Cultural globalisation has furthermore drawn a wide range of non-western creatures and deities into the sphere of mermaid associations. Representations of aquatic spirits from around the world – Thailand’s Suvannamaccha, West Africa’s Mami Wata, Indonesia’s Nyai Loro Kidul, Russia’s rusalka, Brazil’s Iara, and many more – are increasingly influencing and being influenced by western mermaid culture. This is a continuation of a process that has occurred in the West itself, as figures from Mesopotamia and Classical antiquity influenced Medieval and Early Modern Western European perceptions and interpretations of real and imagined encounters with aquatic beings.

How to make a presentation.

Papers and panels are invited on all aspects of mermaids and related entities in 19th, 20th, and 21st-Century culture. Presentations will address such issues as:

  • Representations in popular culture
  • Representations in fine art contexts
  • Aficionado cultures and/or cosplay
  • Contemporary folk belief
  • Cultural Theory and interpretation
  • Sexualities and identification
  • Roles as objects of horror, comedy, sex, etc.
  • International comparisons
  • Official symbols and symbolism

The deadline for abstracts is 31 March 2017, but to ensure that you have the opportunity to take part in the conference and have the time to seek funding from your institution, we recommend that you submit your abstract early.

Artists working in various media are also invited to approach the organizers about presenting their work at the conference.

Keynote speaker.
The conference keynote speech will be given by Philip Hayward, whose new book Making a Splash! Mermaids (and Mermen) in 20th and 21st Century Audiovisual Media (JLP/University of Indiana Press) will be launched at the conference.

About the conference.
On 24-25 October, delegates will explore Copenhagen, visiting mermaid-related sites and engaging in the local culture. Besides seeing Edvard Eriksen’s 1913 statue of ‘The Little Mermaid’, which has become a national symbol of Denmark, the conference group will visit numerous other works of merfolk art and engage with Copenhagen’s vibrant culture. On the evening of 18 October, delegates will visit the enchanting Tivoli Gardens amusement park. Conference presentations will take place on 26-27 October at VerdensKulturCentret.

We will be putting together an edited book or journal special issue as a result of this conference. More information will be available in early summer 2017.

CfP Critical Essays on American Horror Story (expired)

Another expired post (sorry, though it wasn't live for long).

CfP: Critical Essays on American Horror Story

Critical Essays on American Horror Story

A call for proposed chapters for an edited book on American Horror Story ‘ (2011-) has been released. Taken from the original CFA, the details are as follows:

‘American Horror Story is an anthology horror series created by Ryan Murphy and Brad Falchuk. The series comprises five seasons—Murder House, Asylum, Coven, Freak Show, and Hotel—each self-contained, featuring a different storyline, characters, setting, and time period. The series, which has garnered acclaim from critics and from its devoted audience, has been lauded for how it blends (and bends) elements of the horror genre with true events in American history, as well as for its exceptional recurring cast. AHS has also received praise—and some criticism—for how it tackles sensitive topics like sexuality and race. The series is campy, graphic, and excessive; it revels in being transgressive.

We invite proposals for scholarly essays on any topic pertaining to any season of the show (or a combination of seasons) for an edited collection that will interrogate the intricacies of this subversive series.

Topics for essays could include, but are not limited to:
  • representations of race, gender, and/or sexuality
  • depictions of monsters/monstrosity
  • the grotesque
  • the gothic/Southern Gothic
  • generic conventions of horror
  • intertextuality
  • connections between seasons
  • revision/reimagining of American history
  • AHS’s place in American pop culture
  • audience reception
  • environment
  • space/place
  • philosophy

Please send proposals of 250-500 words to Cameron Williams ( and Leverett Butts ( by June 30, 2016. Completed manuscript drafts should be 5000-8000 words and will be due in early 2017′.

CfP Growing Up with the Undead (expired)

Meant to post this earlier in the year:

CfP: Growing Up with the Undead: Vampires in the 20th- and 21st-Century Literature, Films and Television for Young Children

Call for Papers
May 31, 2016
Subject Fields:
Childhood and Education, Popular Culture Studies, Literature, Film and Film History, Cultural History / Studies
Since Bram Stoker’s seminal vampire novel, Dracula, published in 1897, the figure of the vampire has been a persistent presence in Western popular culture. Though largely the remit of adult audiences since the 1970s, the vampire has become increasingly present in narratives (books/films/television) for younger children. In fact, in the 21st century, one might even venture to say it is a staple of the genre. During this time the meaning of the vampire itself has drastically changed from a symbol of otherness and potential danger to one that accepts difference and offers agency to all young readers. This shift within young children’s narratives is largely a reflection of the changing positioning of the undead within adult and young adult narratives that have seen an increasing romanticization of the vampire, which constructs it as both inspirational and aspirational within, or indeed outside of, an increasingly consumerist and globalized world. This volume will examine the continuing presence of vampires within children’s literary and visual narratives in relation to contemporaneous representations in popular narratives and the social environment that creates them.

Abstracts/proposals are invited for chapters that look at narratives featuring vampire characters, as either main protagonist or incidental role, in books, film, television, comics, toys, games, etc. aimed at children of 12 years old or younger (not YA). Chapters can be either an overview of a particular medium or focus on a few titles that example certain themes or topics.

Possible subjects include but are not limited to:
  • Child vampires, male/female vampires, animal vampires, non-human vampires
  • Scary vampires, stranger danger, warnings against non-normative behaviour
  • Queer vampires, individual identity positions, role models
  • Historical precedents from folk/fairy tales or classic children’s literature
  • Franchises that cover many media that feature vampires, Monster High, Mona the Vampire, Disney (characters such as Maleficent/Ursula etc)
  • Vampires in games, Lego, activity books, pop-up books etc
  • Vampires in children’s advertising/products such as Count Chocula, Oreo adverts, Kinder adverts etc.
  • Children’s vampires in relation to their YA and adult contemporaries
  • Any of the above in relation to gender, sexualities, minorities, ethnicity, class etc.
  • Non-bloodsucking vampires: veggie vamps and those that drink washing liquid, or energy etc.
  • Vampires that are not vampires, i.e. Scooby Doo, Araminta Spook etc.

Abstract of no more than 350 words with “Growing up with the Vampire” in the subject line,  should arrive by 31st May, 2016.
Final manuscripts of 5,000-8,000 will be expected by 28th August, 2016, manuscripts to be formatted MLA-style with a separate works cited page section, for publication by Universitas Press in Montreal ( by the end of 2016/start 2017.
Abstracts and enquiries should be sent to Simon Bacon at:

CfP Studies in Horror and the Gothic: A Special Issue of Palgrave Communications (9/1/2016)

CfP: ‘Studies in Horror and the Gothic’: A Special Issue of Palgrave Communications

‘Studies in Horror and the Gothic’: A Special Issue of Palgrave Communications. Proposals/Sept 2016, Final Articles/Nov 2016

full name / name of organization:
Palgrave Communications
contact email:

Deadline for article proposals: September 1, 2016
Final deadline for full submissions: November 1, 2016

Palgrave Communications, an open access journal, is inviting submissions and article proposals for a special issue/thematic collection dedicated to ‘Studies in Horror and the Gothic’. The collection is Guest Edited by Dr John Edgar Browning (Georgia Institute of Technology, USA).

‘Studies in Horror and the Gothic’ is by necessity of its pervasive, aesthetic nature a broad and all-encapsulating thematic collection, one that will engage the study of horror and the Gothic through literature, film, television, new media, and electronic gaming. We are here interested in the dark, the forbidden, the secret. But fundamentally all our submissions should ask, and strive to address (or redress) on their own terms, what is “horror” and what is the “Gothic,” employing in the process individual or multiple methods of theoretical inquiry and myriad disciplinary or interdisciplinary approaches from across the humanities, social sciences, and beyond.

This thematic collection concerns itself with the business of exhuming, from the dark recesses of human experience, any number of cultural products from any historical moment or geography that might prove useful in uncovering some of horror’s and the Gothic’s more fascinating junctures and deeper meanings. Submissions should be scholarly but remain accessible to the advanced student or knowledgeable general reader interested in the subject.

Contributions on the following themes are especially encouraged:
  • Theories of horror and monstrosity
  • Horror, the Gothic, and pedagogy
  • National Gothic(s) and horrors;
  • Female Gothic/horror histories
  • Specialised themes in horror and the Gothic (law, sexuality, disability, etc)
  • Ethnographic approaches to horror and the Gothic
  • Horror by the decade
  • Lost Gothics
  • Post-millennial horrors and Gothic(s).

Collection Advisory Board: Jeffrey Andrew Weinstock (Central Michigan University, USA), Carol Margaret Davison (University of Windsor, Canada), Harry M. Benshoff (University of North Texas, USA), Dylan Trigg (University of Memphis, USA and University College Dublin, Ireland), Maisha L Wester (Indiana University, USA), and Jesse Stommel (University of Mary Washington, USA).
Authors who are interested in submitting a paper should, in the first instance, send a short abstract-length proposal to the Managing Editor ( outlining the scope of their paper and its novelty; any general enquiries can also be directed to this address.

For more information on the journal’s open access policy and any relevant fees (APCs) or waivers, please see the following:

CFP Special Issue on American Monsters (grad; 10/23/2016)

CfP: Graduate Journal aspeers, “American Monsters”

Graduate Journal aspeers Calls for Papers on “American Monsters”

October 23, 2016

Subject Fields:
American History / Studies, Cultural History / Studies, Popular Culture Studies, Literature, Graduate Studies

“The monster notoriously appears at times of crisis,” Jeffrey Jerome Cohen states in his Monster Theory. At first glance, Cohen’s assertion conveniently seems to fit the headlines by various venues–liberal and conservative–that all express a presumed crisis of the US Republican Party by referring to their 2016 presidential nominee as a “monster.” However, Cohen has a different kind of crisis, and different kinds of monsters, in mind, and a broader analytical trajectory to follow: For him, American culture as such can be read “from the monsters [it] engenders.”

Understood as a spectacular anomaly, a cultural shorthand that points at deeper turmoils, American culture has its fair share of monsters indeed. Whether we think of race, a social problem declared ‘dead’ by the post-race discourse, as a zombie roaming the land as deadly as ever, or whether we think of Barbara Creed’s seminal work on the perception and portrayal of femininity as ‘monstrous,’ categories of difference tend to express themselves with recourse to the figure of the monster and the logic of monstrosity. In fact, as Michael Rogin points out, monsters are “a continuing feature of American politics.” As such they are worthy of critical attention.

For its tenth issue, aspeers thus dedicates its topical section to “American Monsters” and invites European graduate students to critically and analytically explore American literature, (popular) culture, society, history, and politics through the monsters they beget. With a host of disciplines–ranging from economy and political science to history, media studies, literary and cultural studies, and beyond–engaging such monstrosity in various forms, we welcome papers from all the fields, methodologies, and approaches that comprise American studies as well as inter- and transdisciplinary submissions. Potential paper topics could cover (but are not limited to):

  • The literary figure of the fantastic monster, the zombie, the vampire, the alien, the cyborg, or the ghost, as tropes that do cultural work.
  • The forms of (racialized, gendered, etc.) othering involved in portraying social or cultural outsiders as monstrous.
  • Political rhetoric demonizing and dehumanizing the opponent.
  • The trope of the monster in various nonfictional discourses, such as law enforcement, medicine and psychology, and many others.
  • The pleasures and anxieties negotiated through representations of monsters, in genres such as horror, fantasy, science fiction, dystopia, (post)apocalypse, etc., and in media like novels, films, TV, graphic novels, or video games.

aspeers, the first and currently only graduate-level peer-reviewed journal of European American studies, encourages fellow MA students from all fields to reflect on the diverse meanings of monsters for American culture. Please note that the contributions we are looking for might address or go beyond the topical parameters outlined above. We welcome term papers, excerpts from theses, or papers specifically written for the tenth issue of aspeers by 23 October 2016. If you are seeking to publish work beyond this topic, please refer to our general Call for Papers. Please consult our submission guidelines and find some additional tips at

Contact Info:
aspeers: emerging voices in american studies

ISSN: 1865-8768
American Studies Leipzig
Beethovenstr. 15
04107 Leipzig, Germany

Contact Email: