Tuesday, January 12, 2021

CFP Dark Economies: Anxious Futures, Fearful Pasts Conference (2/1/21; Falmouth, Eng. 7/7-9/21)

(There is a note at the bottom suggesting the event may be converted to a virtual one. I haven't seen notice of that as of this post. I assume details will appear on the conference site at https://darkeconomies.co.uk/.)

Dark Economies: Anxious Futures, Fearful Pasts Conference

full name / name of organization: 
Falmouth University, UK 7 - 9 July 2021

After the success of the Folk Horror in the Twenty First Century conference hosted by Falmouth University, we are holding another related conference in 2021.


We are aiming to have a face to face conference at the beautiful Falmouth Campus in Cornwall. With sub-tropical gardens and the beach nearby, there will be a ‘Welcome to Dark Falmouth’ cemetery walk above the lovely Swanpool lake, an art exhibition, a gig and street food in place of the more usual staid conference dinner. If we’re going to beat Covid we want to do it in style!*


The present is dark. With the rise of Covid-19, right-wing populism, global migrations and immigrations, continued violence, abuse and crime, prejudice and intolerance, there is increasing anxiety about the future. The Earth itself is under threat from environmental catastrophe and a mass extinction event is anticipated. The collapse of society, morality, and the environment was often also feared in the past, particularly in Gothic, horror and dystopian fictions and texts. What were the monsters of the past? What are our monsters now?


Anxieties and uncertainties abound in the age of the post-human and the post-digital. Ours is a world with the dark web and past and present dark economies. Yet, there is radicalism and light here too as boundaries are traversed, subverted and annihilated. Gender binaries are collapsing. The old patriarchal order is at least seriously under threat (if not yet quite dead) in the light of movements such as #MeToo, #TimesUp, Black Lives Matter and the LGTBQi wave of positivity. Capitalism is shaking and activism is reshaping the world.


This conference addresses these issues head on. By encouraging provocative, radical and respectful discussions, we aim to generate serious interdisciplinary and transdisciplinary engagements with scholars, practitioners, artists, and activists. The conference will look back to the past in its examination of how dark concerns and anxieties were envisioned, and to the future and the visionary imaginings of how things can be. The debates will range from the local to the global. While the conversations will be transnational, the setting for the conference will be Cornwall, UK. Historically associated with pirates, piskies, and general lawlessness, Cornwall is a Celtic fringe that literally hangs off the end of England. With sublime landscapes, surging seas and deep mines, Cornwall is made up of black granite and makes the perfect backdrop for a conference on dark economies.


The papers called for and selected will be asked to address some of the following issues:


  • Covid-19
  • The climate emergency
  • The destruction of the environment
  • The politics and economies of fuel and energy
  • Extinctions and annihilations
  • Decadence and/or Degeneration
  • Past fears of environmental changes (agricultural revolution and legal amendments) and their effects on the rural population
  • Degeneration and moral disintegration
  • The ‘monsters’ of the present and past, and their representations and responses in Horror and Gothic fictions and texts
  • Crime and criminality throughout the ages
  • The dark side of gender abuse and violence in the time of  #MeToo and Incel rages
  • Anxieties around the digital – the dark web, AI and the non-human
  • Consideration of the post-human
  • Slavery: modern and historical
  • Issues of immigration and displacement
  • Gendered fears
  • Fears surrounding progress: industrialisation, new technologies, medical scientific and advances
  • Fears and anxieties surrounding colonisation
  • Dystopian representations of the future
  • Dystopian representations from the past
  • Historic ecological visions
  • Folklore and Folk Horror
  • Dark economies and tourism in the regions and localities, including Cornwall
  • The rise of populism
  • Racism in politics and society


Each pper will present a clear challenge to conventional and traditional ways of thinking. The aim of the conference is to explore the fears of the past and the contemporary, as well as the grave anxiety being expressed by many groups and individuals about the future – for both humanity and the world.


Please send 250 word abstracts + a short bio to: Darkeconomiesconference@gmail.com


We also welcome panel proposals, ideas for screenings of short films, or workshop proposals.


Submission deadline: 1 February 2021


* However, if the darkness continues we will move the conference online or to a blended format.

Last updated October 28, 2020

CFP X-Files Companion (Essay Collection) (1/22/2021)

 This might be a repeated post.

The X-Files Companion - Reminder Call for Contributions

full name / name of organization: 
James Fenwick and Diane Rodgers, Sheffield Hallam University
contact email: 

The X-Files Companion - Call for Contributions

Chapter proposals are invited for a proposed edited companion on the seminal television series The X-Files (1993-2018, Fox), its movies, spin offs (The Lone Gunmen, Millennium), and surrounding paratextual material (books, comics, fan fiction etc).

The X-Files became a cultural touchstone of the 1990s, transforming from a cult TV show into a pop cultural phenomenon by the end of the decade. The series’ themes and stories of mistrust of the government, conspiracy, folklore, UFOlogy, faith and spirituality resonated with post-Cold War Western society: X-Files ‘mythology’ became a defining narrative arc that has influenced many television shows since.  The relationship between principle protagonists, Agents Mulder and Scully, became a source of fascination for fans (so-called ‘shippers’ that longed to see a sexual relationship develop between the characters) and the press alike (poring over offscreen rumours about lead actors David Duchovny and Gillian Anderson). The show’s prominence converged with early widespread use of the Internet, inspiring a proliferation of fan sites, while the show itself featured telecommunication enthusiasts, not least the underground hackers, The Lone Gunmen. Many of the shows slogans have entered the contemporary lexicon, from ‘trust no one’ to ‘I want to believe’.

To celebrate the 30th anniversary of The X-Files in 2023, this companion seeks to examine the content and production of the show, its reception, its use of legend and folklore, its contemporary resonance in politics and society of the twenty-first century, and its impact and legacy on film, television, the Internet and beyond. We want the companion to examine the show from as many theoretical perspectives as possible: critical; historical; political and social, as well as examining themes of folklore and legend; identity and representation; fandom; audiences; science and technology.

Proposals are sought for 6,000-word chapters. Topics may include, but are by no means limited to:

  • Paranoia and conspiracy theories
  • Political histories: Watergate, JFK, The Cold War, the Bush/Clinton eras
  • Law and order: The X-Files in the Trump era, US politics, representation of the FBI
  • Race, gender and sexuality
  • Faith, religion, and spirituality
  • Postcolonialism
  • The X-Files and the Internet: hackers, digital spying and surveillance
  • Science and Technology of The X-Files
  • X-Files mythology, lore and legend
  • Folklore and contemporary legend in The X-Files
  • UFOlogy, aliens, flying saucers
  • Beliefand scepticism
  • ‘Monster of the week’
  • Genre (sci-fi, horror, romance) and Intertextuality
  • Production aspects: screenwriting, music, cinematography, direction, behind-the-scenes
  • Location: use of space, place and landscape
  • The X-Files: a series ahead of its time?
  • Impact and perspectives on contemporary television
  • X-Files movies (Fight the Future and I Want to Believe)
  • The reboot series (season 10 and 11) and spinoffs (including The Lone Gunmen and Millennium)
  • Iconographic characters: Mulder and Scully, The Cigarette Smoking Man, Deep Throat
  • Comics, books, merchandise, pop culture
  • Fandom, cult audiences, fan fiction and ‘shippers’

The expansive companion seeks a unifying vision and so the editors will be working closely with authors to theme and craft chapters to ensure a consistency across the collection. We want to ensure a diversity of disciplinary voices as well as the full coverage of The X-Files as a cultural phenomenon and of its production contexts.

Abstracts of 250 to 300 words should be sent to James Fenwick (j.fenwick@shu.ac.uk) and Diane Rodgers (d.rodgers@shu.ac.uk) email in the first instance, along with a short biography and details of institutional affiliation, by 22 January 2021.

Last updated December 23, 2020 


CFP Victorian Inclusion and Exclusion (2/28/21; Victorian Popular Fiction Association Conference virtual 7/14-16/2021)

Victorian Inclusion and Exclusion

full name / name of organization: 
Victorian Popular Fiction Association
contact email: 

We invite a broad, imaginative and interdisciplinary interpretation on the topic of ‘Victorian Inclusion and Exclusion’ and its relation to any aspect of Victorian popular literature and culture that addresses literal or metaphorical representations of the theme. Inter- and multidisciplinary approaches are welcome, as are papers that address poetry, drama, global literature, non-fiction, visual arts, journalism, historical and social contexts. Papers addressing works from the ‘long Victorian period’ (i.e. before 1837 and after 1901) and on neo-Victorian texts/media are also welcome.

Please send proposals for 20-minute papers, panels of three papers (by individual scholars, or affiliated with another Learned Society), or non-traditional papers/panels, on topics that can include, but are not limited to:

  • Canonicity, canon formation and critical recovery (neo-Victorian subjects and texts, pedagogical selections, redressing of Victorian imbalances); ‘inclusion’ in collections/short story anthologies/series;
  • 19th-century ideas of taste and cultural value, high-culture/popular culture divide; the theatre, circus, music hall, opera; three-volume novel, penny bloods, railway literature;
  • Generic inclusivity/hybridity; genre boundaries and transmedia; 
  • Equality, diversity and inclusion;
  • Sex and gender inclusion and exclusion – domestic spheres, marriage, the ‘third sex’, institutions, workplaces, religious ideas;
  • Class inclusion and exclusion – extension of the franchise, organization of labour, class war, exclusionary social mores, poverty and economic inclusion/exclusion;
  • Disability, mental health, medical treatments and discourse;
  • Racial inclusion and exclusion – Anglo-European racial discourse/pseudo-science, non-Anglo-European racial discourse and practices, imperial ideology and practice, colonial institutions, trans-colonial and global migration, segregated travel;
  • National inclusion and exclusion – intra-European alliances and antagonisms, Anglo-American co-operation;
  • Geographical spaces, boundaries, borders and liminality;
  • Family inclusion and exclusion – family unit, ageing, adoption, orphans;
  • Verbal exclusion – gossip, slander, rumour, reputation;
  • Inclusive organizations – self-help groups, working men’s clubs/libraries/institutes, literary clubs, social clubs and societies;
  • Classification and categorization, anthropology, ethnography, the natural world;
  • Exclusion and exile (Wilde); prisons and prison reform; deportation;
  • Self-exclusion – breakaway social groups: ideal communities, anarchists, utopians;
  • Educational inclusion/exclusion – schools/universities, expulsion, technology-enabled inclusion and exclusion in the (online) classroom; teaching online pedagogy;
  • Other forms of inclusion and exclusion – religious; discourse on/treatment of children, animals, wider non-human world;
  • The role exclusion plays in facilitating horror and Gothic fiction, boundaries between life and death, Imperial Gothic and Euro-sceptic horror, Irish Gothic and invasion.

Please send proposals of no more than 300 words, a 50 word biography, twitter handle (if you have one) and your availability/time zones over the conference dates in Word format to Drs Anne-Marie Beller, Ailise Bulfin, Janine Hatter and Erin Louttit at: vpfaconference@gmail.com.  

If accepted, audio/visual presentations of 15 minutes or written papers of c.2000 words should be submitted by Monday 14th June, 2021. This is well in advance of the conference, so that delegates can read/watch the presentations in advance, ready for the Q&A discussions which are live at the conference. Speakers should be members of the VPFA and there will be a minimal cost for the conference to offset technical support.

PGR/Unwaged Fee Waivers

In addition, to acknowledge the financial hardship many scholars are facing as a result of COVID-19, we will exceptionally be offering 3 waivers of the student/unwaged registration fee for those whose proposals are accepted. These waivers are intended for postgraduate students, postdoctoral scholars, independent scholars and precarious academics who at the moment of application do not hold a permanent position. If you wish to be considered for a registration fee waiver, when submitting your abstract, bio and (if applicable) Twitter handle, please include a statement of no more than 60 words as to why you are applying for the waiver. As per the spirit of the VPFA constitution, we want the conference to be open to as many researchers as possible, regardless of means.

VPFA website link: http://victorianpopularfiction.org/vpfa-annual-conference/.

Last updated November 4, 2020


CFP Cities and Fantasy: Urban Imaginary Across Cultures, 1830–1930 (Edited Volume) (1/15/21)

Cities and Fantasy: Urban Imaginary Across Cultures, 1830–1930 (Edited Volume)

full name / name of organization: 
Dr. Klaudia Lee and Dr. Sharin Schroeder

The long nineteenth century witnessed the rapid expansion and modernization of cities around the globe. It is often also heralded, by critics working with Anglo-American literature, at least, as the starting point for studies of the fantastic. Nonetheless, despite the claims of critics such as Rosemary Jackson and Stephen Prickett that modern fantasy is, in part, a reaction to industrialization,[1] few projects have explored nineteenth- and early-twentieth-century fantasies’ engagement with the urban, and fewer still have attempted to address the intertwinement of fantasy and the city across cultures, a gap this volume seeks to fill.

Studies in literary works that engage with the city during the period tend to focus on how writers represented, captured, negotiated, or, at times, contested the changes brought about by various modernisation and industrialisation projects that were often related to imperial and colonial expansion or trade and economic initiatives. The emphasis has often been on the realistic, the everyday, and the busy metropolitan space. Critics have explored how cities have become real-and-imagined places in literary works that have been conferred with symbolic and structural values (see, for example, Robert Alter’s Imagined Cities: Urban Experience and the Language of the Novel). Works such as Jamieson Ridenhour’s Darkest London: The Gothic Cityscape in Victorian Literature contribute to a growing body of work that focuses on the urban gothic, both as a sub-genre and a narrative mode in literature dating from the nineteenth century to the contemporary time. The urban gothic is an important piece of any project on fantasy and urban spaces, including this one. We also hope, however, to include contributions addressing how other forms of fantasy or work in the fantastic mode has been used to engage with the city. Even marvelous nineteenth-century idyllic fantasies usually engage with the unescapable city in some way, or even substantially. We especially seek contributions that explore fantasy and the city in different cultural contexts, or that explore the relationship between the city and fantasy across cultures, such as how fantastic literature can put cities in conversations—in metaphorical, physical or symbolic terms. 

Instead of focusing on one single national context, this edited volume invites contributions from scholars who work with texts that are situated in different cultural contexts and historic moments between 1830 to 1930. The volume seeks to raise new questions surrounding the relationship between the city and fantasy in a period that witnessed an enhanced global connectedness due to wars, advancement in technologies of transportation and communication, and other socio-economic initiatives. The proposed period covers key historic and cultural events that had both local and global significance. These include the Chartist campaign and the women’s suffrage movement in Britain, the Sino-British Opium Wars, the Meiji Restoration in Japan, the May Fourth Movement in China, the early Republican periods in many Latin America states,[2] the First World War, and the transformation of Hong Kong into a crown colony, and an entrepôt. The period also covers the rise of new academic disciplines in Europe and America, including anthropology and folklore, which led to an increased interest in fantastic and marvelous tales from other cultures. Moreover, rising numbers of translations of this literature, as well as increased reading of works in their original languages (a foreign language for the reader), led to new reading audiences and new reception histories for fantastic texts from other countries of origin.

In this volume, we especially encourage contributors to consider topics that engage with more than one city or cultural context, or ones that explore different moments of cross-cultural interaction and contacts. Possible cities include (but are not limited to) Paris, Berlin, Cape Town, Istanbul, Beirut, Mumbai, Hong Kong, Beijing, Shanghai, Taipei, Seoul, Tokyo, Melbourne, Sydney, San Francisco, Chicago, New York, Santiago, Buenos Aires, Dublin, Glasgow, Edinburgh, Manchester, and London. Contributors might consider how writers make use of the fantastic mode to come to terms with new urban realities, or to negotiate their sense of (cultural) identity in the ever-changing metropolitan spaces. Other questions that they can consider include the following: In what ways does an investigation into the fantastic in different urban settings complicate our understanding of its potential in contesting real-and-fictive boundaries that condition or limit people’s ways of life, and their accessibility to different urban spaces because of race, gender and class? How might the fantastic be used as a strategy in literary texts that seek to interrogate or negotiate one’s relationship with the others in cities that were increasingly multicultural in outlook in the long nineteenth century? How might the fantastic be used as a form of resistance against colonial rule, or as an act of writing against the Empire? How might writers invoke the mythic and the fantasized characters from their own literary and cultural tradition when representing or negotiating the urban spaces and the underlying ideological assumptions? In what ways can the fantastic and the everyday co-exist and be used to interrogate new social realities? 

We note that the terms fantasy and the more recently coined urban fantasy are anachronistic and highly contested terms—labels used in retrospect, sometimes in narrowly defined and sometimes in broad senses, to describe existing modes and genres. Contributors to this volume are free to draw on the theoretical accounts of the fantastic that best suit their project and the critical tradition from which they write. Contributors, however, should be consistent in their usage and should note, as needed and to avoid confusion, the varying ways in which their terms have been used.

Topics of interest:

  • Types of fantasy that involve the city 
  • Imperial and/or colonial cities and fantasy 
  • Industrialization, urbanization, and fantasy
  • Border/Boundary/Liminality: how the fantastic mode is being used to confront, mediate or negotiate liminal spaces, or various forms of “borders” and boundaries in different cultural contexts 
  • Medievalized cities in nineteenth-century fantasy
  • Periodicals and fantasy
  • Cities in conversation
  • Nineteenth- and early twentieth-century responses to European or American fantasies in areas and regions such as Asia, Africa, Australia, Oceania, and vice versa  
  • Different fantastic modes and traditions (such as Zhiguai), and their usage and adaptations in urban contexts
  • Orientalized cities, such as translations of the Arabian Nights in the nineteenth century and their impact on subsequent literary productions 
  • The city as a place of publication for fantasy (in periodicals or books); urban readers of fantasy–the types of fantasy they read.
  • Nineteenth-century cities and fantastic Romantic legacies
  • The city and the collection of fairy tales and folklore
  • The Gothic and the City
  • The Everyday and the City: how everyday spaces become sites of fantasy; how the fantastic responds to, or resists against, the everyday 
  • Nostalgia, fantasy and the city
  • Fantastic urban utopias and/or fantasy and urban reform
  • Fantasy and cultural identity
  • Urban Typologies, architecture and fantasy 
  • Urban palimpsest and fantasy
  • Reading fantastic cities in translation
  • The reception history of a city’s fantasies either within that city and/or in other cities across the globe

If you are interested in contributing to the edited volume, please send a short bio (100–150 words) and a 400-word abstract outlining the topic and the content, including the key authors and/or texts that will be covered in your essay, to the editors, Dr Klaudia Lee (hiuylee@cityu.edu.hk) and Dr Sharin Schroeder (sharinschroeder@mail.ntut.edu.tw) by 15 January 2021.

The deadline for full chapters, 6,000-7,000 words in length (including notes and works cited), will be 30 November 2021, subject to the final decision of the publisher. We look forward to reading your proposals.

[1] Rosemary Jackson, Fantasy, p. 4, Stephen Prickett, Victorian Fantasy, pp. 12–13. Jack Zipes also discusses, particularly, the nineteenth-century literary fairy tale as a critique of the Industrial Revolution in When Dreams Came True: Classical Fairy Tales and Their Tradition, p. 147.

[2] The actual Latin American wars for independence are outside our time frame (1808–1833), but contributors are welcome to consider literary works that were published later but responded to these events.

Last updated November 19, 2020


CFP Neo-Victorian and the Late Victorian Conference (4/27/21; Brighton, Eng. 9/2-3/21)

 This might be a repeated post.

The Neo-Victorian and the Late Victorian

full name / name of organization: 
Dr Victoria Margree / University of Brighton
contact email: 

Due to the ongoing situation with the Covid-19 pandemic, the conference organisers have decided to postpone the event by one year and plan to run it in early September 2021. The specific dates will be confirmed in due time but we hope to run it during the ones equivalent to those currently scheduled. For the next academic year, that would be 2-3 September 2021, TBC.

Our CFP remains active and so is our inbox (neovictorian@brighton.ac.uk) for abstracts or any queries related to the event. We accept abstracts by 27 April 2021.

We are also delighted to announce our first keynote speaker for the event, Associate Professor Dr Claire Nally from Northumbria University, author of Steampunk: Gender, Subculture and the Neo-Victorian (2019).


Call for Papers

 The last few decades have witnessed an increasing interest in revisiting, reproducing or rewriting various aspects of nineteenth-century culture, particularly that of the late Victorian period, whether in the form of neo-Victorian literature, steampunk, media archaeology, fashion, documentaries and period dramas, among others. This trend has received various different interpretations, either as part of the recycling of past periods, styles and texts characteristic of postmodernism of the 1980s, of the ‘memory boom’ of the 1990s and the ensuing culture of commemoration, anniversaries and memorialisation, or the most recent signs of a widespread imperial nostalgia, evident not just in various media texts, such as film or television, but also in contemporary political realities like Brexit. These are only some of the symptoms of this widespread trend and only some instances of the critical approaches that they have received, and this two-day conference seeks to explore this trend from a diverse range of disciplinary, theoretical and methodological perspectives. The specific focus of the conference is on papers that address the dialectic relationship between the two historical periods. We are particularly interested in the ways in which the late-Victorian is re-envisioned and reconceptualised within the neo-Victorian. The list below is only indicative of areas for which we welcome submission of abstracts:

  • neo-Victorianism in literature, film and television
  • Gothic horror, then and now: literature, film, television and gaming
  • steampunk (literature, art, fashion, subculture)
  • contemporary politics and imperial nostalgia (Empire 2.0, Global Britain, etc.)
  • media archaeology, archive studies, museums and the late Victorian ‘frenzy of the visible’
  • contemporary sexual politics and late Victorian queer cultures
  • The New Woman and the suffragette movement
  • contemporary terrorism and the 1890s
  • crime, detection and punishment
  • nostalgia and material culture: the yearning for the handmade

Please send 300-word abstracts accompanied by a 90-word bio to conference organisers Victoria Margree and Aris Mousoutzanis by 27 April 2021 at neovictorian@brighton.ac.uk

And you will find regular updates at this site:


Last updated May 28, 2020


CFP Conference series 50+ Shades of Gothic: The Gothic Across Genre and Media in US Popular Culture (3/7/21; Conference series | 50+ Shades of Gothic: The Gothic Across Genre and Media in US Popular Culture)


Conference series | 50+ Shades of Gothic: The Gothic Across Genre and Media in US Popular Culture

full name / name of organization: 
PopMeC research collective and academic blog

Confirmed keynote scholars so far: Enrique Ajuria Ibarra, Xavier Aldana Reyes, Kyle Bishop, Kevin Corstorphine, Justin Edwards, Anya Heise-von der Lippe, Michael Howarth, Evert J. van Leeuwen, Elizabeth Parker + Michelle Poland, Julia Round, Christy Tidwell, Jeffrey Weinstock, Maisha L. Wester.

Please, check this page for updates on keynote talks and panels.


Defining the Gothic has proven to be a difficult and elusive task for scholars, possibly as this literary current often pervades cross-genre narratives and media, embracing many topics related to the very essence of human nature. Indeed, the nature of whatever it may mean to be human seems to be at the core of William Veeder’s definition the Gothic as a healing mechanism found in societies that “inflict terrible wounds upon themselves,” especially in order “to help heal the damage caused by our embrace of modernity” (1998: 21). This wide definition of the Gothic acknowledges the pervasiveness of the genre and its ramifications when it comes to reacting—“healing and transforming” (1998: 21)—to the perils of societal structures and thus confronting the manifold disruptions of social and moral codes, as well as the actual and imagined fears intrinsic to the cyclical crises our societies face. The advent of modernity represented a major concern in the post-revolutionary United States. Inspired by the literary genre that emerged in 18th century England and its subsequent evolutions, Gothic fiction became a suitable means for exploring the newfound anxieties relating to the specific configurations of the colonial societies and their challenges as new communities. Drawing on European gothic tropes and arguably starting with Charles Brockden Brown’s tales, American Gothic fiction has been popular throughout the centuries up to the present day. Furthermore, many popular culture products engage—in more or less overt ways—with gothic elements in the attempt to confront myriads of conflicts, anxieties, and epochal concerns that have marked our societies. 


The struggle between dictated social conventions and the repressed, multifaceted self—liable to fragmented identity and ambiguity—has been central to Gothic narratives. Hidden moral, social, and scientific aspirations emerge, often accompanied by the tension toward a liberation of repressed desires and the fear of the consequences of such liberation. Moreover, the creation of taboos and moral codes set hierarchical boundaries for society to theoretically function without disruption. Gothic characters and dynamics blur such boundaries, thus facing social and psychological dilemmas peculiar to contemporary contexts, and strugglingagainst uncertainty, mistaken self-conceptions and perceptions of reality, contradictory behaviors, feelings of guilt, and exasperation. Terror might lie in altered psychological states, be intrinsic to an incomprehensible or unacceptable alien outsider, or haunt the places where a character would naturally feel safe.

Gothic modes have also been characterized by the notions of disturbance and indulgence, or by a peculiar sense of irony and self-consciousness. An underlying presence of the supernatural and the unspeakable quality of many anxieties facilitate revelations that often remain implicit to a complex narrative structure. Gothic narratives are populated by devil figures and dreamlike sequences that blur the line between the conscious and the unconscious. The conflicts permeated by gothic modes tackle the unresolved battle between good and evil, the tension between the body and the psyche, the passage from childhood to adulthood, and the transgression of social and moral codes. The gothic panoply includes spatial tropes (isolated places, Medieval monasteries, caves, graveyards, ruins, family houses, etc.); claustrophobic urban settings or overwhelming wilderness; scientific experiments that challenge divinity and defy the boundaries of knowledge; allegoricalnon-human entities; anxieties toward the future and technocratic realities; and ambivalent stances toward the past that oscillate between fear and attraction, and are fueled by the instability of memories.

In recent years, many popular culture artifacts outside of the usual terrain of horror and the Gothic have exploited Gothic modes to reveal the terrors of everyday life. Sophisticated narratives have employed gothic modes to take on disruption, questioning reality, as well as challenging the boundaries of conformity and raising issues related to xenophobia, death, social anxieties, alienation, displacement, and self-consciousness. Because of the versatility and diversity of gothic modes and their—more or less subtle—exploitation across media and popular culture products, we call for contributions fitting the thematic lines described below.


This is a call for presentations that will be organized thematically in different sessions, as detailed below. However, the analysis of any type of popular culture products across media is welcome. We invite presentations on gothic modes in film, (web)tv series, comics and graphic novels, video games, animation, products aimed at children and young adults, genre fiction, and theatrical performances.

Each session will be composed of a talk with a keynote speaker (30 min. approximately) followed by panels, each organized as a sequence of short presentations (each 12-15 min. maximum) and a moderated discussion among participants. Scholars at any stage of their career are welcome, and the panels will be organized accordingly.

Panels will be pre-recorded in their entirety: the presenters and moderators will agree on a date for the pre-recording, with a limited public composed of PopMeC editors. The session will be post-produced and uploaded to the PopMeC YouTube channel and social media platforms, according to the series’ calendar (to be defined, starting early April with an introductory session and streaming a new session every week). The participation in the sessions is free of charge.


PopMeC accepts presentation proposals (300-350 words approx.) about any aspect related to the call. The proposals will be peer-reviewed and selected on a rolling basis by our editorial team and external collaborators, who will get back to you as soon as possible. Please, send your proposal to popmec.call@gmail.com, attaching your text, inclusive of a short bio (100-120 words), name, affiliation, and email contact in a single file (.doc, .docx, .odt).

Organizing committee: Anna Marta Marini (PopMeC chief editor), Mónica Fernández (board editor), and associate editors Laura Álvarez, Paula Barba, Trang Dang, Michael Fuchs, Sofía Martinicorena.





Ever since the publication of Edgar Allan Poe’s short story “The Fall of the House of Usher” in 1839, the house as a locus of all sorts of personal, sexual and spatial tensions has been a preeminent site for the Gothic in US popular culture. In a country that had purportedly left the aristocracy of the Old World and its decaying ruins behind, the ordinary site of the family house became the favored space where gothic narratives and modes could be channeled, giving rise to a long-standing tradition that explores the perils lurking in the realm of the familiar. Gothic modes have been exploited to tackle the spatial dimension, especially in relation to the idea of home and family, family trauma, the destabilization of the domestic, the uncanny, and the idea of home as a metaphor for the nation.

Deadline for presentation proposals: February 28, 2021



Gothic narratives revolving around invading non-humans and unspoken anxieties related with the assumed dangers of “racial intrusion” have been used to elaborate more or less overtly on ethnic otherness. The contact and confrontation with the ethnic other have been linked to the unwanted blurring of both metaphorical and material boundaries. The ethnic minority body has been perceived as the unsettling product of a physical and cultural miscegenation, an unstable blend evoking ambiguous representations transgressively exotic and immorally, savagely inferior altogether. At the same time, Gothic narratives protagonized by ethnic minority subjects have been created, giving voice to their own anxieties and perceptions of ethnic boundaries and xenophobic terrors. 

Deadline for presentation proposals: March 7, 2021



American culture has maintained a strained relationship with nature and the environment ever since the arrival of the first settlers. The vast lands that they encountered were conceptualized simultaneously as a bountiful Garden of Eden that would facilitate the colonial experience, and as a “howling wilderness” that threatened the first, precarious settlements. Environment-related anxieties have permeated into all cultural forms, often through Gothic imagery. More recently, environmental concerns have more to do with the durability of the planet and the increasingly worrying consequences of human activities upon it, often resulting in (post)apocalyptic narratives. 

Deadline for presentation proposals: March 14, 2021



Body-related anxieties have often been connected to gender, sexuality, and physical otherness, as fears and struggles intrinsic to the wish for liberating repressed, unconventional, or assumedly immoral desires. Socially imposed boundaries blur, connecting with feelings of guilt, degeneration, excess, disruption. The corporeal “other” becomes the image of transgression, depravity, and the breaking of taboos related to the body in all its forms. Themes related to sexual pleasure, physical abjection, body transformation, and gender become at the same time stigmas and boundaries to cross in order to express and face one’s own true self.

Deadline for presentation proposals: March 21, 2021



Children and YA gothic narratives have dealt with anxieties related with development, a growing awareness of the self and one’s own sexuality, the transformations within the family environment, the increasing necessity to cope with external contexts. The creation of gothic worlds—belonging to either an alternative reality or the characters’ imagination—has also been exploited as a means to represent the complex passages between different stages of life, coming-of-age experiences, and conflicts internal to the characters’ everyday life as children.

Deadline for presentation proposals: March 28, 2021



The extent of contemporary human reliance on technology has stirred up new embodiments of the uncanny elements found in traditional gothic horror. As a response to the fear of technological advances, anxieties about the future and parasocial relationships, robots and automata have replaced the ghouls of our nightmares. Similarly, in lieu of a haunted mansion or a labyrinth, we come to find the liminal space of our technological anxieties represented in our immaterial existence in the online realm. 

Deadline for presentation proposals: April 4, 2021


Presenters will be welcome to submit an article related to their presentation topic, to be peer-reviewed and published on our platform (https://popmec.hypotheses.org ISSN: 2660-8839) as part of a special section dedicated to the subject. According to the feedback and participation the series raises, we will consider proposing the publication of an edited volume collecting selected contributions.


You can find this call published here: https://popmec.hypotheses.org/3576


Last updated January 12, 2021

CFP Reimagining the Victorians (3/1/21; Spec Issue of Victorians Institute Journal)

Reimagining the Victorians


deadline for submissions:
March 1, 2021

full name / name of organization:
Victorians Institute Journal

contact email:

Special Issue of Victorians Institute Journal:

Reimagining the Victorians

   The success of the recent movie, The Personal History of David Copperfield (2020), featuring a racially diverse cast, has renewed the discussion of how we, in the twenty-first century, have re-imagined the nineteenth century and its culture through our adaptation and remediation of Edwardian and Victorian texts and figures. Across media, for example, Sherlock Holmes may be found stalking the streets of London in both period costume and modern dress (sometimes with a newly invented younger sister), while the multi-talented Elizabeth Bennett can be re-discovered (a) demurely preparing for a ball, (b) quaffing wine and chain-smoking as Bridget Jones, (c) dancing wildly in a Bollywood production number, and even (d) fiercely battling zombies. Carson the butler silently patrols the halls of Downton Abbey exuding decorum, while Andrew Lloyd Webber brings all the sensationalism of The Woman in White to a melodically thrilling, faux-operatic musical, and the versatile Johnny Depp warbles as the Demon of Fleet Street in the horror-musical Sweeney Todd and cavorts as the Mad Hatter in the live-action/animated version of Alice in Wonderland. Royal biography becomes soap opera in Victoria, royally entertaining and addictive, if not always historically accurate, while in the latest adaptation of Frances Hodgson Burnett’s The Secret Garden, we are not only transported into the boundlessness of a child’s imagination but also into a grim post-WWII era. Ellen Ternan, Euphemia Gray, and the Pre-Raphaelite Brotherhood have had their lives transformed into biopics (The Silent Woman, Effie Gray, The Desperate Romantics), while Jonathan Whicher, who was fictionalized by both Dickens and Wilkie Collins, was returned to reality and grounded in a popular biography, a biography that subsequently was adapted into a film that launched Whicher back into a series of fictional adventures, transforming him once again into the figure of super detective.  The genre-bending list of sequels, prequels, and spinoffs is almost endless—Mr. Rochester, Mr. Dick, Mr. Timothy, Death and Mr. Pickwick, Olivia Twist, Dodger, Drood, The Last Dickens, Penny Dreadful, Ripper Street, Becoming Jane Eyre, Alice I Have Been, and so on. To make sense of these diverse adaptations, Victorians Institute Journal invites submissions for a special issue featuring essays examining our twenty-first century perspective of the long nineteenth century. Essays might focus on twenty-first century novels (original fiction as well as sequels, prequels, and adaptations of canonical works), films, musicals and stage productions, TV series, graphic novels, fan fiction, video games, and biographical fiction. Papers should be 5000-8000 words in length and follow the Chicago Manual of Style. Submissions (in Microsoft Word) and inquiries should be emailed to the editors (Maria K. Bachman and Don Richard Cox) at vij@mtsu.edu.  Submissions must be received by March 1, 2021.

Last updated November 4, 2020

CFP Reception of Ancient Egypt in Science Fiction (2/28/21; Birmingham, Eng 7/9/21)

This seems of potential relevance. Not that the organizers suggest this might be converted to a virtual event.

Do Ancient Egyptians Dream of Electric Sheep? The Reception of Ancient Egypt in Science Fiction


deadline for submissions:
February 28, 2021

full name / name of organization:
Dr Leire Olabarria & Dr Eleanor Dobson (University of Birmingham)

contact email:

University of Birmingham*

Date: 9 July 2021

Registration: estimated £10, £5 students/unwaged

In Mary Shelley’s Frankenstein (1818) – a milestone in the history of the science fiction genre – the eponymous scientist is horrified when the creature he has assembled from assorted body parts is successfully animated. ‘A mummy again endued with animation could not be so hideous as that wretch’, Frankenstein relates. This comparison – between a figure who represents the potential disastrous consequences of cutting-edge scientific enquiry and the bodies of the ancient Egyptian dead – is one that recurs later in the novel. Having dispatched his creator, the creature’s ‘vast hand’ is described as ‘in colour and apparent texture like that of a mummy’. Nearly two centuries later, Roland Emmerich’s Stargate (1994) also depicts ancient Egyptian bodies in settings infused with a futuristic aesthetic; alien entities acquire human forms in order to extend their lifespans, while sarcophagi are reimagined as regeneration chambers.

Science fiction has undeniably contributed to creating an image of ancient Egypt, and yet it is only starting to be addressed by Egyptological scholarship. Literature, theatre, film, television, comics, and video games all present images of Egypt that have had an enduring impact on perceptions of Egypt by the public. Nevertheless, and despite the involvement of experts in contributing to or shaping these cultural products – in Stargate’s case, in professional Egyptological consultation with regards to written and spoken Ancient Egyptian – the ways in which Egyptological scholarship informs science fiction in particular still remain to be explored. How might Egyptologists engage with this material beyond judging its historical authenticity? And to what extent can science fiction contribute to scholarly discussions of ancient Egypt?

The aim of this workshop is to explore the reception and reconstruction of Egypt in science fiction, fostering a dialogue among Egyptologists, cultural historians, literary scholars, and creative practitioners. The organisers are keen to receive abstracts from scholars coming from a variety of academic perspectives and diverse backgrounds, and who are interpreting science fiction in its broadest sense, including those informed by ancient Egyptian understandings of science.

The organisers seek proposals for 15-minute papers, which should be sent in the body of an email to Dr Leire Olabarria [L.Olabarria@bham.ac.uk] and Dr Eleanor Dobson [E.C.Dobson@bham.ac.uk] by 28 February 2021. Abstracts should be a maximum of 250 words and should be accompanied by a short biographical note.

  • Topics might include but are not limited to:
  • The origins and historical development of SF’s fascination with Egypt
  • Archaeology and out-of-place artefacts
  • Time and space travel
  • Parallel universes or alternate histories
  • Steampunk
  • Afrofuturism
  • Dystopia, apocalypse or post-apocalypse
  • The ethics of ‘ahistorical’ representation

*While we hope to be able to welcome delegates to Birmingham in person in July, the workshop may need to take place online (with no registration fee) if circumstances do not allow face to face meetings. We will keep participants informed with the most up-to-date information as we have it.

Last updated December 23, 2020 


Tuesday, January 5, 2021

Update CFP Monsters in/of Children’s and Young Adult Literature and Culture (virtual session) (2/28/21; PCA)


Monsters in/of Children’s and Young Adult Literature and Culture (virtual session)

Sponsored by the Monsters & the Monstrous Area of the Northeast Popular/American Culture Association for the Children’s and Young Adult Literature and Culture Area of the Popular Culture Association

Session planned for the 2021 National Conference of the Popular Culture Association, virtual event, 2-5 June 2021


Monsters seem to be everywhere growing up, but it is only recently that studies have explored their appeal and impact on the development of children and young adults. In this session, we hope to continue this work by exploring the following themes: our need for monsters as children and/or young adults, the ways monsters of children’s and young adult literature/culture have changed over time, and how these monsters have shaped us as we grow. Proposals on monsters and texts from any period or medium will be considered as long as they relate to children’s and young adult literature and culture.

Address any inquiries about the panel to the Monsters & the Monstrous Area Chair at Popular.Preternaturaliana@gmail.com.


Membership in the Popular Culture Association (a.k.a. PCA) will be required to present as will a registration fee. Further details and submission instructions at https://pcaaca.org/conference/submitting-paper-proposal-pca-conference. Membership starts at $50, while this year’s registration rate has been reduced to $95.

Please submit your proposals into the PCA database for review (select the Children’s and YA Literature and Culture Area). Submissions should be made by 28 February 2021.



Tuesday, December 8, 2020

CFP Monsters in/of Children’s and Young Adult Literature and Culture (1/6/2021; PCA 6/2-5/2021)

I'm pleased to announce the call for our sponsored session for PCA:


Monsters in/of Children’s and Young Adult Literature and Culture

Sponsored by the Monsters & the Monstrous Area of the Northeast Popular/American Culture Association for the Children’s and Young Adult Literature and Culture Area of the Popular Culture Association

Session planned for the 2021 National Conference of the Popular Culture Association, Boston, Massachusetts, 2-5 June 2021


Monsters seem to be everywhere growing up, but it is only recently that studies have explored their appeal and impact on the development of children and young adults. In this session, we hope to continue this work by exploring the following themes: our need for monsters as children and/or young adults, the ways monsters of children’s and young adult literature/culture have changed over time, and how these monsters have shaped us as we grow. Proposals on monster and texts from any period or medium will be considered as long as they relate to children’s and young adult literature and culture.

Address any inquiries about the panel to the Monsters & the Monstrous Area Chair at Popular.Preternaturaliana@gmail.com.


Membership in the Popular Culture Association (a.k.a. PCA) will be required to present as will a registration fee. Further details and submission instructions at https://pcaaca.org/conference/submitting-paper-proposal-pca-conference. Registration rates are listed at https://pcaaca.org/conference.

Please submit your proposals into the PCA database for review (select the Children’s and YA Literature and Culture Area). Submissions should be made by 6 January 2021. At this time, PCA intends to run a face-to-face conference.




Saturday, November 21, 2020

CFP Zombie and Pandemic Culture at Southwest Popular/American Culture Association Conference (11/13/20)

 (This just closed last week. It might still be open, given another area recently posted an extension.)

Zombie and Pandemic Culture at Southwest Popular/American Culture Association Conference

deadline for submissions: 
November 13, 2020
full name / name of organization: 
Brandon Kempner / Southwest Popular/American Culture Association Conference
contact email: 

Call for Papers

Zombie and Pandemic Culture

Southwest Popular / American Culture Association (SWPACA)


42nd Annual Conference, Week of February 22-27, 2021


Submissions Open September 1, 2020

Submission Deadline: November 13, 2020


For the 2021 Conference, SWPACA is going virtual! Due to concerns regarding COVID-19, we will be holding our annual conference completely online this year. We hope you will join us for exciting papers, discussions, and the experience you’ve come to expect from Southwest. 

Proposals for papers and panels are now being accepted for the 42nd annual SWPACA conference. One of the nation’s largest interdisciplinary academic conferences, SWPACA offers nearly 70 subject areas, each typically featuring multiple panels. For a full list of subject areas, area descriptions, and Area Chairs, please visit http://southwestpca.org/conference/call-for-papers/


The area chair for Zombie and Pandemic Culture seeks paper or panel proposals on any aspect of the zombie and/or pandemics in popular culture and history. The zombie has always been pop culture’s premier allegory for infection and disease. 2020’s unprecedented events have put an even greater spotlight on the zombie’s ability to help us understand and process fears and hopes related to pandemics and uncontrollable societal events. Beyond zombies, however, pandemics and popular culture’s treatment of them—both past and emerging—are more critical than ever for processing cultural anxieties. 

This area is looking for papers that will analyze any way that popular culture has attempted to process disease, infection, pandemics, zombies, or any combination thereof. How do we view zombies differently in light of the past year’s events? Will zombies remain a core allegory for understanding disease? Does the current pandemic change the way we analyze classic zombie films, books, and televisions shows? How will new zombie texts—and other popular art forms—emerge to tackle coronavirus? The zombie has come to represent the chaotic world we live in, and as our world changes, so too will zombies.


Some topics to consider: 

  • New readings of older zombie texts in light of coronavirus.
  • How popular culture is beginning to process the pandemic, whether in film, song, television, video games, etc.
  • Specific zombie films: White Zombie, King of the Zombies, Dawn of the Dead, Tombs of the Blind Dead, Dead Alive, Evil Dead, World War Z, Train to Busan…
  • Specific books/zombie literature: The Zombie Survival Guide, Zone One, The Girl with all the Gifts, the Newsflesh trilogy, The Reapers are the Angels, Cell…
  • Zombie writers’ fiction and non-fiction: Stephen Graham Jones, H.P. Lovecraft, Robert Kirkman, Steve Niles, Max Brooks, Matt Mogk, Jovanka Vuckovic, Stephen King…
  • Zombie television: The Walking Dead, Fear the Walking Dead, Z Nation, iZombie, The Santa Clarita Diet…
  • Zombie video games: Resident Evil, Call of Duty: Zombies, The Last of Us, Day Z, Dead Rising…
  • Zombie comics (any aspect: history, cultural impact, storytelling, Marvel zombies…)
  • Teaching the zombie or pandemics
  • The voodoo zombie and the historical roots of the zombie
  • What does the rise in the zombie’s popularity tell us about society?
  • These are just a few of the topics that could be discussed.


All proposals must be submitted through the conference’s database at http://register.southwestpca.org/southwestpca 

For details on using the submission database and on the application process in general, please see the Proposal Submission FAQs and Tips page at http://southwestpca.org/conference/faqs-and-tips/


Individual proposals for 15-minute papers must include an abstract of approximately 200-500 words. For information on how to submit a proposal for a roundtable or a multi-paper panel, please view the above FAQs and Tips page.   

SWPACA will offer registration reimbursement awards for the best graduate student papers in a variety of categories. Submissions of accepted, full papers are due January 1, 2021. SWPACA will also offer registration reimbursement awards for select undergraduate and graduate students in place of our traditional travel awards. For more information, visit http://southwestpca.org/conference/graduate-student-awards/. Registration for the conference will be open and available in late fall. Watch your email for details!


In addition, please check out the organization’s peer-reviewed, scholarly journal, Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, at http://journaldialogue.org/

If you have any questions about the Zombie and Pandemic Culture area, please contact its Area Chair, Dr. Brandon Kempner, at bkempner@nmhu.edu.   

We look forward to receiving your submissions!

Last updated October 12, 2020

CFP Philosophy and Horror in Film, Literature and Popular Culture (Additional chapters) (1/3/21)

Call for Abstracts: Philosophy and Horror in Film, Literature and Popular Culture: Aesthetics, Politics, and Histories (Additional chapters) to be published by McFarland

deadline for submissions: 
January 3, 2021
full name / name of organization: 
Subashish Bhattacharjee

Call for Abstracts: Philosophy and Horror in Film, Literature and Popular Culture: Aesthetics, Politics, and Histories (extended call for abstracts) for McFarland Publishers

Edited by

Subashish Bhattacharjee (Jawaharlal Nehru University) 

and Fernando Gabriel Pagnoni Berns (Universidad de Buenos Aires)




We, the editors, are looking for five-six additional chapters for our book on the horror genre and philosophy. McFarland has showed interest and we expect a quick turnaround. Below, our original CFP.

In the first volume of his Horror of Philosophy trilogy—In the Dust of this Planet—Eugene Thacker calls the horror of philosophy “the isolation of those moments in which philosophy reveals its own limitations and constraints, moments in which thinking enigmatically confronts the horizon of its own possibility.” The wider genre of “horror” encompassing such genres as literature, cinema, and the arts exposes its viewers/readers/audience to a world of conflict between the selfsame subject and the of the ‘other’ which involves the element of horror. The genre has invariably aided in a metaphorical confrontation with the genre consumers’ systemic confrontation with a reality outside that of the perceived. Stephen King had produced a definition of “horror” as “the unnatural, spiders, the size of bears, the dead walking around, it’s when the lights go out and something with claws grabs you by the arm.” While the above statement does not present a wholesome definition of what could constitute a philosophy of horror, it establishes the groundwork for the same—a philosophy of horror is not a definitive introspection into the genre, or an intervention into it, but rather an attempt to amalgamate the multifarious roles of the genre into presenting a deeper understanding of human psychology while it enters into a transaction with a hyperreal/surreal “reality”. Whether we discuss, at this juncture, Mary Shelley’s manufacture—an in-human contraption—or that of Poe’s blend of the gothic or Lovecraft’s alienating cosmic horror, or, moving into the screen, the shadows of Nosferatu or the veiled sociopolitical satirical horror that is The Night of the Living Dead, horror as a genre has been an adherent to the notion of genre-bending and genre-warping in order to comprehend the realities beyond, or underlying the real.

Freud asserted that horror its based on the “other” that is rooted in the subconscious, formulating the foundations for his concept of the “uncanny” (unheimliche)—something strangely familiar—settling the genre of horror firmly within the individual recipient’s familiar milieu (one may well recall the Mariner’s fright at the spectres of his former friends rising from the dead, or how the homefront becomes a space of/for terror in StrangersStraw Dogs, or Funny Games), or how the ‘interior’ becomes the site of the horror (Haute Tension). This psychological element of horror is highlighted and further elaborated upon by Lacan, Deleuze, Žižek, the semantic element by Derrida, or philosophers such as Noël Carroll who have endeavoured to produce a philosophical context of horror. While Carroll believes that fantasy and horror operate by challenging and dissolving perceived limits of reality and so violate our normal perspective (The Philosophy of Horror), for Žižek it is the science of psychoanalysis that pieces together our ‘dissociated knowledge’ into the truth that threatens us with madness: the kernel of reality is the horror of the real. Or we may revert to Lovecraft, for whom the ‘dissociated knowledge’ of the cosmos threatens us with its infinite possibilities. In almost all of these generic and critical/theoretical instances, the genre of horror remains loaded with meanings and critical/crucial interventions into our perceived realities—whether it is through our desire to apprehend the absent real in Dark City, or the absence of social illusions and the overpowering anxiety in Possession, the literal “angst” of Angst, the regressive obliteration of human senses of the real and fictional in The ExorcistEvil Dead, or The Conjuring, or, if we venture into the grotesque and the macabre of gore, Cannibal HolocaustThe Human CentipedeTexas Chainsaw MassacreHostelWrong Turn, or Saw, and the myriad reiterations of the above as well as the several sub-genres of horror, the genre manages to suspend the receiver’s sense of disbelief by metaphorically ‘getting under our skin’.

The proposed volume undertakes to read into this phenomenon, of horror, as a philosophical statement. We are interested in essays that look into the genre of horror and its sub-genres (body horror, disaster horror, horror drama, psychological horror, science fiction horror, slasher, home invasion, supernatural horror, gothic horror and others) across the mediums of literature, cinema, digital cultures, and the arts from a philosophically informed perspective, or those that develop a philosophical perspective of their own. Essays (within 8000 words) are to be submitted on, but not restricted to, the following themes:

  • Philosophers on Horror
  • Philosophies of Horror
  • Horror genres/sub-genres and philosophy
  • Horror and psychology/psychoanalysis
  • The sociology of Horror
  • The politics of Horror
  • The aesthetics of Horror
  • Philosophy and literatures of Horror (genres, authors)
  • Philosophy and Horror cinemas (genres, directors)
  • Philosophy and Horror comics
  • Philosophy and Horror digital cultures (video games, digital dissemination of horror etc)
  • Philosophy and Horror in the arts (performing, presentative)


The deadline for abstracts between 200-400 words is January, 3, 2021 (complete essays between 5000 to 8000 words long -excluding Works Cited- will be welcome as well). Please, submit your abstract with a brief biography. Queries and submissions may be directed to both, subashishbhattacharjee@gmail.com and citeron05@yahoo.com.

Feel free to contact the editors with any questions you may have about the project and please feel free to share this announcement with any colleague who may be interested in the volume.


Subashish Bhattacharjee is an Assistant Professor of English at the University of North Bengal, India. He edits the interdisciplinary online journal The Apollonian, and is the Editor of Literary Articles and Academic Book Reviews of Muse India. His doctoral research, on the cultures of built space, is from the Centre for English Studies, Jawaharlal Nehru University, where he has also been a UGC-Senior Fellow. His recent publications include Queering Visual Cultures (Universitas, 2018), and New Women's Writing (Cambridge Scholars, co-edited with GN Ray, 2018).


Fernando Gabriel Pagnoni Berns (PHD) is an Assistant Professor at the Universidad de Buenos Aires (UBA) - Facultad de Filosofía y Letras (Argentina)-. He teaches courses on international horror film and is director of the research group on horror cinema “Grite.” He has published chapters in the books To See the Saw Movies: Essays on Torture Porn and Post 9/11 Horror, edited by John Wallis, Critical Insights: Alfred Hitchcock, edited by Douglas Cunningham, A Critical Companion to James Cameron, edited by Antonio Sanna, and Gender and Environment in Science Fiction, edited by Bridgitte Barclay, among others. He has authored a book about Spanish horror TV series Historias para no Dormir and edited James Wan: Critical Essays for McFarland (forthcoming 2021).




Last updated November 19, 2020