Thursday, July 18, 2024

CFP Celebrating 215 years of Edgar Allan Poe Conference (proposals by 9/13/2024)

Celebrating 215 years of Edgar Allan Poe


deadline for submissions:
September 13, 2024

full name / name of organization:
Noah Gallego (California Polytechnic State University, Pomona)

contact email:
eap215conference@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2024/01/09/celebrating-215-years-of-edgar-allan-poe


Deadline: September 13, 2024

Conference Date: October 5, 2024

Format: Online (via Zoom)

Abstract: 200 words + short biographical statement + timezone

Submit to: eap215conference@gmail.com



Ring in the Halloween season by celebrating the life and works of the U.S.’s grandfather of Goth, Edgar Allan Poe! Scholars from across all disciplines are invited to convene for a (tentatively) two-day conference on the weekend of his 215th deathday where we will critically examine the Tomahawk’s works, including his poetry, prose, novel, and essays. (Other media such as theatrical, graphic, televised, or cinematic adaptations of his work may also be considered, provided they relate back to the author’s legacy and work. For instance, any of the Universal Studios adaptations or Scott Cooper’s loosely biographical The Pale Blue Eye (2022) or the recent Mike Flanagan production The Fall of the House of Usher (2023) may be explored).



Lenses through which to consider presentations may include but are not limited to:

  • Orientalism
  • Psychoanalysis
  • Feminism
  • Marxism
  • Gothic
  • Corporeality
  • Other-than-human
  • Gender, sexuality, and/or queerness
  • Spatiality and Temporality
  • Race
  • Narratology
  • New Materialism
  • Disability
  • Trauma
  • Monstrosity and Abjection
  • Religion, spirituality, the occult, and theology
  • Ecocriticism
  • Rhetoric and Poetics


Please submit abstracts of 200 words as well as any and all inquiries to eap215conference@gmail.com. Please also provide a short biographical note of up to 100 words in addition to your timezone in order to best arrange presentation times for those outside of PST. This conference will be held online at no charge. The Zoom link will be sent out the week prior.




Last updated June 17, 2024

Sunday, June 30, 2024

CFP Critical Essays on Horror Vestron Films (6/15/2024)

Critical Essays on Horror Vestron Films


deadline for submissions: June 15, 2024

full name / name of organization: Fernando Gabriel Pagnoni Berns

contact email: vestronproject@yahoo.com

source: https://call-for-papers.sas.upenn.edu/cfp/2024/03/12/critical-essays-on-horror-vestron-films



Critical Essays on Horror Vestron Films


Edited by

Matthew Edwards

Fernando Gabriel Pagnoni Berns



We, the editors, are looking to put together an edited collection on the horror films of Vestron Distribution/Vestron Pictures. From the early 80s till the mid -90s, when Vestron went bankrupt, Vestron released a number of cult and influential horror films both through their distribution arm and films that they bankrolled into production. Vestron were responsible for distributing in North America films such as The Company of Wolves (Neil Jordan 1984), The Gate (Tibor Takács,1987), Lair of the White Worm (Ken Russell, 1988), Gothic (Ken Russell, 1986), Waxwork (Anthony Hickox 1988), Class of 1999 (Mark Lester, 1990), Revenge of the Living Dead Part 3 (Brian Yuzna, 1993), Warlock (Steve Miner, 1989), Parents (Bob Balaban, 1989), Blood Diner (Jackie Kong, 1987), Street Trash (Michael Muro, 1987), Slaughter High (George Dugdale, Mark Ezra and Peter Mackenzie Litten) and many more! Vestron catalogue includes high rate thrillers such as Blue Steel (Kathryn Bigelow, 1990), Amsterdamned (Dick Maas, 1988), Fear (Rockne S. O'Bannon, 1990) or Hider in the House (Matthew Patrick, 1989).



Vestron’s output has a big cult following in North America and the UK, with many of their old titles being re-released by Lions Gate under the old Vestron banner. We would focus on both aspects of Vestron’s output, as both a producing company and as a distributor of films.



Contributions could include, but are not limited to, the following topics:

  • -Cult following
  • -Aesthetics of horror cinema
  • -Black comedies
  • -American distribution
  • -Thrillers and suspense films
  • -Art house sensibilities
  • -American anxieties
  • -Vestron’s slashers
  • -Auteur cinema
  • -Depictions of gender
  • -Body horror
  • -Children horror
  • -Vestron TV films
  • -Vestron Video

This anthology will be organized into thematic sections around these topics and others that emerge from submissions. We are open to works that focus on other topics as well. Prospective authors are well to contact the editor with any questions, including potential topics not listed above. Please submit a 300-500-word abstract of your proposed chapter contribution as a Word Doc (not PDF) with a brief bio (in the same document), current position, affiliation, and complete contact information to editors Matthew Edwards and Fernando Gabriel Pagnoni Berns to vestronproject@yahoo.com by 15 June 2024. Full chapters of 6,000-7,000 words are likely due in November 2024. A renowned publisher as shown preliminary interest.

Please share this announcement with anyone you believe would be interested in contributing to this volume.

Note: Acceptance of a proposed abstract does not guarantee the acceptance of the full chapter



Matthew Edwards is an independent film scholar and primary school teacher from Cheddar, England. He is author or editor of many books on cult/horror cinema, including Bloodstained Narratives: The Giallo Film in Italy and Abroad, The Atomic Bomb in Japanese Cinema; Klaus Kinski, Beast of Cinema; Twisted Visions: Interviews with Horror Filmmakers; and Murder Movie Makers: Directors Discuss Their Killer Flicks. In 2023 he was nominated for a Rondo Hatton Horror Award for best interview. He has written for many magazines and contributed booklets for 88 Films Hong Kong film releases.



Fernando Gabriel Pagnoni Berns (PhD in Arts, PhD Candidate in History) works as Professor at the Universidad de Buenos Aires (UBA) - Facultad de Filosofía y Letras (Argentina)-. He teaches courses on international horror film. He is director of the research group on horror cinema “Grite” and has authored a book about Spanish horror TV series Historias para no Dormir (Universidad de Cádiz, 2020) and has edited books on Frankenstein bicentennial (Universidad de Buenos Aires), one on director James Wan (McFarland, 2021), the Italian giallo film (University of Mississippi Press, 2022), horror comics (Routledge, 2022) and Hammer horror films (Routledge, 2024). Currently editing a book on Baltic horror. He is Director of “Terror: Estudios Críticos” (Universidad de Cádiz, Spain), the first-ever horror studies series in Spain.

https://publicaciones.uca.es/terror/

http://artes.filo.uba.ar/pagnoni-berns-gabriel




Last updated March 23, 2024

Friday, June 28, 2024

CFP Queer Horror: A Companion (9/30/2024)

Queer Horror: A Companion


deadline for submissions: September 30, 2024

full name / name of organization: Michael Wheatley

contact email: michaeldavidwheatley@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2024/06/18/queer-horror-a-companion


“To create a broad analogy, monster is to ‘normality’ as homosexual is to heterosexual” (Benshoff, 1997). This quote, well worn within the pages of academic criticism, speaks to how the connection between queer identity and the horror genre is now so established as to become indivisible. From Frankenstein’s Creature to Dracula, the Babadook to Jennifer Check, in fiction and in film these monstrous queers “live in a world that hates them. They’ve adapted, they’ve learned to conceal themselves. They’ve survived” (Machado, 2020). Kirsty Logan, in the Foreword to It Came From the Closet, suggests that “horror [never] gives us LGBTQIA+ people accurate representation. The best we can have is a reflection: an image mirrored, turned backwards; an image in shifting water, wavering and distorted” (2023). However, in The Celluloid Closet and beyond, the closeted monsters of the closeted text have now been routinely outed. Queer horror, too, is no longer the sole domain of monstrous metaphors, but a pluralistic space in which to thematise queer anxieties and to foreground non-hegemonic sexual identities, gender expressions and narrative approaches. Pitched as part of Peter Lang’s Genre Fiction and Film Companion series, Queer Horror: A Companion thus seeks to collate a diverse volume showcasing how the label of ‘queer horror’ transcends the trauma of its shadowed roots into an explicit exploration, vital resuscitation, and ultimate celebration of queerness itself. Following after New Queer Horror’s movement away from “a simplistic binarised negotiation of identification between normative (straight) protagonists and the non-normative (queer) monster” (Elliot-Smith & Browning, 2020), Queer Horror: A Companion looks to foreground explicit queer narratives (Chucky, Monstrilio) and the queer creators imbuing their works with queer sensibilities (Kyle Edward Ball, Carmen Maria Machado, Christopher Landon). Across new forms and mediums, such as video games and podcasts, queer horror moves towards intrinsically queer narratives of homophobic abuse (Femme), alienation (I Saw the TV Glow) and romance (Love Lies Bleeding). And, much as Pride has given way to Pride Progress, so too do works of queer horror emerge that centre underrepresented identities including intersex (Sorrowland), bisexuality (Jennifer’s Body), or explore unwritten narratives such as domestic abuse between partners of the same sex (In the Dream House). Queer Horror: A Companion thus seeks to channel this multiplicity into wide-reaching and inclusive analyses of the many modes and inflections that queer horror adopts today. Suggested topics include, but are not limited to: 
  • of specific genres and sub-genres, especially those held to be traditionally exclusionary to queer narratives (e.g. Bodies Bodies Bodies and the slasher, or In the Dream House and the memoir).
  • Representation of non-hegemonic queer identities, including asexual, intersex, trans, non-binary and non-white narratives (e.g. the works of Jane Schoenbrun, Sayaka Murata, or Rivers Solomon).
  • International approaches to queer horror (e.g. Huesera: The Bone Woman, Climax, or Thelma).
  • Relationship between queer horror and the mainstream, in relation to cross-medium adaptation (e.g. the alterations to Bill and Frank’s relationship in The Last of Us).
  • Tracing the establishment, and development, of academic criticism toward queer horror (e.g. Harry M. Benshoff’s Monsters in the Closet, or Michael William Saunders’ Imps of the Perverse).
  • Queer horror in video games (e.g. Signalis, or The Missing: J.J. Macfield and the Island of Memories).
  • Queer horror’s intersections with other theoretical disciplines (e.g. Masculinity Studies and Titane or All of Us Strangers, or Critical Disability Studies and Freaks).
  • Performing queer horror on stage and screen (e.g. The Rocky Horror Picture Show, or Dragula).
  • Queer horror as a way of mapping queer history (e.g. The Picture of Dorian Gray and the Labouchere Amendment, James Whale and the Hays Code, or American Horror Story: NYC and the AIDS crisis).
  • Relationship between queer horror, exploitation cinema and pornography (e.g. Hellraiser, Knife + Heart, or the works of Billy Martin, writing as Poppy Z. Brite).
  • Existence, or reclamation, of tropes and stereotypes (e.g. ‘Bury Your Gays’, or queer villainy).
  • Classic works of queer horror (e.g. Carmilla, or Strange Case of Dr Jekyll and Mr Hyde), or the queering of classic horror fiction (e.g. Murders in the Rue Morgue and New Murders in the Rue Morgue).
  • Sapphic horror narratives (e.g. Our Wives Under the Sea, or Wilder Girls).
  • Any forms not listed above, such as graphic novels or podcasts, or concerns such as queer aesthetics.

Finished chapters will be approximately 4000 words (exc. bibliography), adopting a primary text to discuss the broader topic of queer horror. Submissions should be accessible to new readers, while still articulating the individual elements that distinguish the chosen work. Please submit abstracts of 300 words, alongside a short biographical note (50–100 words), to Dr Michael Wheatley at michaeldavidwheatley@gmail.com by September 30th, with chapters expected in late 2025. Criticism on sexual identities and gender expressions marginalised in academia are particularly welcome.


Last updated June 24, 2024

CFP Horror Homeroom Special Issue #9: Body Horror (8/18/2024)

Horror Homeroom Special Issue #9: Body Horror


deadline for submissions: August 18, 2024

full name / name of organization: Horror Homeroom

contact email: dek7@lehigh.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2024/06/18/horror-homeroom-special-issue-9-body-horror


Though the term was coined in 1986, ‘body horror’ dates back to the beginnings of Gothic literature—Shelley’s Frankenstein (1818); Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde (1886)—and extends into contemporary fiction, film, and new media. From seminal works including David Cronenberg’s The Fly (1986) to contemporary zombie films and portrayals of the digital-corporeal connection, as in the Unfriended franchise and Jane Schoenbrun’s recent I Saw the TV Glow, embodiment remains central to the horror genre. Mirroring the porousness of the body itself, the category evades compartmentalization and definition.

This special issue will contend with horror’s bodies in all their transgressive fluidity. We are open to essays exploring any texts that could broadly be considered ‘body horror,’ including fiction, film, and new media. We also welcome a variety of theoretical approaches and disciplinary methods. Lastly, since body horror is a global phenomenon, we hope to put together an issue that makes international connections.

Potential topics include (but are not limited to):

  • medical experimentation
  • shape-shifting/transformation
  • cannibalism
  • identity and embodiment
  • disease
  • biopolitics and necropolitics
  • digital bodies
  • posthumanism
  • key directors (Cronenberg, Ducournau, Soska sisters, etc.)
  • body horror and pornography
  • New Extremity films
  • pregnancy/reproduction
  • environmental impacts on the body
  • the role of camp and humor
  • torture porn

Please send an abstract of no more than 500 words along with a brief bio to Elizabeth Erwin (ele210@lehigh.edu), Lauren Gilmore (ltg221@lehigh.edu), and Dawn Keetley (dek7@lehigh.edu) by August 18, 2024. We will select essays to include in the special issue within two-three weeks and notify everyone who submitted an abstract. Completed essays, which will be limited to 2,500 words, will be due by October 14, 2024, and should be written for a general audience. We welcome all questions and inquiries!

Horror Homeroom’s special issues consist of relatively short (2,500 word) well-researched articles that are written for general and academic audiences. They are carefully reviewed by the editors.

Proposed timeline:


Abstracts due: August 18, 2024

Acceptances out: September 2, 2024

Essays due: October 14, 2024


Selected Bibliography:


Aldana Reyes, Xavier. 2014. Body Gothic: Corporeal Transgression in Contemporary Literature and Horror Film, University of Wales Press.

- - - . 2024. Contemporary Body Horror, forthcoming from Cambridge Elements.

Anderson, Jill E. 2023. “Her Body and Other Ghosts: Embodied Horror in the Works of Shirley Jackson and Carmen Maria Machado.” Monstrum 6 (2): 31-50.

Arnold, Sarah. 2013. Maternal Horror Film: Melodrama and Motherhood, Springer.

Brophy, Philip. 1986. “Horrality: The Textuality of the Contemporary Horror Film.” Screen 27 (1): 2–13.

Cruz, Ronald Allan Lopez. 2012. “Mutations and Metamorphoses: Body Horror is Biological Horror.” Journal of Popular Film and Television 40: 160–8.

Diffrient, David Scott. 2023. Body Genre: Anatomy of the Horror Film, University Press of Mississippi.

Folio, Jessica and Holly Luhnig, eds. 2014. Body Horror and Shapeshifting: A Multidisciplinary Exploration, Inter-Disciplinary Press.

Harrington, Erin. 2018. Women, Monstrosity, and Horror Film Gynaehorror, Routledge.

Huckvale, David. 2020. Terrors of the Flesh: The Philosophy of Body Horror in Film, McFarland.

Wasson, Sara. 2020. Transplantation Gothic: Tissue Transfers in Literature, Film, and Medicine, Manchester University Press.

Wald, Priscilla. 2008. Contagious: Cultures, Carriers and the Outbreak Narrative, Duke University Press.

Williams, Linda. 1991. “Film Bodies: Gender, Genre, and Excess.” Film Quarterly 44 (4): 2–13.



Last updated June 24, 2024

Thursday, June 27, 2024

Additional Chapters Sought for Edited Collection on Horror-Comedy Films (8/1/2024)

Additional Chapters Sought for Edited Collection on Horror-Comedy Films


deadline for submissions: August 1, 2024

full name / name of organization: Thomas Britt, editor

contact email: tbritt@gmu.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2024/06/22/additional-chapters-sought-for-edited-collection-on-horror-comedy-films


I am accepting proposals for an edited collection with a working title of Case Studies in Horror-Comedy Films. This edited collection is under contract with a university press, with an anticipated publication date in late 2025. The existing group of contributions well illustrates the focus and structure of the collection, which corresponds to comic takes on horrors of the body, mind, and society. The motivation for this call for additional chapters is to expand the attention to national cinemas beyond North America.

As this collection is presented as a group of "case studies," the themes and topics of potential titles for inclusion are broad. However, preference will be given to contributions focusing on one or two films as case studies rather than choosing a theme/topic and illustrating that theme/topic with several films in a single chapter. I am exclusively interested in chapter proposals covering European, South American, Asian, African, or Australian horror-comedy films.

One effect of having a contract in place is that the timeline for this collection is accelerated. Please see the relevant timeline below, and be sure you can adhere to it if your proposal is accepted.

Proposal guidelines

Please send all correspondence to editor Thomas Britt at tbritt@gmu.edu. Those interested in submitting proposals should email a 250-300 word abstract and a short (50-100 word) biography. In your abstract, specify the film (or no more than two films) that will be the subject of the proposed chapter and indicate how this film/these films relate to the collection's emphases on comic horrors of the body, mind, or society. Please provide your name, institutional affiliation (if any), and email in the document that includes your abstract and short biography.

Timeline

I am receiving proposals through August 1, 2024, using the process described above in the proposal guidelines.

All submitters will be notified of acceptance or otherwise by August 15, 2024.

For those whose proposals are accepted, the deadline for complete initial drafts of 4500-5000 words is November 15, 2024.



Last updated June 24, 2024

CFP Gothic Practice (9/13/2014; Special Issue Gothic Studies)

Gothic Practice


deadline for submissions: September 13, 2024

full name / name of organization: Gothic Studies Journal (Edinburgh UP) and the Internet Ghost Collective

contact email: internetghostcollective@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2024/06/12/gothic-practice


A special issue of Gothic Studies guest edited by the Internet Ghost Collective (Chera Kee, Erika Kvistad, Line Henriksen, and Megen de Bruin-Molé)



“As a habitus, the Gothic describes a way of writing, a way of reading, a way of thinking about stories, a way of imagining," writes Timothy G. Jones. "Perhaps the Gothic is something that is done rather than something that simply is" (2009, p. 127). In this special issue, we propose to consider the Gothic as not only a subject of research, but as something that we as researchers might do – the Gothic as a research method, a creative practice, a habitus. What might it mean for academics, artists, and other thinkers and makers to work in Gothic ways, or to experience their own work as Gothic, with its associations of unsettling power dynamics, intellectual uncertainty, and the potentially dangerous search for knowledge? Drawing on Jones's idea of the Gothic as “something between the ceremonial and the ludic” which “ought to be understood, not as a set form, nor as a static accumulation of texts and tropes, but as a historicised practice which is durable yet transposable” (2009, p. 127), we ask contributors to explore the Gothic mode/genre and critical and creative practice. Just as Gothic fictions often explore the dynamics between those with immense power and the most vulnerable, we are interested in work that explores similar power structures in academia and the wider world – how might Gothic practice help us examine, challenge, or even counteract these dynamics?



This special issue welcomes work that discusses or proposes Gothic creative research methods and Gothic creative practices, and also work that exemplifies such practices, for instance by using unconventional or boundary-breaking methods to study more conventional Gothic topics in literature, film, and popular culture. We are open to a range of non-traditional methods and formats, including, but not limited to, practice-based research, creative practice, and creative-critical research. We are especially open to proposals where making and praxis are central to the research methodology and process. We understand that non-traditional academic work can be alienating and difficult, as well as dynamic and exciting, and it is often either neglected or exploited within academic administrative structures. For these reasons, we also believe that creative-critical research has Gothic implications for and uses in anti-colonial ‘undisciplining’ efforts within the academy – particularly for those who sit at its centres of power – and we welcome proposals that consider how Gothic practice might be productively disruptive.



Possible topics for the special issue include:

  • Practice-based and practice-led Gothic research
  • The Gothic as a practice / ‘undisciplining’ the Gothic
  • Creative practice as Gothic or monstrous
  • Making and Gothic aesthetics
  • The Gothic and activism / care work practices
  • Goth fashions, subcultures, and community practices
  • Creative Gothic pedagogies
  • Making in a Gothic world (making with and in crisis)
  • The Gothic / monstrous researcher and academic practice
  • The Gothic as reading practice / way to approach others’ work



Timeline and Format

13th September 2024: Deadline for abstracts / Expressions of Interest.

Abstracts should be around 200-500 words and accompanied by a 50-100 word bio. Contributors are also welcome to include mini-portfolios or mockups of creative work if this will help you give us a sense of what you’re planning.

1st November 2024: Responses to abstracts/EOIs sent.


15th May 2025: First drafts of submissions due.


July 2026: Publication.



There will also be two (entirely optional, online) workshops open to people interested in submitting something to the special issue, acting as opportunities to meet the guest editors and make and talk together:



Friday, 21st June 2024, 1:00 pm Eastern Daylight Time / 5:00 pm GMT / 7:00 pm CET (register now: https://wayne-edu.zoom.us/meeting/register/tJEqce2opzkuGdzb0MN7aFNejCxiNTk7nh08)This workshop is a chance to meet the editors and explore the idea of ‘Gothic Practice’ together, in advance of the Expression of Interest deadline for our special issue of Gothic Studies. In this 90-minute online workshop we will explore what it means to imagine in Gothic ways, through discussion and making. No preparation or prior experience with making is required, and you can attend for as much or as little as you are able.


Tuesday, 3rd September 2024, 10:00 am Central European Time / 8:00 am GMT. To register for this workshop, please contact the guest editors at the email address listed below.

Conventional academic articles in Gothic Studies typically run between 5000-7000 words including footnotes. For this issue, we also encourage critical/creative submissions in mixed or non-conventional formats, including (but not limited to) visual media and photography, creative (non)fiction, video essays, and audio productions, and with the enthusiastic support of the Gothic Studies editorial team, we look forward to discussing how these might be incorporated into the special issue.



We welcome scholars, artists, makers, and experimenters of all backgrounds and experience levels. We also welcome questions and informal discussions about what might be possible! Please contact the guest editors of this issue at internetghostcollective@gmail.com.



Inspirational readings+ examples

The work of Carol Quarini: https://carolquarini.com.


Henriksen, et al., “Writing bodies and bodies of text: Thinking vulnerability through monsters,”: https://onlinelibrary.wiley.com/doi/full/10.1111/gwao.12782


The zine Becoming Undisciplined: https://becomingundisciplined.com/


Special issue on practice-based research in the journal Theatre Topics (Johns Hopkins University Press, 2013): https://muse.jhu.edu/issue/28323


Timothy G. Jones, “The Canniness of the Gothic: Genre as Practice,”:https://www.euppublishing.com/doi/10.7227/GS.11.1.12


Natalie Lovelace, How to Make Art at the End of the World: A Manifesto for Research Creation: https://www.dukeupress.edu/how-to-make-art-at-the-end-of-the-world


Tsing, et al., eds, Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene:https://www.upress.umn.edu/book-division/books/arts-of-living-on-a-damaged-planet



Last updated June 24, 2024

CFP Snake Sisters in Literature and Film (6/25/2024; SAMLA)

Snake Sisters in Literature and Film


deadline for submissions: June 25, 2024

full name / name of organization: 96th SAMLA (South Atlantic Modern Language Association) Conference

contact email: qianyima@link.cuhk.edu.hk

source: https://call-for-papers.sas.upenn.edu/cfp/2024/06/07/snake-sisters-in-literature-and-film


Although a monster with a head of swarming snakes, Medusa has been firmly embraced as a snake sister by more women. In her 1975 essay “The Laugh of the Medusa,” Hélène Cixous pioneeringly urges women to re-visit their mythological snake sister - Medusa - who has long been (mis)construed as ugly and sinful. Cixous writes, "You only have to look at the Medusa straight on to see her. And she’s not deadly. She’s beautiful and she’s laughing” (885). In current feminist terms, Medusa is often read sympathetically: “The ugliness she first experienced as an unjust punishment” is transformed into her greatest strength she “learned to use as a weapon” (Zimmerman 3). Through feminist reinterpretations, Medusa, once condemned by Athena as a snake monster, has transformed into a symbol of empowerment—a snake sister—for any woman who aspires to wield a gaze as fierce and fearless as hers.

Beyond the revolutionary Greek-origin Medusa, other snake sisters have also persisted from worldwide mythology into contemporary speculative fiction. For instance, the Chinese snake women figure “embodies both the dangerous and glamorous aspects of female sexuality and fertility” (Wang 186). White Snake emerged as a defiant female rebel in earlier premodern Chinese fantasy. Across tales from the Tang and Song Dynasties, she has been depicted as a ferocious spirit, indulging in sexual pleasures and serial killings. Though White Snake was later transformed into an angelic wife in stories since Ming times, the image of the snake rebel has been revitalized in contemporary feminist retellings, such as Hong Kong author Li Bihua’s Green Snake (1986) and Chinese American Cindy Pon’s Serpentine and Sacrifice (2015, 2016).

This session seeks to construct an imaginary genealogy of snake sisters derived from worldwide literature and film. We welcome any studies concerning the images of snake women, from iconic figures like Medusa and White Snake to more characters. Hopefully, these snake sisters have embodied subversive female subjectivities in parallel worlds of imagination.

Submission Guidelines:
Please submit your abstract of 200-300 words, along with a short biography of 100-150 words, to this link:https://samla.ballastacademic.com/Home/S/19150 by 06/25/2024.


Last updated June 11, 2024

CFP A Nightmare on Elm Street @ 40 Conference (9/6/2024; Nottingham, Eng 11/8-9/2024)

A Nightmare on Elm Street @ 40


deadline for submissions: September 6, 2024

full name / name of organization: University of Nottingham/Fear2000

contact email: elmstreet40@nottingham.ac.uk

source: https://call-for-papers.sas.upenn.edu/cfp/2024/06/06/a-nightmare-on-elm-street-40


One, two, Freddy’s coming for you…

A Nightmare on Elm Street @ 40
Hosted by The University of Nottingham in association with Fear2000
8-9 November 2024

Confirmed Keynote Speakers

Dr Bruna Foletto Lucas (Kingston University)

Dr Steve Jones (Northumbria University)



Special Guests



Mark Swift and Damian Shannon (screenwriters of Freddy vs Jason)



Dustin McNeill (author of Slash of the Titans: The Road to Freddy vs Jason)

80s Video Shop, Alfreton, will be there with A Nightmare on Elm Street-themed exhibit



Screenings at The Arc Cinema, Beeston
A Nightmare on Elm Street (1984) in 4K - Friday 8 November
Freddy vs Jason (2003) - Saturday 9 November



All included for registered attendees!



The tale of a child murderer returned from beyond the grave to torment the children of his killers, A Nightmare on Elm Street mutated into a phenomenon thanks to its gruesome villain: the titan of popular culture that is Freddy Krueger (Robert Englund).

Wes Craven’s original film spawned six sequels, a television series, novels, comic books, a franchise crossover with Friday the 13th and a twenty-first century remake. Due to the film’s runaway success, New Line Cinema gained the nickname “The House that Freddy Built,” Craven was transported from the grimier margins of the horror genre to the crowd-pleasing mainstream, and its stars – Englund and Heather Langenkamp, the “Final Girl” – became genre icons. The series found renewed success with its seventh instalment (itself turning 30 this year), Wes Craven’s New Nightmare (1994), which anticipated the postmodern rebirth of the horror genre with Craven’s next groundbreaking project, Scream (1996).

Hosted by the University of Nottingham to coincide with the 40th anniversary of the 1984 original, this conference offers us the chance to explore, debate and celebrate the legacy of the Nightmare series in popular culture. Ultimately, the conference will aim to show why Freddy still matters even after fourteen years of absence from our screens.

Proposals for papers are welcomed on any aspect of the franchise, including:

  • A Nightmare on Elm Street and New Line Cinema: The House that Freddy Built
  • The Final Girl: gender and representation across the franchise
  • Freddy as ‘Return of the Repressed’: historical trauma
  • Freddy and Reaganism: Nightmares in suburbia
  • A Nightmare on Elm Street and queer politics
  • ‘[In] a Black theater… the relationship to Freddy is closer than it is to the victims’- Jordan Peele: A Nightmare on Elm Street and BIPOC audiences
  • The ethics of Freddy Krueger: from child murderer to pop culture icon
  • A Nightmare on Elm Street as franchise: sequels, crossovers, TV series, remake, video games, novels and comic books
  • ‘Every kid knows who Freddy is. He’s like Santa Claus’: Audiences, fandom, and legacy

Please submit abstracts of 250 words (max.) and a 100 word bio for 20-minute papers to elmstreet40@nottingham.ac.uk by Friday 6 September 2024.



Last updated June 11, 2024

SECOND CALL: Essays on Race and Racism in The Vampire Diaries Franchise (10/1/2024)

SECOND CALL: Essays on Race and Racism in The Vampire Diaries Franchise, under contract with McFarland Press


deadline for submissions: October 1, 2024

full name / name of organization: Deanna P. Koretsky, Spelman College

contact email: dkoretsk@spelman.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2024/04/23/second-call-essays-on-race-and-racism-in-the-vampire-diaries-franchise-under-contract


Essays are invited for an edited volume exploring the role that race and racism play in the narrative worlds of The Vampire Diaries, The Originals, and Legacies, as well as the real world that consumes them. This volume explores how race intersects with other identity categories (gender, sexuality, disability, class, etc.) in the television and book series; how it structures power and agency in the storyworlds and behind the scenes; how it permeates the fan cultures associated with the franchise; and how ongoing fascination with the franchise reflects the tumultuous years of the Obama and Trump presidencies, the coronavirus pandemic, the racial uprisings of 2020, and beyond.

This second call aims to fill gaps in an already robust line-up of essays. Topics of particular interest include:

  • The book series by L.J. Smith (as compared with the television series or on its own)
  • The Travelers/Roma representation in the series
  • Fan cultures specific to TVDU – e.g., the emergence of franchise-inspired conventions in the small Southern towns where the shows were shot; global TVDU fandoms
  • The handling of race in rewatch podcasts dedicated to TVD and related media

Please submit a 300-word abstract and 50-word author biography with current affiliation and email address to dkoretsk@spelman.edu. If you’d like to contribute, please send an abstract and projected timeline and we can discuss from there.

Final essays should be between 6000 and 8000 words and follow the latest edition of the Chicago Manual of Style (notes and bibliography).





Projected schedule (flexible):

Abstract/Bio: rolling

Draft for initial review: October 1, 2024

Final draft: December 1, 2024



Last updated June 5, 2024

UPDATE CFP Preternatural in Popular Culture (7/1/2024; NEPCA Online and Dudley, MA 10/3-5/2024)

Call for Papers: Preternatural in Popular Culture


Monsters & the Monstrous Area of the Northeast Popular Culture Association 

2024 Annual Conference of the Northeast Popular Culture Association 

Nichols College (Dudley, MA) and Zoom, 3-5 October 2024


UPDATE Proposals due by 1 July 2024


The Monsters & the Monstrous Area of the Northeast Popular Culture Association (NEPCA) invites submissions under the general theme of the Preternatural in Popular Culture.


For this year, submissions should focus on creatures and/or creations that exist above, beyond, and/or outside the natural world and the ways these entities are represented in popular culture (anime, comics, fiction, film, manga, streaming video, television, etc.) from across time and space.


The Monsters & the Monstrous Area is among NEPCA’s largest areas, and we often have blocks of sessions running across the full event. To best accommodate everyone, single presentation submissions are preferred over panel submissions. 


Please direct any questions or concerns to Michael A. Torregrossa, Monsters & the Monstrous Area Chair, at popular.preternaturaliana@gmail.com, and check out our blog Popular Preternaturaliana: Studying the Monstrous in Popular Culture for ideas and past sessions. The blog can be accessed at https://popularpreternaturaliana.blogspot.com/



Conference Information 


The 2024 Northeast Popular Culture Association (NEPCA) will host its annual conference this fall as a hybrid conference from Thursday, 3 October, through Saturday, 5 October. Presenters will be required to become members of NEPCA for the year. 


Virtual sessions will take place on Thursday evening and Friday morning via Zoom, and in-person sessions will take place on Friday evening and Saturday morning at Nichols College, in Dudley, Massachusetts. 


For more information about the conference and to submit a proposal, please visit our NEPCA’s dedicated Conference site at https://nepca.blog/2024-conference-page/. Be prepared to answer the following questions about your proposal:


Proposal Type (Single Presentation or Panel)

Modality (in person or virtual)

Subject Area

Working Title

Academic Affiliation (if any)

Abstract (250 words)

Short bio (50-200 words)

Accommodations

Preferences for when to present


The submissions site will be open until 11:59 PM (EDT) on 1 July 2024.




Monday, June 3, 2024

CFP “Children of the Night” International Dracula Congress 2024 (8/31/2024; virtual 10/25-26/2024 & Romania 10/31-11/2/2024)

“Children of the Night” International Dracula Congress 2024


Call For Papers

October 25-26 online sessions

October 31-November 2: Brașov sessions



It is our great pleasure to invite you to 2024 double edition of "Children of the Night International Dracula Congress”. This year, participants are invited to join the ONLINE part of the Congress on October 25th and 26th, 2024 (Friday and Saturday) via Zoom.

A few days later, we will gather IN PERSON for further Halloween sessions in Brașov, Romania from October 31st to November 2nd, 2024. We have decided to hold two parts of the Congress separate from one another, so that Brașov participants were able to fully engage in academic discussions, get to know each other and discover the wonders of Transylvania outside the conference venue.

October 31st (Thursday) and November 1st (Friday) will be devoted to academic speeches and discussions, with a walking tour of Brașov and various evening activities. On November 2nd (Saturday), we will set on a one-day trip to Bran Castle, a nearby Dracula related pop-cultural tourist attraction.

Additionally, from October 30th to November 2nd, International Dracula Film Festival is taking place in Brașov and the Congress participants will be able to join chosen festival events.

We invite everyone who is interested in speaking at the 2024 conference to submit an abstract of 150 - max. 250 words plus a meaningful title indicating the planned content of your presentation to dracongress@gmail.com. The official language of the conference is English. The abstracts must be submitted by email and fit the conference main topics (please, have a look at the slider with 8 workshops on our website). Deadline for abstract’s submissions: August 31, 2024. Please, state if you intend to participate online or in person.

Also, remember to dust your Vampire/Dracula/Gothic costume for our annual Costume Contest (in person and online entries welcome!).

Conference fee

50 euro (physical participation in Brasov)

10 euro (online participation).

Listeners join free of charge.



The 2024 COTN International Dracula Congress is organised by:

Transilvania University of Brașov, Romania (Florin Nechita),

Maria Curie-Skłodowska University Lublin, Poland (Magdalena Grabias),

State University of Rio de Janeiro in Brasil (Yuri Garcia).

In collaboration with The Dracula Fan Club, Mexico (Enrique A. Palafox).



More details will be announced soon.

https://dracongress.jimdofree.com/


Saturday, April 27, 2024

Call for Book Proposals - Transmedia Villains and Creatures (11/1/2024)

Book series VILLAINS AND CREATURES

deadline for submissions:
November 1, 2024

full name / name of organization:
Lexington Books

contact email:
isonisanna@hotmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2024/04/08/book-series-villains-and-creatures



TRANSMEDIA VILLAINS AND CREATURES



This new series by Lexington Books aims to cover the fascinating subject of villains and threatening creatures through an interdisciplinary perspective represented by fields as different as literary, film, religious, gender and art studies as much as philosophy and sociological and ecocritical approaches. Each volume will focus on a single figure (or group of figures) and examine it in its multiple incarnations, from their origins in myth, folklore and history as well as in a literary text, to their various adaptations in different media, including comics, graphic novels, cinema, TV, exhibitions, the visual arts, merchandise, fandom and tourist attractions.



We welcome both edited collections and monographs, but the requirements of the volumes will be their interdisciplinarity and their focus on the issues of adaptation and transmediality. Also, a (global) cultural studies’ approach will be particularly favored (disciplines such as anthropology, sociology and ethnicity will be more than welcome for the examination of villains and creatures). Proposals may include (but are certainly not limited to) the following figures:

Dracula
The werewolf
The mummy
The Golem
Doppëlgangers
Hybrids
Animal-human hybrids (experiments, but also minotaurs, centaurs, as well as lesser-known hybrids)
Clones
Experiments

10. Mad scientists

11. Serial killers

12. Aliens

13. Ghosts

14. Spirits

15. Gods, demi-gods and mythological creatures (from any mythology)

16. Machines

17. Cyborgs

18. Androids

19. Dragons

20. Underwater creatures

21. Shapeshifters

22. Mutants and mutations

23. Freaks

24. Tyrants, dictators and warlords (including historical figures)

25. Crimelords, cult leaders, masterminds

26. Orcs, ogres and trolls

27. Folklore figures

28. Statues, dolls, puppets and animated objects

29. Satan, demons and Biblical figures

30. Cryptids

31. Supervillains

32. Slashers

33. Boogeymen

34. Diseases and plagues

35. Carnivorous Plants

36. Hostile Fungi

37. Magical creatures



We will gladly welcome any queries by prospective authors/editors for the preparation of a proposal. Please contact Dr. Antonio Sanna (isonisanna@hotmail.com).


Last updated April 10, 2024

Thursday, April 18, 2024

CFP Journal of Dracula Studies 2024 (5/1/2024)

Journal of Dracula Studies


deadline for submissions:
May 1, 2024

full name / name of organization:
Journal of Dracula Studies

contact email:
journalofdraculastudies@kutztown.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2024/04/13/journal-of-dracula-studies



We invite manuscripts of scholarly articles (4000-6000 words) on any of the following: Bram Stoker, the novel Dracula, the historical Dracula, the vampire in folklore, fiction, film, popular culture, and related topics.

Submissions should be sent electronically (as an e-mail attachment in .docx). Please indicate the title of your submission in the subject line of your e-mail.

Please follow MLA style.

Contributors are responsible for obtaining any necessary permissions and ensuring observance of copyright.

Manuscripts will be peer-reviewed independently by at least two scholars in the field.

Copyright for published articles remains with the author.

Send electronic submissions to journalofdraculastudies@kutztown.edu


Last updated April 16, 2024

CFP Monstrous Mother in Literature (Spec Issue Esferas Literarias) (7/15/2024)

Monograph: The monstrous mother in Literature


deadline for submissions:
July 15, 2024

full name / name of organization:
Esferas Literarias

contact email:
almudena.nido@ui1.es

source: https://call-for-papers.sas.upenn.edu/cfp/2024/04/15/monograph-the-monstrous-mother-in-literature


CALL FOR PAPERS: Esferas Literarias nº 7 (2024)

Monograph: The monstrous mother in Literature

The role of the mother is sacred to many cultures since prehistoric times, as it is regarded as the main generative and nurturing power for the origin of life as well as the main agent for childcare. This maternal role is therefore not only defined by biology and birthing, but also by social constructs that focus on the expected role of woman as carer, protector, and nurturer of any child. However, as the first experience the subject has of a distinctive other, the maternal body constitutes the most foreign, unknowable space in human experience. In fact, the womb is considered in itself a threshold that marks a relation of energy and space in the biological processes between two bodies that imply that one is created and/or dependant from the other. Even if endowed by society of these positive features, the maternal body contains the possibility of death, horror, rejection, and disgust. This ambiguity and potential transgression of normative and clear-cut borders recall the figure of the monster in both the symbolic and the physical manifestations. It may also entail how the mother's presence and behaviours are perceived as monstrous by others due to social and ethical conventions of what constitutes to be human and/or to be a mother.

We ask contributors to explore the representations in literature of monstrous mothers and monstrous forms of mothering that do not comply with normative embodiment or social conventions about the idea of mother. Articles may respond to some of the following thematic lines, but these are not restrictive:
  • Representations of deviant and abnormal motherhood: This could include representations of mother figures who deviate or subvert in any way the normative physical embodiment or the dominant cultural ideals that expect them to be feminine, compassionate, caring, selfless, self-sacrificing, etc. We are interested in contributions that analyse representations of the monstrous mother as a symbol of generative power/untamed nature, as non-human, animal hybrid, inorganic, uncaring, violent, etc.
  • Reproductive horrors and the monstrous body: this includes representations of any biological process that pertains to the maternal body and associates it with the abject. We are interested in contributions which explore narratives that feature menstruation, pregnancy, birth, miscarriage, abortion, death, etc., and relate it to the monstrous body and the experience of mothering.
  • The relationship between monstrous mothers and space: We are interested in contributions which explore the possible relationship between the monstrous mother and the spaces where the child-mother dyad takes place or is expected to take place. This could include human habitations like the haunted mansion, or natural spaces like the cave.

Contributions can focus on the figure of the monstrous mother in any literary form, genre or subgenre, produced in any language or cultural context.

The proposed topics can be approached from diverse theoretical perspectives (Cohen’s monster theses; monster theory; psychoanalysis; affect theory; disability studies; race, cultural, postcolonial and decolonial studies; queer studies; women’s and gender studies; ecocriticism, among others).

The articles can be written in English or Spanish.

Articles must follow the guidelines of the journal and must be submitted through the journal’s website: https://journals.uco.es/index.php/Esferas/about/submissions


Last updated April 16, 2024

Monday, April 8, 2024

Reminder CFP 10th Biennial Slayage Conference (4/12/2024 deadline for proposals)

Call for Proposals for the Twentieth Anniversary Slayage Conference

10th Biennial Slayage Conference

Cal Poly San Luis Obispo, California
July 18-21, 2024

BUFFY LIVES!



Slayage: The International Journal of Buffy+ and the Association for the Study of Buffy+ invite proposals for the twentieth anniversary  Slayage Conference—the tenth biennial (SC10). Devoted to creative works and workers of the ‘fuzzy set’ surrounding Buffy the Vampire Slayer, SC10 will be held on the campus of California Polytechnic State University in San Luis Obispo, California, on 18-21 July 2024. This twentieth anniversary conference will be organized by Local Arrangements Chair Lewis Call.

We welcome proposals of 200-300 words (or an abstract of a completed paper) on any aspect of Buffy+ television, film, comics, and web texts. The name Buffy recalls the significance of scholarly examinations of feminism, but Slayage is much more. The “plus” is meant to be a sign of inclusivity, both for scholars and texts.



The plus-mark is meant to invite analyses of not only Angel, Firefly, Dollhouse, etcetera, but also the work of all the various creators—writers, directors, actors, editors, composers, etc.-involved with those texts as well as (primarily visual) media more or less resembling Buffy (where ‘resemblance’ is likewise subject to further discussion). In other words, the plus-mark indicates the “fuzzy set” of which Buffy is the center. Drawing on Brian Attebery's description in Strategies of Fantasy, the fuzzy set is “defined not by boundaries but by a center.” Hence, a scholar applying to Slayage Conference 10 might use Buffy as a yardstick to tell us why we should consider their chosen topic to be part of this fuzzy set, which might include the following,

“high stakes TV” with a kick-ass young female lead;


movie or book series concerned with the frequent irruption of the supernatural into the mundane;


texts that feature snarky humor and linguistic play; strong characterization, an emphasis on relationships, and long story arcs spanning a season or more; moral dilemmas; stylish but affordable boots; starship captains with tight pants; or other stylistic, aesthetic, or thematic issues associated with Buffy, Angel, Firefly, etc.



Moreover, the “plus” specifically alludes to LGBTQIA+, too, one of the important touchstones of the original series. The complexities of queerness are part of the intriguingly nuanced nature of many of these texts. The conference was established to provide a venue for writing about good work, but good works are not perfect, and scholarship should strive to see clearly. LGBTQIA+ texts and scholars have been an important part of this clear-sighted assessment, and SC10 would be strengthened by further contributions in light of contemporary scholarship



Importantly, the “plus” is meant to refer to the need to counteract a “minus”—that is, the scarcity of Latinx and Black, Indigenous, Person of Color representations in Buffy (the Original Sin of the Buffy text) as well as problematic representations in that and related texts. Since Kent Ono’s 2000 essay “To Be a Vampire on Buffy the Vampire Slayer,” scholars have been examining these matters. However, a great deal remains to be done—again, not just on Buffy but also on related texts.



Multidisciplinary approaches (literature, philosophy, political science, history, communications, film and television studies, women’s studies, religion, linguistics, music, cultural studies, art, and others) are all welcome. A proposal/abstract should demonstrate familiarity with already-published scholarship in the field, which includes dozens of books, hundreds of articles, and over twenty years of the peer-reviewed journal Slayage. Proposers may wish to consult the annotated Oxford University Press bibliography on Buffy the Vampire Slayer as well as the Slayage contents list and the bibliography housed at the ASB+ website.



An individual paper is strictly limited to a maximum reading time of 20 minutes, and we encourage, though do not require, self-organized panels of three presenters. Proposals for workshops, roundtables, or other types of sessions are also welcome. Submissions by graduate and undergraduate students are invited; undergraduates should provide the name, email, and phone number of a faculty member willing to consult with them (the faculty member does not need to attend). A limited number of hybrid slots will be provided. Proposals should be submitted online to slayage.conference@gmail.com and will be reviewed by program chairs James Rocha, Jessica Hautsch, and Rhonda V. Wilcox. Submissions must be received by April 12, 2024. Decisions will be made no later than April 31; however, a rolling response to early submissions will be provided.  Questions regarding proposals can be directed to the conference email address: slayage.conference@gmail.com.

Saturday, March 9, 2024

CFP for Grad Students: Power of Horror Compels You: Exploring Historic and Modern Iterations of Horror (Spec Issue of Scaffold) (05/31/2024)

The Power of Horror Compels You: Exploring Historic and Modern Iterations of Horror


deadline for submissions: May 31, 2024

full name / name of organization: Scaffold: Journal of the Institute for Comparative Studies in Literature, Art and Culture

contact email: scaffoldjournal@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2024/02/28/the-power-of-horror-compels-you-exploring-historic-and-modern-iterations-of-horror



The Power of Horror Compels You: Exploring Historic and Modern Iterations of Horror



Jack Halberstam argued of Bram Stoker’s seminal horror text that “Dracula is otherness itself.”In doing so, he contextualized the novel’s configuration of the period’s social anxieties towardsexuality, modernity, and antisemitism through the vampire figure. Further, Halberstam suggests that “Dracula is indeed not simply a monster, but a technology of monstrosity,” encompassing a perspective of the horror genre which recognizes its fundamental capacity to express anxieties and fears about the contemporary world.



Written eight decades before Dracula, Frankenstein often earns Mary Shelley the title “themother of science fiction.” At the same time, this novel also converges around conventions of Gothic fiction and horror to express anxieties about modern technology and science and its relationship to the human, concepts which remain integral to contemporary examples of the genre across mediums.



When writing about modern horror Mikal Gaines reflects how the genre has largely evolvedbeyond its historical depictions of Black and BIPOC individuals as casualties or monsters to thedriving force of the story. Gaines addresses how racism in Jordan Peele’s Get Out functions as the monster, and narrativizes the horror of racialization. Per Gaines’ argument, Peele draws on the tradition in the horror genre of complicating perspectives on race or class, as many argue George Romero’s original Night of the Living Dead film did.



The standards of monstrosity of a particular era manifest in its films, television series, novels,games, and other materials in or adjacent to the horror genre. The definition of horror or monstrousness changes continuously according to the evolution of culture and societal normsand as generic themes and modes of horror enter into the broader cultural consciousness. This call for papers seeks articles that explore what contemporary horror deems monstrous, in what ways, and how this presentation has changed over time. We hope to present an interdisciplinaryexploration of how the horror genre has influenced aspects of contemporary culture, including its narratives across media forms and beyond media.



Possible topics for exploration include but are not limited to:

  • A close reading of modern (2010 and later) horror novels, films, television series, or games that critically analyze their relationship to modernity
  • The evolution of an archetype: how have depictions of original horror icons (the vampire, the zombie, Frankenstein, etc.) changed over time? How have they been typified, particularly in their more modern iterations?
  • The transition of depictions of horror icons across media - how have depictions of, for example, zombies, changed across media, such as in the Night of the Living Dead film, the Walking Dead comic or TV series, the Last of Us video game?
  • Real-world ‘horror’ (climate themes, pandemic themes)
  • How have modern horror video games tackled their subjects compared to older iterations in the same or similar series?
  • Topics that explore how horror conventions change across media modes
  • The true crime phenomenon - the rise in popularity of true crime media and its influence on the broader cultural consciousness
  • Exploring the aesthetic differences in presentations of horror across different media modes
  • Compare the evolution of horror in different national contexts
  • Address the lineage of horror in relation to its Gothic origins to a contemporary understanding of the genres



We are seeking articles of 5000-7000 words for publication in the next issue of Scaffold: the Journal for the Institute of Comparative Studies of Literature, Art, and Culture, an open-access graduate student journal. Articles will be double-blind, peer-reviewed, and published digitally through OJS. More information can be found here: https://ojs.library.carleton.ca/index.php/J-ICSLAC/index

Please email proposals of approximately 300-500 words to scaffoldjournal@gmail.com, including a brief author bio, by April 29th 2024. Accepted authors will be informed by early May, with full articles due for review by August 5th 2024.



Issue publishes December 2024.


Last updated March 6, 2024

CFP Southern Gothic Area (6/15/2024; PCAS/ACAS 10/17-19/2024)

THE SOUTHERN GOTHIC AT PCAS/ ACAS 2024


deadline for submissions: June 15, 2024

full name / name of organization: Popular Culture / American Culture Association in the South

contact email: SouthernGothicPCAS@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2024/03/04/the-southern-gothic-at-pcas-acas-2024


Steeped in the wide-flung diaspora of the Gothic mode, the Southern Gothic is one of the most prominent ways the South is represented in media and culture. Represented in the works of writers as varied as Carson McCullers, Flannery O’Connor, and William Faulkner to Cormac McCarthy, Cherie Priest, and Jesmyn Ward, whether categorized as a form, a style, or a genre, the Southern Gothic is bound up with the specificity of regional cultural anxieties about race, class, gender, sexuality, history, and geographic identity itself. From its most stereotypical depictions to more nuanced, complex interpretations, the Southern Gothic shapes the wider perception of regional identities in ways that invite our contemporary scholarly engagement.



The Southern Gothic area of the Popular Culture / American Culture Association in the South (PCAS/ ACAS) invites proposals for individual presentations, roundtable discussions, or full panels of 3-4 papers at the 2024 PCAS/ ACAS Annual Conference, to be held October 17 - 19, 2024 in Greenville, SC.



Topics might include (but are in no way limited to):

  • representations of the Southern Gothic in film, TV, and literature
  • adaptation(s) of Southern Gothic literature
  • the Southern Gothic in popular music
  • Global elements of/ approaches to the Southern Gothic
  • the Southern Gothic in new media (games, podcasts, graphic novels, etc.)
  • the emergence of “Southern noir” as a subgenre
  • race, class, gender, and/ or sexuality in the Southern Gothic
  • Southern true crime as a cultural phenomenon
  • documentary and the Southern Gothic
  • Southern Gothic tourism
  • monsters in the Southern Gothic: vampires, zombies, ghosts, etc.
  • mental health narratives in the Southern Gothic
  • specificity—or generality—in Southern Gothic geographies
  • pedagogical approaches to/ uses of the Southern Gothic
  • the spectre of history in the Southern Gothic
  • sites of intersection between the Southern Gothic and other genres/ modes

PCAS/ ACAS is dedicated to working toward equity, diversity, and inclusion both within our organization and in academia at large. As such, we particularly welcome submissions by underrepresented and marginalized scholars across categories such as race, gender, sexuality, ability, and employment status (e.g., graduate students and non-tenure track or unaffiliated/ independent scholars).

To propose a presentation (of 20 minutes or less) or a roundtable discussion for the Southern Gothic Area, please send the following to Area Chair Stephanie Graves at SouthernGothicPCAS@gmail.com by June 15, 2024:

Name of presenter(s), institutional affiliation (if applicable), & email address for each presenter


Type of submission (individual paper, roundtable, or full panel)


Presentation abstract (250 words or fewer)


Indication if you need access to A/V (not all rooms have A/V available—if you don’t indicate the need, you may be scheduled in a room without AV)

Submission deadline is June 15, 2024; notifications of acceptance will be sent by July 1, 2024.

PLEASE NOTE: In order to be considered for the Southern Gothic Area, please follow the instructions above rather than submitting through the PCAS/ ACAS website.Everyone is invited to submit one academic paper and can, in addition, participate in one round-table discussion or creative session. Only those proposals intended for the Southern Gothic area should be submitted as outlined above; the PCAS/ ACAS website has an online submission form for the General Call.



Last updated March 6, 2024

Friday, March 8, 2024

CFP Preternatural in Popular Culture (6/15/2024; NEPCA Online and Dudley, MA 10/3-5/2024)

Call for Papers: Preternatural in Popular Culture


Monsters & the Monstrous Area of the Northeast Popular Culture Association

2024 Annual Conference of the Northeast Popular Culture Association

Nichols College (Dudley, MA) and Zoom, 3-5 October 2024


Proposals due by 15 June 2024



The Monsters & the Monstrous Area of the Northeast Popular Culture Association (NEPCA) invites submissions under the general theme of the Preternatural in Popular Culture.


For this year, submissions should focus on creatures and/or creations that exist above, beyond, and/or outside the natural world and the ways these entities are represented in popular culture (anime, comics, fiction, film, manga, streaming video, television, etc.) from across time and space.


The Monsters & the Monstrous Area is among NEPCA’s largest areas, and we often have blocks of sessions running across the full event. To best accommodate everyone, single presentation submissions are preferred over panel submissions.


Please direct any questions or concerns to Michael A. Torregrossa, Monsters & the Monstrous Area Chair, at popular.preternaturaliana@gmail.com, and check out our blog Popular Preternaturaliana: Studying the Monstrous in Popular Culture for ideas and past sessions. The blog can be accessed at https://popularpreternaturaliana.blogspot.com/.



Conference Information



The 2024 Northeast Popular Culture Association (NEPCA) will host its annual conference this fall as a hybrid conference from Thursday, 3 October, through Saturday, 5 October. Presenters will be required to become members of NEPCA for the year.


Virtual sessions will take place on Thursday evening and Friday morning via Zoom, and in-person sessions will take place on Friday evening and Saturday morning at Nichols College, in Dudley, Massachusetts.


For more information about the conference and to submit a proposal, please visit our NEPCA’s dedicated Conference site at https://nepca.blog/2024-conference-page/. Be prepared to answer the following questions about your proposal:

  • Proposal Type (Single Presentation or Panel)
  • Modality (in person or virtual)
  • Subject Area
  • Working Title
  • Academic Affiliation (if any)
  • Abstract (250 words)
  • Short bio (50-200 words)
  • Accommodations
  • Preferences for when to present


The submissions site will be open until 11:59 PM (EDT) on 15 June 2024.

Wednesday, March 6, 2024

CFP Seventh Annual Ann Radcliffe Academic Conference at StokerCon 2024 (3/31/2024; San Diego/Online 5/31/2024)

The Seventh Annual Ann Radcliffe Academic Conference at StokerCon 2024


deadline for submissions: March 31, 2024

full name / name of organization: Horror Writers Association

contact email: AnnRadcliffeCon@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2024/02/28/the-seventh-annual-ann-radcliffe-academic-conference-at-stokercon-2024


The Seventh Annual Ann Radcliffe Academic Conference at StokerCon 2024


Conference Date: Friday, May 31, 2024

Conference Location: San Diego Mission Bay Marriott, 8757 Rio San Diego Drive, San Diego, California, USA, 92108 and via Hopin

Conference Website: https://www.stokercon2024.com



From the mysterious lights in the windows of the William Heath Davis House to the footsteps in the seemingly empty rooms of the Old Point Loma Lighthouse, San Diego has long been home to stories of the uncanny. The 2024 StokerCon convention is eager to channel the creative potential of San Diego’s history, culture, and communities.

Likewise, the co-organizers of the Ann Radcliffe Academic Conference look forward to interrogating, exploring, and re-imagining the field of horror and gothic studies. The Ann Radcliffe Conference is intended as a research showcase within Stokercon, as well as an opportunity for building community and collaboration. Therefore, we invite all interested scholars, researchers, creators, academics, and non-fiction writers to submit presentation abstracts for completed research projects, works-in-progress, and projects invested in the academic analysis of the horror genre and its history in all its forms. As in previous years, this conference will be held in a hybrid format, with both in-person panels and recorded online presentations available via Hopin.

We are eager to receive abstracts that expand the scholarship across horror and gothic studies. This can include, but is by no means limited to, analyses and critiques of fields or formats such as:

  • Art
  • Cinema
  • Comics/Manga
  • Literature
  • Music
  • Poetry
  • Television
  • Video Games
  • Cartoons/Anime


We invite papers that take an interdisciplinary approach to their subject matter and welcome scholarship that considers a diverse range of readings, interpretations, and application of theories. This includes work from a variety of interdisciplinary and transmedial fields including, but not limited to:

  • Critical race theory
  • Film theory and analysis
  • Gender/LGBTQIA+ theory
  • Historical analysis and interpretation
  • Archival research
  • Literary theory and analysis
  • Pedagogical approaches to horror and the gothic
  • Intersections with psychology, biology, and the history of medicine
  • Philosophical approaches


Presentation and Submission Guidelines

Please upload a 250 – 300 word abstract to https://horrorwritersassociation.submittable.com/submit/96e2b49b-09f6-4c... by March 31, 2024. Responses will follow as soon as possible.


Presentations should adhere to a 15-minute time limit, in order to ensure adequate time for discussion and commentary.


Please note in your abstract whether you plan to present your work in person or virtually. For those presenting virtually, recordings will need to be sent by April 15, 2024.

Please address any questions to AnnRadcliffeCon@gmail.com



In support of HWA’s Diverse Works Inclusion Committee goals, the Ann Radcliffe Academic co-chairs encourage the widest possible diverse representation to apply and present their scholarship in a safe and supportive environment. For more information, please see the Diverse Works Inclusion Committee Mission Statement at: http://horror.org/category/the-seers-table/

The Ann Radcliffe Academic Conference is part of the Horror Writers Association’s Outreach Program. Created in 2016 by Michele Brittany and Nicholas Diak, the Ann Radcliffe Academic Conference has been a venue for horror scholars to present their work alongside professional writers and editors in the publishing industry. The conference has also been the genesis of the Horror Writer Association’s first academic release, Horror Literature from Gothic to Post-Modern: Critical Essays, composed entirely of AnnRadCon presenters, released by McFarland in February, 2020.

Membership to the Horror Writers Association is not required to submit or present, however registration to StokerCon 2024 is required to be accepted and to present. Information regarding StokerCon registration, including day passes and full event registration, can be found on the Stokercon website: https://www.stokercon2024.com. There is no additional registration or fees for the Ann Radcliffe Academic Conference outside StokerCon registration. If interested in applying to the Horror Writers Association as an academic member, please see www.horror.org/about/.



Last updated March 6, 2024

CFP Sixth Biennial Dr. Henry Armitage Memorial Scholarship Symposium of New Weird Fiction and Lovecraft-Related Research (5/24/2024; Providence, RI 8/15-18.2024)

The Sixth Biennial Dr. Henry Armitage Memorial Scholarship Symposium of New Weird Fiction and Lovecraft-Related Research

NecronomiCon Providence convention in Providence, RI
15-18 August, 2024
Location: Omni Hotel, Providence – Bristol/Kent Room, 3rd floor

Symposium Chairs: Dr. Elena Tchougounova-Paulson, editor of Lovecraftian Proceedings (Hippocampus Press)
Symposium Co-Chair: Prof. Dennis P. Quinn 

CALL FOR PRESENTATION ABSTRACTS:

The Dr. Henry Armitage Memorial Scholarship Symposium seeks Lovecraftian and Weird Fiction related research for the NecronomiCon Providence convention. Providence, RI, August 15-18, 2024

The Lovecraft Arts and Sciences Council (the organizer of NecronomiCon Providence) invites submissions for the upcoming Armitage Symposium, a conference that will be held within the convention. The Symposium is substantially dedicated to the life and works of the Providence-based Weird fiction writer, the father of Cosmic horror, H.P. Lovecraft, but also to his milieu, his literary contemporaries, predecessors and successors in the Weird/horror/Gothic/Neo-Gothic lore. For many decades, Lovecraft’s legacy has been the central topic for challenging discussions, and many prominent scholars have joined in debates, followed by significant textual insights, great literary discoveries, and numerous high-quality academic publications. The Armitage Symposium in 2024 will continue to explore Lovecraft’s works in relation to classic and contemporary Weird fiction, science fiction, other similar genres of horror/Gothic/Neo-Gothic literature, modern philosophy (phenomenology and epistemology), literary theory, linguistics, cultural history and cultural theory, archaeology, ethnography, etc.


Possible topics for 15-minute papers might include:

  • Lovecraft’s influence on the American or, broadly, Western literary canon
  • Lovecraft and Cosmic mythology
  • Lovecraftian Mythos as a cultural phenomenon
  • Lovecraft and religion/mysticism, and race/gender studies
  • Lovecraft and Eurocentrism: origins and complexities
  • Lovecraft’s correspondence as pre-blogging/travelog
  • “Arkham House” and its heritage: further discoveries in its archival history
  • Horror/Supernatural/Gothic fiction: its origins, historical frames and defining terms
  • The works of potent and influential masters such as Dunsany, M.R. James, and Clark Ashton Smith
  • Modern literary and cinematic perspectives in Lovecraftiana and the Supernatural
  • Women in Lovecraftiana/Weird fiction in the past, present, and future
  • Contemporary philosophy of weird, horror, and the supernatural: interpretive approaches

Traditionally, the Armitage Symposium has aimed to foster explorations and disseminations of Lovecraft’s elaborate cosmic mythology, and how this mythology was influenced by, and has come to influence, numerous other fiction writers, historians, art critics, philosophers, archivists, bibliographers of the past and the present. However, all submissions that contribute to interconnecting new linguistic and literary theoretical concepts in academic Lovecraftiana/horror studies are very welcome.

Specifically for the Armitage Symposium, we are particularly interested in submitting works from academics: undergraduates, PhD students, post-graduates, independent scholars, established researchers. Presenters should be prepared to deliver a fifteen to twenty-minute oral presentation, and are invited to submit a manuscript for possible inclusion in the peer-reviewed Lovecraftian Proceedings no. 6.

For consideration, interested scholars should submit an abstract (of around 250-300 words) in Word format along with a short bio (around 100 words) to the symposium chair, Dr Elena Tchougounova-Paulson, at tch.elena15@gmail.com.

The deadline for submissions is May 24, 2024. Early submissions are encouraged.

In addition to these talks, NecronomiCon Providence will also feature numerous traditional panels and presentations, given by many of the top names in Lovecraftian studies and the global Weird Renaissance. For more information on the Armitage Symposium, or the overall convention and the themes to be explored, please, visit our website: necronomicon-providence.com.





About the Symposium:

The Lovecraft Arts and Sciences Council (the organizer of NecronomiCon Providence) hosts the Armitage Symposium to showcase academic works that explore all aspects weird fiction and art, from pop-culture to literature, including the writings and life of globally renowned weird fiction writer, H.P. Lovecraft. Topics of value include the influence of history, architecture, science, and popular culture on the weird fiction genre, as well as the impact that weird and Lovecraftian fiction has had on culture.

In past years, the Armitage Symposium has aimed to foster explorations of Lovecraft’s elaborate cosmic mythology, and how this mythology was influenced by, and has come to influence, numerous other authors and artists before and since. Additionally, we promote all works that foster a greater, critical, and nuanced understanding weird fiction and art (and related science fiction, fantasy, horror, etc.).

Selected talks will be presented together as part of the Armitage Symposium, a mini-conference within the overall convention framework of NecronomiCon Providence, 15-18 August 2024. Presenters will deliver fifteen-minute oral presentations summarizing their thesis, and are invited to submit a brief manuscript for possible inclusion in a proceedings publication.

For more information on the Armitage Symposium, or the overall convention and the themes to be explored, please visit our website: necronomicon-providence.com – where we will post updates and details as they develop over the final weeks leading to the convention. In addition to these talks, NecronomiCon Providence will feature numerous traditional panels and presentations given by many of the top names in the global weird renaissance.

The 2024 CALL FOR PRESENTATION PROPOSALS can be downloaded here: Armitage-Symposium-CFA-2024.pdf