Friday, May 7, 2021

CFP Journal of Dracula Studies [DEADLINE EXTENDED to 6/1/21]

Journal of Dracula Studies [DEADLINE EXTENDED to 6/1/21]

source: https://call-for-papers.sas.upenn.edu/cfp/2021/01/19/journal-of-dracula-studies-deadline-extended-to-6121

deadline for submissions:
June 1, 2021


full name / name of organization:
Anne DeLong/Curt Herr/ Transylvanian Society of Dracula


contact email:
Journalofdraculastudies@kutztown.edu



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 .doc or .rtf). 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.
Submissions must be received no later than May 1, 2021, in order to be considered for the Fall 2021 issue.
Send electronic submissions to journalofdraculastudies@kutztown.edu
Contact: Dr. Anne DeLong or Dr. Curt Herr 

Last updated May 2, 2021 

 

Tuesday, May 4, 2021

RIP Billie Hayes

Many performers have helped solidify the idea of the wicked witch in popular culture. Most might think of Margaret Hamilton from the Wizard of Oz or the Evil Queen from Snow White and the Seven Dwarfs, but others have also made an impact on the world.

One of these was Billie Hayes who passed away this week. (See her obituary from Variety.)

She was, perhaps, best known for her role as Witchiepoo in the Sid and Marty Krofft show H. R. Puffnstuff, entertaining generations of fans with her comic antics.




But Hayes also portrayed other witches over the years, including one on an episode of Bewitched




Saturday, April 24, 2021

CFP Dracones in Mundo: Dragons in Literature, Film, and Pop Culture: A Series of Edited Volumes (7/25/2021)

My thanks to Kristine Larsen for the heads up on this:


Dracones in Mundo: Dragons in Literature, Film, and Pop Culture: A Series of Edited Volumes UPDATE/EXTENDED DEADLINE

Source: https://call-for-papers.sas.upenn.edu/cfp/2021/01/03/dracones-in-mundo-dragons-in-literature-film-and-pop-culture-a-series-of-edited

deadline for submissions: July 25, 2021

full name / name of organization: St. Thomas University

contact email: rachel.carazo@snhu.edu



Dracones in Mundo: Dragons in Literature, Film, and Pop Culture: A Series of Edited Volumes UPDATE/EXTENDED DEADLINE

deadline for submissions:
July 25, 2021

full name / name of organization:
St. Thomas University

contact email:
rachel.carazo@snhu.edu

I received a great response to the last call for papers regarding the volumes on dragons. As a result, I have been better able to refine and divide results.

Below are the new details for the updated call for papers:
As the popularity of mythical creatures in films and literature grows, there is one creature that remains prominent: the dragon. Dragons have become most visible recently in the cinematic versions of The Hobbit and in George R.R. Martin’s A Song of Ice and Fire (Game of Thrones Series). However, there are other films, such as Dragonslayer (1981), Reign of Fire (2002), Dragonheart (1996), and the How to Train Your Dragon series (2010-2019), and numerous adult and children’s literature series that feature dragons.

This call for papers will result in several themed volumes under each of these main headings:

---

FULL VOLUME(S)

1) Wings, Wonders, and Warriors: Dragons in Children’s Literature and Graphic Novels



--

SEMI-FULL VOLUMES (Needing 5-8 essays)

The following two volumes need a few more essays to be considered full:

2) Dragons in Mythology

*Working Title: Flights of the Imagination: Dragons in Mythology and Folklore

3) Dragons in Film and Television

*Working title: Heroes and Villains on 'Silver' Wings: Representations of Dragons in Film and Television

---

OPEN VOLUMES (Needing between 8-10 essays)

4) Dragons in Fiction* [due to the plethora of romance fiction with dragons/shapeshifters, I would be interested also in a separate study or at least a section of the volume about these romantic works]
5) Dragon Games and Online Culture [video games/card games etc]
6) Dragons, Posthumanism, and Animality [since the idea of the posthuman seeks to question the dominating humanistic and anthropocentric perspective upon the nonhuman world, these essays are meant to use this framework to highlight innovations or non-anthropocentric observations on dragons in literature, film, and pop culture]. Topics may include shapeshifters, corporality, affectivity, and the relationship(s) between humans and dragons.
7) The Landscapes of Dragons [these essays seek to investigate ways in which dragons are specifically tied to landscapes, images of the idyll, or images of devastation]
8) Dragons and Ecocriticism [these essays seek ways in which works with dragons remark on the environment in political and critical ways, or how dragon-related narrative can enhance valuable reflections in dialogue with current debates on ecology]
9) Dragon Riders: [even though there is a volume on general fiction, there is a specific genre built around dragon riders as well, so I encourage essays on these topics to show specific intersections between works and relationships within specific works on aspects of riding dragons]
10) Dragons in Fairy Tales/Dragons and Fairy Tale Tropes: [this volume seeks to find aspects of fairy tales or entire tales that relate to dragons/dragon lore in innovative ways/ the editor already has an essay (based on a fairy tale) related to Wings of Fire in process, but all other topics are currently open]
11) Dragons and Pop Culture: Music, Coats of Arms, Dragon Symbols, and Miscellany [this volume seeks to cover media and topics that do not easily fit into the other categories]
12) Dragons in Internet Memes: essays on memes from single films or other themes.

The scope of the present call is still broad. All topics regarding the themes and impact of dragons in film, literature, games, and online culture will be considered. Possible topics include (non-comprehensive list):
  • Dragons as non-human animals
  • Dragons and the environment
  • Dragon symbolism
  • The intersections of childhood, gender, race, and ethnicity with dragons
  • Changes in the representations of dragons over time
  • Visual aspects and attributes of dragons
  • Representations of good and evil in connection with dragons
Deadline for proposals: July 25, 2021

Deadline for first drafts: September 25, 2021* [this deadline may be extended for volumes outside of the first depending on how many abstracts are received and which volumes are completed first]

How to submit your proposal
I will have a co-editor for three volumes: *Posthumanism, *Landscapes, and *Ecocriticism with Stefano Rozzoni (PhD Candidate, University of Bergamo), so proposals regarding those topics should be emailed to both rachel.carazo@snhu.edu and stefano.rozzoni@unibg.it
Please send all other abstracts, a short biographical note, and the name of the volume that the paper is for to Rachel L. Carazo at rachel.carazo@snhu.edu



rachel.carazo@snhu.edu

Rachel Carazo



Last updated April 7, 2021
This CFP has been viewed 200 times.

Monday, April 19, 2021

CFP Studies in the Fantastic General Call and Focus on HBO's Lovecraft Country (6/1/2021)

Studies in the Fantastic

Source: https://utampapress.org/studies-in-the-fantastic/sitf-current-cfp

Current CFP

HBO’s recent series Lovecraft Country takes up the monsters of H. P. Lovecraft’s universe, but flips the script to make the heroes an African-American cast battling various demons in the Jim Crow era. Arguably, the show aimed at a re-appropriation or détournement of the pulp legend’s troubling racism, but critics seem divided on the show’s success. In Dr. Kinitra Brooks’s writings on the series for The Root, she situated it as “a part of the contemporary arts movement that media professor John Jennings coined as ‘Racecraftian,’ inspired by Karen and Barbara Fields in their 2014 book, Racecraft: The Soul of Inequality in American Life.” Therein, racecraft is defined as a practice: racism produces the illusion of race, and Jennings adopted the term (thinking specifically of its homology with Lovecraft’s name) to signify horror narratives that engage with critical race studies for the purpose of dismantling constructions of race. As an adaptation of Lovecraft’s universe, the HBO series would seem to be speaking back to the pulp legend.

Studies in the Fantastic, a journal founded by Lovecraft scholar S.T. Joshi, seeks submissions for a special issue on any aspect of the show, but we are especially interested in essays that delve into this debate, the works of H.P. Lovecraft, Lovecraft Country, and the Racecraftian turn. Acknowledging that the series is new and that many conferences this year are cancelled due to the pandemic, we are accepting shorter essays (3500-6000 words) driven by scene analyses for this collection that seeks to gather together scholars’ “First Thoughts on Lovecraft Country.” Submissions for this special issue should be received by June 1, 2021. Send to the editor at fantastic@ut.edu

Studies in the Fantastic is a journal publishing refereed essays, informed by scholarly criticism and theory on both fantastic texts and their social function. Although grounded in literary studies, we are especially interested in articles examining genres and media that have been underrepresented in humanistic scholarship. Subjects may include, but are not limited to, weird fiction, science/speculative fiction, fantasy, videogames, science writing, futurism, and technocracy. Electronic access to Studies in the Fantastic is available via Project Muse. Follow us on twitter: @study_fantastic

Studies in the Fantastic requests submissions for our biannually published peer-reviewed academic journal. As always, essays examining the fantastic from a variety of scholarly perspectives are welcome.

Studies in the Fantastic has recently launched a reviews section. We publish reviews of scholarly works pertaining to the field but may also be open to scholarly reviews on works of fiction, film, or (video)games. (See issues 8, 9 for examples.) Pitches may be sent to the reviews editor at fantastic_reviews@ut.edu.

 

Sunday, April 11, 2021

CFP Jounal of Dracula Studies 2021 (5/1/2021)

Apologies for having missed this earlier:


Journal of Dracula Studies


Source: https://call-for-papers.sas.upenn.edu/cfp/2021/01/19/journal-of-dracula-studies


deadline for submissions: May 1, 2021


full name / name of organization: Anne DeLong/Curt Herr/ Transylvanian Society of Dracula


contact email: Journalofdraculastudies@kutztown.edu



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 .doc or .rtf). 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.


Submissions must be received no later than May 1, 2021, in order to be considered for the Fall 2021 issue.


Send electronic submissions to journalofdraculastudies@kutztown.edu
Contact: Dr. Anne DeLong or Dr. Curt Herr

Last updated January 21, 2021

Buffy+

Following the recent/ongoing controversy over Josh Whedon, there's an inspiring post on the Facebook of the Whedon Studies Association regarding their evolution as a group and of their rebranded mission and journal, now to be titled Slayage: The International Journal of Buffy+

I'll update links to their sites as soon as the name changes are effective,

Wednesday, March 31, 2021

CFP Northeastern Monsters (8/1/21; NEPCA virtual 10/21-23/21)


Here's the second special call for NEPCA 2021:


Northeastern Monsters

Session Proposed for the 2021 Conference of the Northeast Popular Culture/American Culture Association

Sponsored by the Monsters & the Monstrous Area

Virtual event, Thursday, 21 October, through Saturday, 23 October 2021.

Proposals due by 1 August 2021.



The Northeast Popular Culture/American Culture Association (a.k.a. NEPCA) prides itself on holding conferences that emphasize sharing ideas in a non-competitive and supportive environment. We welcome proposals for presentations of 15-20 minutes in length, from researchers at all levels, including undergraduate and graduate students, junior faculty, and senior scholars, as well as independent scholars. NEPCA conferences offer intimate and nurturing sessions in which new ideas and works-in-progress can be aired, as well as completed projects.

For this session, we’re looking for papers that explore and highlight the Northeast’s contributions to monster lore, including authors, events, individuals, locations, and, of course, monsters.



If you are interested in joining this session, please submit the following information into NEPCA’s online form at http://bit.ly/PopCFP2021.
  • Proposal Type (Single Presentation or Panel
  • Subject Area (select the “Monsters and the Monstrous” from the list)
  • Working Title
  • Abstract (250 words)
  • Short bio (50-200 words)

Address any inquiries to the area chairs: Michael A. Torregrossa at popular.preternaturaliana@gmail.com.

Presenters are also required to become members of NEPCA for the year.

CFP The Mouse’s Monsters: Monsters and the Monstrous in the Worlds of Disney (8/1/21; NEPCA virtual 10/21-23/21)


The first of two special calls for NEPCA 2021:

The Mouse’s Monsters: Monsters and the Monstrous in the Worlds of Disney

Joint Session Proposed for the 2021 Conference of the Northeast Popular Culture/American Culture Association

Sponsored by the Monsters & the Monstrous Area and the Disney Studies Area.

Virtual event, Thursday, 21 October, through Saturday, 23 October 2021.

Proposals due by 1 August 2021.



The Northeast Popular Culture/American Culture Association (a.k.a. NEPCA) prides itself on holding conferences that emphasize sharing ideas in a non-competitive and supportive environment. We welcome proposals for presentations of 15-20 minutes in length, from researchers at all levels, including undergraduate and graduate students, junior faculty, and senior scholars, as well as independent scholars. NEPCA conferences offer intimate and nurturing sessions in which new ideas and works-in-progress can be aired, as well as completed projects.

For this session, at present, we’re most interested in proposals related to representations of monsters and the monstrous in the traditional Disney brand and to Pixar. Submissions related to more recent properties and acquisitions (for example the Muppets, ABC, ABC Family/Freeform, Saban Entertainment, Marvel, Lucasfilm, Twentieth Century Fox, and Hulu) might be set on an alternate panel. All submissions will also be considered for inclusion in a collection of essays based on the topic.



Potential topics might include the following:

  • Adaptations of classic monster stories.
  • Aliens.
  • Animals as monsters.
  • Attractions.
  • Bad dreams.
  • Communities of monsters.
  • Constructs.
  • Cryptids.
  • Curses.
  • Dinosaurs.
  • Disguises.
  • Disney as monstrous.
  • Disney Villains.
  • Gargoyles.
  • Ghosts.
  • Halloween.
  • Halloween-themed productions.
  • Horror-themed productions.
  • Human “monsters”.
  • Imaginary creatures.
  • Legendary creatures.
  • Magical creatures.
  • Magic-users.
  • Othered individuals.
  • Reanimated dead.
  • Shape-shifters.
  • Technology and monsters.
  • Undead/zombies.
  • Underworld and other realms of the dead.
  • Vampires.
  • Weather-related monsters.



If you are interested in joining this session, please submit the following information into NEPCA’s online form at http://bit.ly/PopCFP2021.

  • Proposal Type (Single Presentation or Panel)
  • Subject Area (select the “Monsters/Disney (Joint Session)” at the bottom of the list)
  • Working Title
  • Abstract (250 words)
  • Short bio (50-200 words)


Address any inquiries to the area chairs: Michael A. Torregrossa (Monsters & the Monstrous) at popular.preternaturaliana@gmail.com and Priscilla Hobbs (Disney Studies) at p.hobbs-penn@snhu.edu.

Presenters are also required to become members of NEPCA for the year.

Sunday, March 21, 2021

CFP Poe Studies Association at MLA 2022 (3/17/21; Washington DC 1/6-9/22)

 More from the Poe Studies Association's website:

Modern Language Association Annual Convention
Washington, D.C., 2022

Poe scholars and Poe aficionados are always talking about Poe and always reading and rereading his works. He is ubiquitous—in print, film, popular culture, and all over the internet. His online presence increased even more in the late winter and early spring of 2020 as the world wrestled with the COVID-19 pandemic. For those of us who teach Poe and those of us who write about him, doing so in 2020 and 2021 seems more timely than ever, but it also feels different.

Why should we read or teach Poe “now”? How is or isn’t Poe relevant in the midst/wake of a global pandemic and serious social conflict? Is his work timely, timeless, both, neither? Submit 250-word proposals and 1-page CVs to emronesplin@gmail.com by Wednesday, March 17.

Depending on the number and quality of submissions, this session will either run as a 3-4 person panel or as a roundtable including several participants.






CFP Poe Tales Boston Conference (6/15/21; Boston 4/7-10/21)

From the Poe Studies Association's website. I included the call below.

Poe Takes Boston

The Fifth International Edgar Allan Poe Conference

Boston, MA April 7-10, 2022


The Fifth International Edgar Allan Poe Conference will take place at the historic Omni Parker House Hotel in Boston. For more information, see the attached call for papers and flyer.



Friday, March 19, 2021

CFP Romancing the Gothic (3/31/21)

Came acoss this a while ago but forgot to post it. My apologies.


Romancing the Gothic 

Source: https://call-for-papers.sas.upenn.edu/cfp/2020/12/04/romancing-the-gothic


deadline for submissions: March 31, 2021


full name / name of organization: Romancing the Gothic Project


contact email: hollyhirst84@gmail.com




Romancing the Gothic is online education project which offers free classes on the Gothic, horror, folklore, queer literature, romance and hidden histories. We are an interdiscplinary project with scholars taking part from many different fields and from all over the world. We have a regular audience as well as open sign-ups. To find out more about the project - see the website - https://romancingthegothic.com



We are looking to put together our 2021 schedule for Saturday Classes/Talks, Sunday Talks and Monthly Writing and Creative workshops. We are looking for scholars willing to submit on a variety of topics including: Horror and Gothic film and literature, National Traditions of Supernatural Literature, Demonologies, Intersections of Medicine and Literature, Queer Gothic and Horror. For a full list of requested talks see the website - https://romancingthegothic.wordpress.com/2020/12/05/call-for-talks-class...



This is an opportunity to engage with an international audience and interact with a growing network of scholars from all areas of academic life. It is also a good opportunity for both experienced and inexperienced presenters and speakers as full support is offered prior to the talk being given.



Please follow the link provided above for further details. Send a title and abstract (100-300 words) to sam@romancingthegothic.com


Last updated January 17, 2021 

 

CFP Nightmare Before Christmas Essay Collection (5/3/2021)

Sorry to have missed this earlier.

CFP: Nightmare Before Christmas (Key Films/Filmmakers in Animation series, Bloomsbury)


Source: https://fanstudies.org/2021/01/28/cfp-nightmare-before-christmas-key-films-filmmakers-in-animation-series-bloomsbury/


This edited collection will consider Nightmare Before Christmas as a milestone in animation and film history as well as a key cultural object with lasting impact. The book will be inserted in Bloomsbury’s Key Film/Filmmakers in Animation series.

In the thirty years since its release, Nightmare Before Christmas has drawn repeated academic attention. Many of these contributions have seen the film as an entry point to larger arguments about Tim Burton’s work, whether in terms of its animation (Cuthill 2017), representations of gender (Mitchell 2017), and use of fairy tales (Burger 2017). Less often, Nightmare Before Christmas has been considered in relation to other frameworks, such as its presence beyond the film industry, in theme parks (Williams 2020a, 2020b), and the way it negotiated changing cultural expectations of children’s media and horror (Antunes 2020). Though this literature has shed light on several aspects of the film’s significance, there is to date no sustained scholarly inquiry that brings these insights together and examines the historical and cultural significance specifically of Nightmare Before Christmas. This edited collection seeks to address this gap, considering the different layers of meanings and history of Nightmare Before Christmas from pre-production to the present day.

Nightmare Before Christmas was released quietly in 1993 under Disney’s Touchstone banner and sold primarily on the art-house appeal of its animation technique, amid fears that a close association with child audiences would harm Disney’s reputation. But the film was an immediate success and has since been reclaimed by Disney as one of its most beloved family titles. Growing into a cult phenomenon, Nightmare Before Christmas still cultivates a dedicated fandom across the globe today with an array of merchandise, tie-in products, and other media.

Nightmare Before Christmas marks an important moment of technological development in stop-motion animation, and the technique has continued to have a key presence in the industry, particularly associated with horror- and gothic-inspired narratives (Selick’s Coraline and ParaNoman, or Burton’s Corpse Bride and Frankenweenie), where it blurs questions of suitability for child audiences and continues to fuel debates about the art of animated films and its target audiences. Indeed, the specific combination of stop-motion and children’s horror in Nightmare Before Christmas is key to how the film has negotiated genre, suitability, and other cultural categories in its original and retrospective reception, questions which often become tangled with ideas of nostalgia.

More recently, Nightmare Before Christmas continues to serve as a point of reference for negotiations of genre and of the boundaries between mainstream and niche cultures, both on screen and in spaces of fandom. Its many afterlives expand well beyond the film industry, occupying manga and comic books , board games, and other paraphernalia, as well as physical rooted localities through events such as the live-staged musical, theme parks, and in exhibits (Hicks 2013), as well as through the fan practices that the film has inspired, such as fan fashion (Cuthill 2017) and makeup, cosplay, textual production, and transcultural fandom.

How can we best understand Nightmare Before Christmas and its significance in the history of film and animation? What is Nightmare Before Christmas’ legacy thirty years on, and how does it continue to challenge and delight audiences, scholars, and industry today?

This book aims to collect diverse and original insights into the meanings and impacts of Nightmare Before Christmas from a range of disciplinary perspectives and methods. Some suggested topics include:
  • Nightmare Before Christmas in animation and film history;
  • animation and genre (musicals/fairy tales/horror/family/etc);
  • narrative structure in Nightmare Before Christmas and the audience;
  • stop-motion as animation technique and cultural object;
  • animation and branding practices;
  • Nightmare Before Christmas as seasonal media (Christmas/Halloween);
  • suitability, animation, and young audiences;
  • children’s horror animation before and after Nightmare Before Christmas;
  • animation and nostalgia;
  • animation, technology, and art;
  • the music of Nightmare Before Christmas (songs, covers, re-releases, etc.);
  • the politics of representation in Nightmare Before Christmas;
  • childhood in Nightmare Before Christmas and its associated texts and practices;
  • authorship and associated debates (Burton/Selick/Elfman/Disney), including the links between Nightmare Before Christmas and other works;
  • franchises and franchising relationships;
  • live and experiential events linked to the film (live musicals, theme park attractions, the Beetle House restaurants in New York and Los Angeles, Tim Burton exhibitions, etc.);
  • transmedia and merchandise (Funko figures, action figures, board games, clothing and make-up, cookbooks, etc.);
  • transnational critical and audience/fan reception;
  • fandom, subcultures (Goth/emo), and fan practices, including transformative works (fan animation, fanfiction, fan videos,…);
  • cosplay and the body in Nightmare Before Christmas fandom.

JQuestions and informal discussion can be directed at any of the three co-editors: Filipa Antunes (a.antunes@uea.ac.uk), Brittany Eldridge (brittany.eldridge.18@ucl.ac.uk), and Rebecca Williams (rebecca.williams@southwales.ac.uk). Formal proposals (under 300 words) and short bio should be emailed to Rebecca Williams by 3 May 2021.



CFP Japanese Horror Essay Collection (5/1/21)

Last Call for Chapters: Japanese Horror

Source: https://call-for-papers.sas.upenn.edu/cfp/2021/03/15/last-call-for-chapters-japanese-horror


deadline for submissions: May 1, 2021


full name / name of organization: Fernando Gabriel Pagnoni Berns


contact email: citeron05@yahoo.com




Last Call for Chapters: Japanese Horror



Edited by Subashish Bhattacharjee (Jawaharlal Nehru University),

Ananya Saha (Jawaharlal Nehru University) and

Fernando Gabriel Pagnoni Berns (Universidad de Buenos Aires, Argentina)

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



We, the editors, are looking for four additional chapters for our book on Japanese horror. The deadline for the full manuscript to Lexington Press is May 10, 2021, so potential contributors must have in mind the process will be quickly as possible. Below, our original CFP.

The cultural phenomenon of Japanese Horror has been of the most celebrated cultural exports of the country, being witness to some of the most notable aesthetic and critical addresses in the history of modern horror cultures. Encompassing a range of genres and performances including cinema, manga, video games, and television series, the loosely designated genre has often been known to uniquely blend ‘Western' narrative and cinematic techniques and tropes with traditional narrative styles, visuals and folklores. Tracing back to the early decades of the twentieth century, modern Japanese horror cultures have had tremendous impact on world cinema, comics studies and video game studies, and popular culture, introducing many trends which are widely applied in contemporary horror narratives. The hybridity that is often native to Japanese aestheticisation of horror is an influential element that has found widespread acceptance in the genres of horror. These include classifications of ghosts as the yuurei and the youkai; the plight of the suffering individual in modern, industrial society, and the lack thereof to fend for oneself while facing circumstances beyond comprehension, or when the features of industrial society themselves produce horror (Ringu, Tetsuo, Ju on); settings such as damp, dank spaces that reinforce the idea of morbid, rotten return from the afterlife (Dark Water)—these are features that have now been rather unconsciously assimilated into the canon of Hollywood or western horror cultures, and may often be traced back to Japanese Horror (or J-Horror) cultures. Besides the often de facto reliance on gore and violence, the psychological motif has been one of the most important aspects of Japanese Horror cultures. Whether it is supernatural, sci-fi or body horror, J-Horror cultures have explored methods that enable the visualising of depravity and violent perversions, and the essence of spiritual and material horror in a fascinating fashion, inventing the mechanics of converting the most fatal fears into visuals.

The proposed volume will focus on directors and films, illustrators and artists and manga, video game makers/designers and video games that have helped in establishing the genre firmly within the annals of world cinema, popular culture and imagination, and in creating a stylistic paradigm shift in horror cinema across the film industries of diverse nations. We seek essays on J-Horror sub-genres, directors, illustrators, designers and their oeuvre, the aesthetics of J-Horror films, manga, and video games, styles, concepts, history, or particular films that have created a trajectory of J-Horror cultures. Works that may be explored in essay-length studies include, but are not limited to, Kwaidan, Onibaba, Jigoku, Tetsuo: The Iron Man and its sequels, Audition, Fatal Frame, the Resident Evil game franchise, Siren, Uzumaki, Gyo, Tomie, besides the large number of Japanese horror films that have been remade for the US market, including Ringu, Ju on, Dark Water, and Pulse among others, and a host of video games with Western/American settings (such as the Silent Hill franchise) and film adaptations (Resident Evil franchise)—analysing the shift from the interactive game form to consumable horror in the cinematic form. For adaptations, we are also looking for essays that analyse the shift from the interactive game form or image-and-text form to consumable audiovisual horror in the form of cinema and vice versa. Analyses of remakes could also focus on the translatability of Japanese horror vis-à-vis American or Hollwood-esque horror, and how the Hollywood remakes have often distilled western horror cinematic types to localise the content.

Directors, designers and manga artists working in the ambit of Japanese horror cultures who may be discussed include, but are not limited to, Nobuo Nakagawa, Kaneto Shindo, Masaki Kobayashi, Hideo Nakata, Takashi Miike, Kiyoshi Kurosawa, Ataru Oikawa, Takashi Shimizu, Hideo Kojima, Junji Ito, Kazuo Umezu, Shintaro Kago, Katsuhisa Kigtisu, Gou Tanabe and others. Other issues that may be explored in J-Horror cultures may include the issue of violence and gore, gender and sexuality, sexual representation, the types of the supernatural, cinematic techniques and narrative techniques and others.

At this stage we are looking for both, submission of complete articles of up to 7000 words or abstracts for proposed chapters up to 500 words.

Enquiries and submissions are to be directed to Fernando Pagnoni Berns at citeron05@yahoo.com





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).



Ananya Saha is a PhD scholar in the Centre for English Studies, JNU, New Delhi. Her research is on the idea of the 'outsider' in Japanese and non-Japanese manga vis-a-vis globalization. Other research interests include Fandom and Queer studies, Translation theory and practice, New Literatures and so on. She has published in international journals, including Orientaliska Studier (No 156), from the Nordic Association of Japanese and Korean Studies. She is the co-editor of the volume titled Trajectories of the Popular: Forms, Histories, Contexts (2019), published by AAKAR, New Delhi. She has been the University Grants Fellow, SAP-DSA-(I) in the Centre for English Studies, JNU (2016-17), and has been awarded a DAAD research visit grant to Tuebingen University, Germany under the project "Literary Cultures of Global South."



Fernando Gabriel Pagnoni Berns 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 has edited a book on director James Wan (McFarland, 2021).

Contact Email:

citeron05@yahoo.com



Last updated March 16, 2021 

 

CFP Fairies: A Companion (6/30/21)


This sounds like a great idea:

Fairies: A Companion

source: https://call-for-papers.sas.upenn.edu/cfp/2021/03/03/fairies-a-companion

deadline for submissions: June 30, 2021


full name / name of organization: Simon Bacon and Lorna Piatti-Farnell


contact email: lorna.piatti-farnell@aut.ac.nz




Stories about fairies and the fae have long populated the imagination of many cultures around the world. Fairy histories have been the focus of much scholarly debate, and so has the figure of the fairy as a cultural icon.

Fairies and the fae have also gained a noticeable importance in the 21st century, bringing with them an increased cultural focus on traditional beliefs and indigenous identities. Indeed, while the connection to the folkloristic and the literary remains strong—with the multiple re-incarnations Tinkerbell from Peter Pan taking centerstage here—fairies have also found renewed life in modern and contemporary re-imaginings.

Film and television, as well as recent SVOD platforms such as Netflix and Amazon Prime, have provided a fertile arena for fairies to grow in influence and representation, especially considering their continued centrality in the cross-century genres of paranormal romance and fantasy. From the highly sexualities creatures of True Blood (2008–2014) to the ethnically diverse groups portrayed in Carnival Row (2019), from the gender-swap production of A Midsummer Nights Dream (2020) to the portrayal of Billy Porter as a gender neutral Fairy Godmother in Cinderella (2021), these re-envisionings give the old tropes of classic fairy texts new life.

Merging old lore with contemporary socio-cultural and socio-historical politics, the newly re-vamped fairies operate as central figures in the evolution of identity politics. Alongside this lies is an obvious connection to the environment, where fairies become representative and protectors of the eco-system, though not just as preservers of the past but as augers of a future where humanity and the planet can survive together. In their multiple incarnations, fairies prove how the magical can be returned into the everyday.

In answer to the evolutionary portrayals of fairies and the fae in our cultures, histories, and narratives, the editors welcome chapter proposal for selection and inclusion into Fairies: A Companion. The volume will be part of the Fiction, Genre and Film Companions for Peter Lang, Oxford.

Topics may include, but are not limited to:
  • Fairies and folklore
  • Fairies and history
  • Fairies and narrative genres
  • Fairy tales, and tales about fairies
  • Fairies and magic
  • Fairies and gender
  • Fairies and body politics
  • Fairies and diversity
  • Fairies and ethnicity/race
  • Fairies and national identities
  • Fairies and ecology
  • Fairies and religion
  • Fairies and food
  • Fairies and politics
  • Fairies and tradition
  • Fairies and the Gothic
  • Fairies and horror
  • Fairies in media and popular culture
  • Fairy and cosplay and lifestyle (from carnival to Halloween)
  • Fairies in children’s literature and media
  • Fairies in games, gaming and roleplay
  • Fairy songs, music and performance
  • Fairies, in/post-humanity, and hybridity
  • Fairy merchandise
  • Transformations in fairy representation
  • Transnational and intercultural cultural approaches to fairies

The editors invite abstracts of 300 words on or around any of the above topics. Final essays will be 3,000 words in length.

The deadline for submission of abstracts is June 30, 2021. Please email your abstracts (together with a short bio, 100 words max) for consideration to both editors: Simon Bacon, baconetti@googlemail.com; and Lorna Piatti-Farnell, lorna.piatti-farnell@aut.ac.nz.



Last updated March 4, 2021

NecronomiCon Providence 2021 now 2022

 A brief update on the status of NecronomiCon Providence 2021.

It appears the organizers and conference site have worked out their concerns. Per their website:

NOTE: given the very real dangers posed by the ongoing Covid-19 Pandemic, and in agreement with our local partners, we’ve decided to move the event to 2022 in order to minimize the risks involved while still bringing you the best event experience we can. We look forward to welcoming you all to Providence!

The event is now scheduled for summer 2022.




Sunday, February 28, 2021

NecronimiCon Providence 2021 Updates

I just discovered some updates today on the NecronomiCon Providence event scheduled for August 2021.

At present, the convention is still scheduled as a face-to-face event, owing to its contract with the venue hotel, but it is possible that the convention will be postponed to 2022.

In related news, the academic track of NecronomiCon has been cancelled for 2021 due to travel restrictions.

Updated Thursday, 4 March 2020.

 


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