CFP- Depicting the afterlife: morality and religion in contemporary film and media (collection) (abstracts by 11/17/2024)

CFP- Chapter abstracts for the edited collection “Depicting the afterlife: morality and religion in contemporary film and media 

source: https://networks.h-net.org/node/73374/announcements/10556125/cfp-chapter-abstracts-edited-collection-%E2%80%9Cdepicting-afterlife
 
Announcement published by Angelique Nairn on Friday, July 29, 2022

Type: Call for Papers

Date: November 17, 2022

Location: New Zealand

Subject Fields: Film and Film History, Literature, Philosophy, Popular Culture Studies, Religious Studies and Theology




(For possible inclusion as part of the Routledge Advances in Popular Culture Studies series)

As Garrett (2015) contends, popular cultural representations of the afterlife are a means of imaginatively and creatively grappling with the unknown. These representations can offer explanations about life after death or the in-between, to rationalize the existential, support and challenge religious doctrines, and entertain and educate so that society might live life to the fullest or feel assured that there is something more.

According to O’Neil (2022), at their crux, these representations hinge on hope and the prospect of happiness, permeable boundaries that see a blurring of ‘here’ and ‘there,’ self-determination as key to understanding the afterlife, and acts of sacrifice and love that forge the conditions of eternal happiness. These ideas about the afterlife construct perceptions of morality and religion: what one must do now to reap the benefits once one has passed over.

These popular cultural representations, then, present “a range of narratives, consumer choices, moral dispositions and selected rituals of conduct” (Saenz, 1992, p. 43), which people “may adopt, adapt, criticize or reject as components in our implicit knowledge” (Dant, 2012, p. 24). With media such as The Good Place, Upload, The Inbetween, Afterlife of the Party, Coco, Soul, Reaper, Elsewhere, If I Stay, and Boo Bitch (to name but a few), focused on the afterlife, it seems timely to explore the messages promulgated in such texts about morality and/or religion. This is especially given media can prompt questioning and reasoning that aids self-reflection (Hawkins, 2001) and integrates people into an established order offering models of appropriate ways of being (Krijen & Verboord, 2016).

Therefore, this collection aims to explore representations of morality and/or religion in 21st-century popular cultural texts that feature and emphasize the afterlife. It asks how the afterlife is understood but moreover, how are people encouraged to live their lives? Such aims will inevitably consider what place (if any) religion has in shaping popular cultural texts and understandings of the beyond, and what perceptions of morality are favoured and guide character story arcs. Ultimately this edited collection will contribute to a continued and growing discussion on the representations of morality, religion, and the afterlife in contemporary society.

Please send 300- word abstracts, including a title and short biography to Angelique Nairn angelique.nairn@aut.ac.nz by November 17th 2022.

Please note that the edited collection will not be published before 2024.

Possible topics might include, but are not limited to:

• Moral motivation/reasoning and life after death
• Dichotomies of Heaven and Hell
• Representations of the ‘soul’
• Cultural differences in constructions of the afterlife
• Depictions/constructions of the spiritual realm
• Ghosts, the paranormal, and the afterlife
• Religious motifs in texts that feature the afterlife
• Representations of Supreme Being(s)
• Notions of suffering and reward in the afterlife

Contact Info:


Dr Angelique Nairn

Auckland University Technology
Contact Email:
angelique.nairn@aut.ac.nz

CFP “Researching Horror Fans and Audiences in the Twenty-First Century”. (7/31/2022)

CfP: Edited Collection “Researching Horror Fans and Audiences in the Twenty-First Century”. Deadline: July 31, 2022

source:  https://cstonline.net/cfp-edited-collection-researching-horror-fans-and-audiences-in-the-twenty-first-century-deadline-july-31-2022/

Jun 24, 2022

 

Edited by: James Rendell and Kate Egan

Submission deadline: 31^st July 2022.

If ‘[w]e… want to think about horror as an umbrella term encompassing several different sub-categories’ (Cherry 2009: 3), frequently clustered as ‘cycles’ located on particular media at specific times and places (Mittell 2004: 8; Hutchings 2004: 15-16), then horror fans are even more nebula. From the individual illegally downloading rare banned cinema from other parts of the world to the parents taking their children to a kid-friendly Stranger Things Secret Cinema matinee event, horror fandom is a leviathan that is both shapeshifting and hydra-headed. There are those who love certain monsters, subgenres, and creatives, whilst others enjoy the genre via specific media such as novels, theatre, cinema, TV, and video games. Equally, the types of affective pleasure that come from consuming horror media are myriad: the thrills of being scared (Barker et al. 2016), to the emotional bond formed with characters (Rendell 2019), to valuing subcultural knowledge-over-effect (Hills 2005). Likewise, intersectional make-up such as gender, race, sexuality, and nationality inform audience responses to horror media and shape fan identity (e.g. Johnson 2015; Morales 2021). Conversely, horror fandom is often married with anti-fandom reacting to perceived misuses of the genre, such as cult fans’ disdain for Hollywood teen Gothic blockbusters, viewers who prefer aesthetic restraint over the shock and gore of depicted corporeal trauma, and those who find issues with onscreen representations or lack thereof. Moreover, the variety of fan practices further complicates horror fandoms as participatory cultures, oscillating between the textual and tactile, between the offline and online, and between affirmational and transformative works. We might also note that whilst devotees invest time, energy, and finances into consuming an array of genre paratexts (e.g. Sexton 2015), there are also audiences who casually or infrequently enjoy horror (e.g. Church 2021). Yet, despite the continual study of horror media, the industries producing it, and the cultures or nations from which it arises, comparatively the examination of horror fans have been left somewhat in the shadows (Hills 2014: 90; Barker et al. 2016: 66-67). Addressing this shortcoming, this edited collection seeks a diverse range of chapters on horror audiences, fans, and anti-fans. Topics could include (but are not limited to):

• Horror fans and affect
• Identity and horror fandom
• Horror fandom of specific texts, monsters, subgenres, creatives, or media
• Life cycles of horror fandom
• Transmedia and horror audiences
• Horror fans collecting, paratexts, and merchandise
• Controversy surrounding horror audiences and intra-fandom conflict
• Horror anti-fandom
• Horror fandoms’ online cultures and digital media
• Transformative horror fan works
• Haptic fan experiences and tactile fan crafts
• Horror fandom and the body – cosplay, clothing, tattoos
• National, transcultural, and global horror fandom
• Lay audiences and causal fandom
• Genre nostalgia, memories of horrors past, and audiences’ experiences of horror media
• Horror fans and public events – conventions, festivals, themed events, and experiential cinema

Please submit abstracts (maximum 350 words) and bios (maximum 150 words), or any questions you have, to James Rendell (james.rendell@southwales.ac.uk) and Kate Egan (kate.egan@northumbria.ac.uk). There is an intention to submit the collection for the 21st Century Horror series at EUP who have expressed initial interest. Submission deadline: 31^st July 2022.

 

Work Cited

Barker, M., Egan, K., Phillips, T. and Ralph, S. 2016. Alien Audiences: Remembering and Evaluating a Classic Movie. Basingstoke: Palgrave Macmillan.

Cherry, B. 2009. Horror. London: Routledge.

Church, D. 2021. Post-Horror: Art, Genre, and Cultural Elevation. Edinburgh: Edinburgh University Press.

Hills, M. 2005. The Pleasures of Horror. London: Continuum.

Hills, M. 2014. ‘Horror Reception/Audiences.’ In Benshoff. H.M. (ed). A Companion to the Horror Film. Oxford: Wiley Blackwell. pp:90-108

Hutchings, P. 2004. The Horror Film. Harlow: Pearson Longman.

Johnson, D. D. 2015. ‘Misogynoir and Antiblack Racism: What The Walking Dead Teaches us About the Limits of Speculative Fiction Fandom.’ Journal of Fandom Studies. 3(3). pp:259-275

Mittell, J. 2004. Genre and Television: From Cop Shows to Cartoons in American Culture. New York: Routledge.

Morales, O. 2021. ‘The Visceral in Latinx Horror’. Flow [online]. 27^th April. Available at: http://www.flowjournal.org/2021/04/visceral-in-latinx-horror/

Rendell, J. 2019. A picture is worth a thousand corpses: Audiences’ affective engagement with In the Flesh and The Walking Dead through online image practices. Participations: Journal of Audience & Reception Studies. 16(2). pp.88-117

Sexton, J. 2015. Creeping Decay: Cult Soundtracks, Residual Media, and Digital Technologies. New Review of Film and Television Studies. 13(1). pp:12-30

CFP Here Be Monsters: General Call for Papers for the Monsters & the Monstrous Area (8/15/2022; online conference 10/20-22/2022)

Here Be Monsters: General Call for Papers for the Monsters & the Monstrous Area of the Northeast Popular Culture/American Culture Association

2022 Annual Conference of the Northeast Popular Culture/American Culture Association

Virtual Event to be held Thursday, 20 October, to Saturday, 22 October 2022

Proposals are due 15 August 2022


We live in an age full of monsters. We make them, yet they escape our control and have profound impacts on us, often reshaping us in their images. Our beliefs, experiences, and politics contribute much to our ideas of monsters. Depending on one’s perspective, we can find them in our homes, in our families, in our schools, in our communities, in our governments, and in the world at large. Often such monsters appear unexpectedly, but, at other times, they strike repeatedly against us and those we cherish. We also create and fear the monstrous in unknown spaces. The darkness of night, the depths of the oceans, other unexplored reaches of the planet, and the vastness of outer space are all common locations for monsters to dwell. Lastly, through media, both old and new, we encounter monsters in a multiplicity of cultural texts. Often we engage with them in printed works (such as comics, fiction, and poetry) or through performances (as in music or on stage), but, increasingly, we find the monster brought to life on the various screens we interact with each day: on computers, films, phones, tablets, and televisions.


The Monsters & the Monstrous Area of the Northeast Popular Culture/American Culture Association (also known as NEPCA) invites proposals for 15-20-minute presentations that highlight our experiences with, reactions to, and/or reflections on the various monsters and monstrous entities (animal, human, hybrid, or preternatural) in popular culture.


This year, we are especially interested in submissions on the following topics:

• “From ‘Them’ to Now: Changing Metaphors of the Monstrous Insect” (organized by Eddie Guimont, Bristol Community College) (co-sponsored with NEPCA’s Animals and Culture Special Topics) (see the full call at https://tinyurl.com/FromThemToNow)
• H. G. Well’s War of the Worlds at 125 and its impact on popular culture (some ideas: aliens and alien invasions in popular culture or Mars and Martians in popular culture)
• Monsters in comics milestones (Archie Comics’ Sabrina the Teenaged Witch at 60, Jack Kirby’s The Demon/Etrigan at 50, Marvel Comics’ Tomb of Dracula and Werewolf by Night at 50)
• Monsters of the Past Becoming the Monsters of the Present (especially Ghostbusters and Ghostbusters: Afterlife, medieval monsters today, and The Munsters and Rob Zombie’s The Munsters)
• Northeast Monsters & the Monstrous (for example: H. P. Lovecraft and his legacy in popular culture, local lore of monsters and the monstrous in the Northeast, the New England Gothic tradition in popular culture, the New England vampire panic in popular culture, the New England witch trials in popular culture, and Stephen King and his family and their impact on horror in popular culture)
• Monsters & the Monstrous as Infestation
• Monsters & the Monstrous as Invaders/Invasion
• Monsters on screen milestones (Haxan at 100; Freaks, Island of Lost Souls, The Mummy, Murders in the Rue Morgue, and White Zombie at 90; Cat People at 80; The Curse of Frankenstein, I Was a Teenage Frankenstein, I Was a Teenage Werewolf, and The Incredible Shrinking Man at 65; Doctor Faustus at 55; Poltergeist, Swamp Thing, and The Thing at 40; Hellraiser and The Monster Squad at 35; Candyman at 30; and The Devil’s Advocate at 25; Hotel Transylvania at 10)
• Vampire milestones (Le Fanu’s Carmilla at 150 and Stoker’s Dracula at 125) and their impact on popular cultures
• Vampires on screen milestones (Nosferatu at 100, Vamprye at 90, Blacula at 50, The Lost Boys at 35, Buffy the Vampire Slayer and Forever Knight at 30, Buffy the Vampire Slayer television show at 25; and Blood Ties and Moonlight at 15 )
• “The worst monsters are the ones we create”: Monstrosity in the Witcherverse (organized by Kris Larsen, Central Connecticut State University) (see the full call at https://tinyurl.com/MonstrosityinWitcherverse)

Send any questions on these or other topics to Michael A. Torregrossa, the Monsters & the Monstrous Area Chair, at Popular.Preternaturaliana@gmail.com. However, please submit your proposal directly into NEPCA’s conference system at https://bit.ly/CFPNEPCA22. You will need to have prepared the following: Yout Email, The type of proposal (single paper or full panel), Your Name, Your Proposed Subject Area (select “Monsters and the Monstrous” please), An Abstract (no more than 250 words), Academic Affiliation (if applicable), Scholarly Role, and Short Bio (up to 200 words), and Timing preferences for the session. The system will send you a receipt of your submission and alert the area chair of its readiness for review.

If accepted, presenters must join NEPCA for the year and pay the conference fee. This year the costs are $54.67 USD for Conference Registration & Membership Dues. Payment is expected in advance of 1 October 2022. Do connect with the area chair (at Popular.Preternaturaliana@gmail.com) or NEPCA directly via Lance Eaton, the Executive Secretary, (at northeastpopculture@gmail.com), if you are experiencing financial challenges that might impact your ability to present.


NEPCA prides itself on holding conferences that emphasize sharing ideas in a non-competitive and supportive environment. NEPCA conferences offer intimate and nurturing sessions in which new ideas and works-in-progress can be aired, as well as completed projects.

We welcome proposals from scholars of all levels, including full-time faculty, graduate students, independent scholars, junior faculty, part-time faculty, and senior scholars. We are also open to undergraduate presentations, provided a faculty member is also included as a point of reference (please include the faculty member’s name, institution, and email in the bio section when submitting).


For further details on NEPCA, please visit its site at https://nepca.blog/. The dedicated page for the conference is https://nepca.blog/conference/.

The Monsters & the Monstrous Area maintains its own site for news and resources. Please check us out at https://popularpreternaturaliana.blogspot.com/.


This call for papers can be accessed at https://tinyurl.com/HereBeMonstersNEPCA22.

CFP From "Them" to Now: Changing Metaphors of the Monstrous Insect (8/15/2022; NEPCA Monsters Area - online conference 10/20-22/2022)

“From ‘Them’ to Now: Changing Metaphors of the Monstrous Insect”

Session Organized by Eddie Guimont, Bristol Community College

Co-Sponsored by the Monsters & the Monstrous Area and the Animals and Culture Special Topic of the Northeast Popular Culture/American Culture Association

2022 Annual Conference of the Northeast Popular Culture/American Culture Association

Virtual Event to be held Thursday, 20 October, to Saturday, 22 October 2022

Proposals are due 15 August 2022



In the early twentieth century, H. G. Wells’ “Empire of the Ants” used an outbreak of intelligent ants to critique European colonialism, while in Franz Kafka’s Metamorphosis, every aspect of the metaphor of the titular transformation of Gregor Samsa is debated, save the fact that it is a metaphor. In the 1950s, classic science fiction B-movies like Them and Beginning of the End introduced the trope of radiation mutating insects to enormous size, reflecting Cold War fears over invasion and nuclear war. 1958 The Fly served as a criticism of the same science run amok that led to the development of nuclear weapons, and was remade in the 1980s when Cold War tensions returned for their last major peak. In the last two years, congruent with the covid pandemic and various political protest waves, not only has Mothra returned and Spider-Men encountered themselves, but the news has included such stories as the return of the cicada Brood X, grasshopper swarms in the western US, “murder hornet” scares, and crickets as an explanation for “Havana Syndrome.” We seek papers that investigate the depictions of monstrous insects in pop culture (including news stories) across history, particularly with how such depictions reflect various social, political, and economic concerns of their eras.


The Monsters & the Monstrous Area of the Northeast Popular Culture/American Culture Association (also known as NEPCA) invites proposals for 15-20-minute presentations that engage with the idea of the monstrous insect in popular culture.


Send any questions on this session to Michael A. Torregrossa, the Monsters & the Monstrous Area Chair, at Popular.Preternaturaliana@gmail.com. However, please submit your proposal directly into NEPCA’s conference system at https://bit.ly/CFPNEPCA22. You will need to have prepared the following: Yout Email, The type of proposal (single paper or full panel), Your Name, Your Proposed Subject Area (select “Monsters and the Monstrous” please), An Abstract (no more than 250 words), Academic Affiliation (if applicable), Scholarly Role, and Short Bio (up to 200 words), and Timing preferences for the session. The system will send you a receipt of your submission and alert the area chair of its readiness for review.

If accepted, presenters must join NEPCA for the year and pay the conference fee. This year the costs are $54.67 USD for Conference Registration & Membership Dues. Payment is expected in advance of 1 October 2022. Do connect with the area chair (at Popular.Preternaturaliana@gmail.com) or NEPCA directly via Lance Eaton, the Executive Secretary, (at northeastpopculture@gmail.com), if you are experiencing financial challenges that might impact your ability to present.


NEPCA prides itself on holding conferences that emphasize sharing ideas in a non-competitive and supportive environment. NEPCA conferences offer intimate and nurturing sessions in which new ideas and works-in-progress can be aired, as well as completed projects.

We welcome proposals from scholars of all levels, including full-time faculty, graduate students, independent scholars, junior faculty, part-time faculty, and senior scholars. We are also open to undergraduate presentations, provided a faculty member is also included as a point of reference (please include the faculty member’s name, institution, and email in the bio section when submitting).


For further details on NEPCA, please visit its site at https://nepca.blog/. The dedicated page for the conference is https://nepca.blog/conference/.

The Monsters & the Monstrous Area maintains its own site for news and resources. Please check us out at https://popularpreternaturaliana.blogspot.com/.


This call for papers can be accessed at https://tinyurl.com/FromThemToNow.

CFP Monstrosity in the Witcherverse (8/15/2022; NEPCA Monsters Area - online conference 10/20-22/2022)

“The worst monsters are the ones we create”: Monstrosity in the Witcherverse

Session Organized by Kris Larsen, Central Connecticut State University

Sponsored by the Monsters & the Monstrous Area of the Northeast Popular Culture/American Culture Association

2022 Annual Conference of the Northeast Popular Culture/American Culture Association

Virtual Event to be held Thursday, 20 October, to Saturday, 22 October 2022

Proposals are due 15 August 2022


Andrzej Sapkowski’s internationally popular Witcher series of novels and short stories uses a medievalist setting to highlight the multiple monstrosities of modern life, including violence against the environment, racism and genocide, and abuses of technology. As the tagline of the hit Netflix spinoff warns, “The worst monsters are the ones we create.” We seek papers that investigate the creative twists on the definitions of monster and monstrous in any aspects of the Witcherverse, including the source material, Netflix adaptations (both live-action and animated), Polish live-action adaptation, and computer games, as well as ‘monstrous fan’ behavior (including race-centric attacks on the Netflix showrunner for casting choices). Papers that are solely focused on the Witcherverse as well as those that analyze Sapkowski’s sub-creation in comparison to other Secondary Worlds are welcomed.



Address inquires on this call to Kris Larsen (larsen@ccsu.edu) with the subject line NEPCA Witcher. However, please submit your proposal directly into NEPCA’s conference system at https://bit.ly/CFPNEPCA22. You will need to have prepared the following: Yout Email, The type of proposal (single paper or full panel), Your Name, Your Proposed Subject Area (select “Monsters and the Monstrous” please), An Abstract (no more than 250 words), Academic Affiliation (if applicable), Scholarly Role, and Short Bio (up to 200 words), and Timing preferences for the session. The system will send you a receipt of your submission and alert the area chair of its readiness for review.

If accepted, presenters must join NEPCA for the year and pay the conference fee. This year the costs are $54.67 USD for Conference Registration & Membership Dues. Payment is expected in advance of 1 October 2022. Do connect with the area chair (at Popular.Preternaturaliana@gmail.com) or NEPCA directly via Lance Eaton, the Executive Secretary, (at northeastpopculture@gmail.com), if you are experiencing financial challenges that might impact your ability to present.


NEPCA prides itself on holding conferences that emphasize sharing ideas in a non-competitive and supportive environment. NEPCA conferences offer intimate and nurturing sessions in which new ideas and works-in-progress can be aired, as well as completed projects.

We welcome proposals from scholars of all levels, including full-time faculty, graduate students, independent scholars, junior faculty, part-time faculty, and senior scholars. We are also open to undergraduate presentations, provided a faculty member is also included as a point of reference (please include the faculty member’s name, institution, and email in the bio section when submitting).


For further details on NEPCA, please visit its site at https://nepca.blog/. The dedicated page for the conference is https://nepca.blog/conference/.

The Monsters & the Monstrous Area maintains its own site for news and resources. Please check us out at https://popularpreternaturaliana.blogspot.com/.


This call for papers can be accessed at https://tinyurl.com/MonstrosityinWitcherverse.

UPDATE Recovering the Vampire Conference (new deadline 8/8/2022)

Recovering the Vampire (UPDATED)

source: https://call-for-papers.sas.upenn.edu/cfp/2022/03/16/recovering-the-vampire


deadline for submissions:
August 8, 2022



full name / name of organization:
Edge Hill University



contact email:
madeline.potter@york.ac.uk





Speakers

Professor Catherine Spooner (Lancaster University)

Dr Xavier Aldana Reyes (Manchester Metropolitan University)

and featuring a Q&A and dramatic reading by Dacre Stoker

How can vampires help us heal?

In the 125th anniversary year of Bram Stoker’s Dracula, this interdisciplinary project examines the continuing history of the vampire from the 19th century to the present and explores how the vampire can function as a cultural figure of recovery, community, and regeneration.

The cultural history of the vampire has been conventionally one of degeneration, illness, contagion, and variously embodied metaphors of anxiety. This event moves critical discourse from degeneration to regeneration, asking how the vampire functions as a metaphor for recovery (whether physical, emotional, or economic), community (fandoms, gamers, ‘goth culture’), identification and self-expression (racial identities, spirituality and religion, neurodivergence/-diversity, disability, gender and sexuality).

We welcome proposals for 15-20-minute papers, and panels. We also welcome practical or industry approaches to reinterpreting the vampire through collaborative, creative, or playful research, as well as contributions to a creative industries panel by publishers, authors, artists, heritage professionals and film-makers who work on the figure of the vampire. 

Topics can include but are not limited to: 

• Healing, trauma, recovery
• Gothic tourism / regeneration / international relations / economic growth
• Vampires and the creative economy
• Vampires and community: gaming, goth culture, fashion
• Medical humanities and the vampire
• Addiction recovery, nutrition, attitudes to feeding
• Reclaiming the vampire and neurodivergence/-diversity
• Selfhood, belonging, and ‘the outsider’
• Spiritual growth and religious experience
• Race and inclusivity / representation
• Child vampires / vampires for children
• Pedagogy and the vampire
• Laughter, comedy and Catherine Spooner’s ‘Happy Gothic’
• Adaptation

Thanks to the generosity of BAVS, BARS and Edge Hill University, we are delighted to be able to offer several PGR/ECR fee-waived bursary places for this event. If you would like to be considered, please indicate on your abstract and include a short statement (100 words max) about how the conference relates to your research.

Please send 300-word abstracts or panel proposals to Dr Madeline Potter (madeline.potter@york.ac.uk) and Dr Laura Eastlake (Laura.Eastlake@edgehill.ac.uk)

This conference will be fully accessible, with a primarily online component. Please check our website https://recoveringthevampire.wordpress.com and follow us on Twitter @VampireRecovery for updates on conference format and further info.

Deadline: 8 August 2022

Conference dates: 4-5 November 2022


 
Last updated June 21, 2022

CFP Asian Popular Culture and the Gothic (10/31/2022)

Asian Popular Culture and the Gothic

source: https://call-for-papers.sas.upenn.edu/cfp/2022/07/06/asian-popular-culture-and-the-gothic


deadline for submissions:
October 31, 2022



full name / name of organization:
Chulalongkorn University



contact email:
kancuta@gmail.com





Article proposals are welcome for an upcoming collection on Asian Popular Culture and the Gothic, edited by Li-hsin Hsu, Deimantas Valančiūnas and Katarzyna Ancuta. The collection is planned for submission to the Routledge Advances in Popular Culture Studies series.



Popular culture is often described as “the culture of the people,” containing cultural elements related to objects, beliefs, and practices that embody shared social meanings, and regularly produced for and consumed by mass audiences. As an object of investigation, it is mostly conceived of as a study of cultural products and media, such as literature, film, television, radio, games, comics, digital media, or fashion, that have mass accessibility and appeal. In today’s globalised world, more than ever, popular culture is increasingly diverse, expansive, dynamic, mobile, and often transnational, regardless of its point of origin.



In their introduction to the special Asian issue of The Journal of Popular Culture, published in 2016, Lisa Funnel and Yuya Kuchi remonstrate that in popular and critical imagination, “Asian Popular Culture” tends to be limited to selected East Asian genres and media, such as Japanese manga and anime, or Chinese martial arts films (2016, p. 963). Today we can safely add Korean music and television drama to this list but this does not quite change the fact that while we have seen dozens of publications focused on East Asian pop culture, large areas of popular Asian cultural production remain routinely excluded from scholarly examinations. While South Asian popular culture studies are a relatively vibrant discipline, even if the investigation here tends to be focused mostly on India and rarely goes beyond the study of popular cinema, Southeast Asian pop culture, in contrast, has so far received very limited attention, with studies examining the impact of “Japanisation” or Korean wave outshining those on local production. The field of Asian popular culture and its connection to the Gothic remains also an under-examined area.



Recent scholarship on the Gothic has extended the analysis of cultural production beyond the usual references to literature and cinema, and often includes a variety of media forms and practices of public/popular culture, such as television, video games, music, fashion etc. The term has also transcended not only its generic and historical, but also geographical boundaries, becoming a truly transnational phenomenon. The contemporary Gothic manifests in a variety of media forms way beyond the European or American contexts, and the appearance of Asia in the Gothic-related debates is not an oddity anymore. The ongoing decentralisation of Gothic studies and de-westernisation of its methodologies has opened up new possibilities for including cultural productions from diverse geographical locations, and the willingness to accept Asian Gothic as a legitimate category has rapidly increased with most edited collections and companions now carrying at least one chapter discussing Asian texts and contexts.



Asia has long been regarded as a vital hub of production and consumption of popular culture, with an extensive variety and spectrum of media forms and topics. However, the Gothic aspect of popular culture of Asia has not been addressed in a systematic and extensive way. Therefore, this collection for the first time invites papers to explore the ways Gothic manifests in popular culture and its consumption in Asia. By the term “popular culture” we imply both a variety of media forms of everyday consumption – video and digital games, comic books, television, music etc., as well as forms of everyday public culture and practices, associated with festivals, fashion, rituals, ceremonies etc. We also invite papers that explore the issues of knowledge production and cultural reception in Asia, rethinking the social and political role the Gothic might play in the circulation and transmission of popular culture in an Asian context, and how Asian popular culture might redefine or reshape the Gothic mode / aesthetics as we know it.



We invite proposals that consider the Gothic not as a fixed western-centred generic category, but as a fluid and shifting conceptual framework through which distinctive local cultural practices, historical and social traumas, anxieties, collective violent histories and diverse belief systems are expressed and discussed. In this sense, the Gothic can be read as a distinctive aesthetical and narrative practice, where conventional gothic tropes and imagery (monsters, ghosts, haunting, obscurity, darkness, madness etc.) are assessed anew, and disseminated and consumed through the many forms of popular culture. We also encourage approaches that rethink the affective power of the Gothic, and how its heterogeneous, transmedia, transcultural and transnational complexity is manifested in Asian contexts.



We are interested in examining a number of broader issues highlighting the appropriation of Gothic tropes and conventions in popular culture texts that engage with representations of colonial legacy, wars, conflicts, and historical trauma, gender / class / race issues and various forms of social critique. We would like to encourage the examination of the relationship between popular Asian Gothic texts and the audience / the marketplace, as well as the contexts of production and reception of such texts. We are keen on receiving proposals exploring the connection between Asian Pop Gothic and authorship / celebrity culture and possible political contexts related to the use of popular Gothic themes and motifs, for instance in relation to propaganda and censorship.



Below is a list of themes the edited collection is willing to address. It is not an exhaustive list and is intended as a guide, not as a set of limitations. We welcome suggestions and proposals on related topics and various media forms.

• Gothic/Horror elements in B-movies and popular cinema (e.g., HK Cat III movies, Ramsay Brothers horror films, Japanese splatterpunk and tokusatsu eiga)
• Popular Asian gangster films (e.g., the Japanese yakuza/ninkyo films, HK Triad films, or Korean kkangpae films)
• Horror comedies / comic Gothic
• Gothic/Horror elements in popular / pulp fiction (e.g., supernatural romances, light novels)
• Popular Asian crime fiction (e.g., honkaku and henkaku mysteries, or gong’an crime-case fiction)
• Asian horror television series and game shows
• Serial killer television series
• Mediums, shamans and ghost detectives in supernatural crime procedurals
• Gothic cyberpunk / post-human in manga and anime
• Eco-Gothic approaches to manga and anime
• Horror comics in Asia
• Asian ghosts and monsters in popular culture
• Sentimentalism and sensationalism in Asian ghost story
• Asian pop culture adaptations of Gothic texts (e.g., Dracula in Asian texts, Japanese reworkings on Chinese zhiguai, Rebecca in India)
• Vampires in Asian music videos
• Visual Kei and post-punk / Goth music
• Gothic/Horror elements in Asian heavy metal music
• Gothic/Horror and gaming cultures
• Survival video games and survival game films and TV shows
• Horror-themed RPGs and ARGs inspired by Asian folklore
• Gothic/Horror themes in user-generated fiction and Internet-based lore
• Ghosts, curses and viral videos
• Ghost-hunting and paranormal radio broadcasts / podcasts
• Gothic/Horror in popular theatre (e.g., kabuki plays, likay, Chinese/Taiwanese opera, Tamasha, Jatra)
• Gothic/Horror in puppet theatre (e.g., budaixi, nang yai, wayang kulit, kathputli)
• Gothic traditions and (religious) festivals
• Asian Gothic folklore and urban lore
• Ghost storytelling and oral lore
• Asian Horror fandom and audiences
• Gothic Lolitas and Gothic cosplay
• Asian Goth subcultures / Gothic fashion
• Gothic/Horror-themed merchandise
• Gothic/Horror-themed attractions (e.g., haunted houses, amusement parks, escape rooms)
• Ghost tours and dark tourism
• Gothic media personalities / TV and radio hosts

Proposals of approx. 300 words accompanied with a short biographical note of max. 150 words should be sent to the editors at asianpopgothic@gmail.com by 31 October 2022.


 
Last updated July 8, 2022

Humanities Journal Special Issues and Notice

I see a number of monster-themed special issues being solicited by the open-access Humanities journal. I notice on their home page that an Article Processing Charge is required prior to publication to cover costs involved.  

If that's something you can afford (and are okay with), here are the links to each call:

• Special Issue "Gothic American Imaginaries: The Gothics of Race in American Literature and Film"
• Special Issue "Witchcraft and Witchery in Literature: A Contemporary Perspective"
• Special Issue "Size Really Does Matter: Giant Monsters in Global Popular Culture"

 

CFP Gothic Adaptation: Intermedial and Intercultural Shape-Shifting (7/31/2022; Spec Issue of Humanities)

I see that the publisher requires an Article Processing Charge prior to publication. Do be aware of this before submitting.

 

Gothic Adaptation: Intermedial and Intercultural Shape-Shifting

Source: https://call-for-papers.sas.upenn.edu/cfp/2022/07/07/gothic-adaptation-intermedial-and-intercultural-shape-shifting

further information: https://www.mdpi.com/journal/humanities/special_issues/gothic_adaptation

deadline for submissions:
July 31, 2022



full name / name of organization:
Jamil Mustafa / Humanities



contact email:
mustafja@lewisu.edu




The Gothic is a wide-ranging mode that comprises multiple genres, including but not limited to literature, drama, film, television, art, music, games, comics, and graphic novels. It is also a shape-shifting mode. Like vampires or werewolves, expressions of the Gothic frequently and uncannily change form, thereby calling into question the stability and desirability of fixed generic, cultural, and mediatic boundaries. Bram Stoker’s Dracula (1897), the most often adapted Gothic text, first took the shape of both a novel and a play before transforming into innumerable plays, operas, ballets, graphic novels, TV shows, films, comics, and games. Extending across genres and centuries alike, versions of Dracula’s story are even more multiform and long-lived than the vampire himself. They demonstrate how adaptation is the lifeblood of the Gothic, the means by which it sustains itself, evolves, and meets its moment. For this Special Issue of Humanities, we invite proposals for essays that investigate the many forms and functions of Gothic adaptation.

These essays might consider but are no means limited to the following questions. 

• How, and to what extent, might adaptation be considered a Gothic practice? How might it involve not only shape-shifting but also vampirism, hybridity, the uncanny, narrative complexity, and other key features of the Gothic?
• In transnational forms such as manga and anime, how are intermedial and intercultural Gothic adaptation related?
• How might adaptation (further) involve queer Gothic texts, and how do queer adaptations relate to their queer or heteronormative antecedents?
• Might Gothic adaptation be construed not as a one-way process, but as a conversation between or among texts? Is it possible to extrapolate a narrative that at once expresses itself within and transcends original and adapted iterations?
• How are tensions between ‘high’ and ‘low’ culture explored and expressed in intermedial and/or intercultural Gothic adaptation? What happens when novels become games or comics; or, conversely, when ‘low’ forms are ‘elevated’?
• How might Gothic texts engage in a palimpsestic intertextuality of multiple media involving, for instance, film, novel, graphic novel, theatre, poetry, and serial television? How should we understand a multi-adapted text?
• Where and how do the Gothic and the Surreal intersect in an occularcentric twenty-first century that privileges the visual when adapting any text, written or otherwise?
• How might the Gothic assume a significant role in a pedagogy of adaptation? How does the study of Gothic texts in pedagogical contexts expand adaptation studies?
• In what ways have Gothic texts been the subjects of sustained and intensive cultural reworkings, retellings, and/or homogenized reiterations, and what politics underwrite such processes?

 
Last updated July 8, 2022

CFP Recasting the Bygone Witch: Examining Strength in Preservation (9/30/2022; NeMLA 2023)

Recasting the Bygone Witch: Examining Strength in Preservation (NeMLA 2023)

source: https://call-for-papers.sas.upenn.edu/cfp/2022/06/19/recasting-the-bygone-witch-examining-strength-in-preservation-nemla-2023

deadline for submissions:
September 30, 2022



full name / name of organization:
Panel at NeMLA 2023, March 23-26, 2023, Niagara Falls NY



contact email:
ainemnorris@gmail.com



From Sabrina to Supreme, there are plentiful modern representations of the witch in popular culture, each exuding singular or group-sourced power borne from traditions of centuries-past, as manifested in literature, television, film, or local lore. But what about the lesser-known witches, those who practice and represent branches of witchcraft rarely examined within the subcultural analysis or fandom?

This panel examines portrayals of lesser-known witches and how their quiet unconventionality, even within the broader occult subculture, might inform scholarship, practice, and preservation. What can we learn by examining lesser-known witches or unconventional representations of the witch?

Approaches or lenses for papers may include (but are not limited to):

• Literature, texts, or theory
• Cultural studies
• Gender studies
• Technology or media studies
• Race and ethnicity studies
• Environmental studies
• Pop culture studies
• Local or regional examinations
• Museum studies and public history
• Historic preservation or conservation

Abstracts must be submitted before the deadline to the NeMLA website: https://www.cfplist.com/nemla/Home/S/19862 (note: you will need to establish a username and password).



Information about abstract requirements is available here: https://www.buffalo.edu/nemla/convention/callforpapers.html



This panel is for the Northeast Modern Language Association convention, March 23-26, 2023 in Niagara Falls, NY. To learn more about NeMLA, visit https://www.buffalo.edu/nemla/convention.html Papers must be delivered in-person at the conference.



Please don't hesitate to send any questions to both Aíne Norris ainemnorris@gmail.com and Maria DiBenigno mdibenigno@wm.edu.


 
Last updated July 9, 2022

Call for Papers and Reviews: Victoriographies: A Journal of the Long Nineteenth Century (12/31/2025)

Call for Papers and Reviews: Victoriographies: A Journal of the Long Nineteenth Century

source: https://call-for-papers.sas.upenn.edu/cfp/2022/07/12/call-for-papers-and-reviews-victoriographies-a-journal-of-the-long-nineteenth-century


deadline for submissions:
December 31, 2025



full name / name of organization:
Victoriographies: A Journal of the Long Nineteenth Century (Edinburgh UP)



contact email:
dthierauf@ncwc.edu





Victoriographies: A Journal of the Long Nineteenth Century is seeking article submissions and reviews from scholars. Victoriographies is fully peer-reviewed and published tri-annually by Edinburgh University Press. As we enter our second decade of publication, we are excited to include innovative work and to welcome emerging voices.

Continuing its project to explore the long nineteenth century and contemporary responses to the long nineteenth century, Victoriographies has transitioned to new editorship under Dr. Amy Huseby (Florida International University, U.S.) and Dr. Beth Palmer (University of Surrey, U.K.). Dr. Doreen Thierauf (North Carolina Wesleyan University, U.S.) will take over as Book Review Editor.

Building on the journal’s history of publishing cutting-edge scholarship for over a decade, we invite articles from authors working in burgeoning areas of Victorian studies and encourage transhistorical, transcontinental, and transmedial approaches. The journal seeks contributions that interrogate afresh ideas, images, texts, objects, spaces, performances, themes, and authors that seem familiar, as well as those which address understudied aspects of the long nineteenth century. Our aim is to emphasize connections and ligatures beyond the temporalities, national locations, and objects of inquiry that have traditionally constrained nineteenth-century scholarship. Articles from researchers of all career stages are welcome, and we especially encourage submissions from scholars around the globe.

Article submissions should be between 7,000-8,000 words (inclusive of endnotes). Authors should include a title page, detailing their name, title, and current affiliation, plus a current email address to which proofs and pre-publication correspondence will be sent. Please provide an abstract of about 200 words, a brief biographical sketch (50-100 words), and 5-7 keywords (preferably not all words used in the title) for online searches. Please do not submit a manuscript that is under consideration elsewhere. Please see this link for a style guide: https://www.euppublishing.com/page/vic/style.

Submissions can be sent to the editors: Victoriographies@gmail.com



General Call for Book Reviews

We also welcome book reviews, particularly by early-career researchers, postdoctoral students, advanced graduate students, and postgraduates. Reviews should be 800-1,000 words in length for single books and 1,300-1,500 for two or more books, and they should be accompanied by a biographical note of 50-100 words. Books should be published no more than two years in the past (2020) but can, of course, be forthcoming in which case we’ll request the work in advance from the publisher. For more information about the journal, including our style guide, please visit our website (https://www.euppublishing.com/loi/vic).

If you are interested in reviewing a recent monograph or essay collection relating to the literature and culture of the long nineteenth century for an upcoming issue, please contact Book Review Editor, Dr. Doreen Thierauf (dthierauf@ncwc.edu).



Call for Guest-Edited Special Issues

Victoriographies is currently accepting proposals for guest-edited special issues.

Continuing its project to explore the long nineteenth century and contemporary responses to the long nineteenth century, Victoriographies has transitioned to new editorship under Dr. Amy Huseby (Florida International University, U.S.) and Dr. Beth Palmer (University of Surrey, U.K.). Building on the journal’s history of publishing cutting-edge scholarship for over a decade, we invite articles from authors working in burgeoning areas of Victorian studies and encourage interdisciplinary approaches. The journal seeks contributions that interrogate afresh ideas, images, texts, objects, spaces, performances, themes, and authors that seem familiar, as well as those which address understudied aspects of the long nineteenth century. Articles from researchers of all career stages are welcome, and we encourage submissions from scholars across the globe.

Recent special issues have covered topics including: "Death, Nineteenth-Century Celebrity and Material Culture," "Conan Doyle and London," and "Alternative Dickens." For further examples and a full list of previous issues, see Victoriographies List of Issues.

Proposals may be inspired by the anniversaries of significant publications or events, or they may cover topics including but not limited to:

• Decolonizing Victorian Studies/Global Nineteenth-Century Studies
• Victorian Studies and Contemporary Pedagogy
• Sex and Sexuality in the Long Nineteenth Century
• Digital Methodologies in Nineteenth-Century Studies
• Victorian Infrastructures
• Conflict, War, and Imperialism
• Archival Studies, Museums, and Cultural Heritage
• Ecocritical, Energy, and Ecological Victorian Studies
• Affect, Embodiment and the Senses in the Nineteenth Century
• Medical Humanities and Victorian Disability Studies

In the first instance, please send a word or PDF document including

• Title of proposed special issue
• Guest Editor(s) (name, affiliation & brief bio)
• Abstract (max. 500 words)
• Contributors (name, article title, 200-word abstract, and brief bio; max. 5 articles between 7,000-8,000 words)
• Proposed submission date

to general editors Amy Huseby and Beth Palmer: victoriographies@gmail.com.

 
Last updated July 14, 2022

Thinking with the End(s) of Worlds EXTENSION (8/1/2022; journal issue)

Thinking with the End(s) of Worlds EXTENSION

source: https://call-for-papers.sas.upenn.edu/cfp/2022/05/10/thinking-with-the-ends-of-worlds-extension

deadline for submissions:
August 1, 2022



full name / name of organization:
Käte Hamburger Centre for Apocalyptic and Post-Apocalyptic Studies



contact email:
publications@capas.uni-heidelberg.de





Call for Papers Apocalyptica

Apocalyptica is an international, interdisciplinary, open-access, double-blind peer-reviewed academic journal published by the Käte Hamburger Centre for Apocalyptic and Post-Apocalyptic Studies (CAPAS) at Heidelberg University.

Editors: Robert Folger, Felicitas Loest and Jenny Stümer

Article length: 8,000-9,000 words

Deadline: Year-round – 8 (for our next issue)

Contact: publications@capas.uni-heidelberg.de

We are seeking original submissions that actively explore the apocalypse as a figure of thought (a practice, relationship, form, experience, aesthetic, or theme) in order to grapple with the cultural politics of disaster, catastrophe, and the (up)ending of worlds.



Thinking with the End(s) of Worlds

Are we living in the end times or has the end of the world already happened? What if the apocalypse is not simply an imagined catastrophic event to come, but a revelation, an inspiration and (perhaps) a chance for a better world?

As anthropogenic climate change, increasingly polarized politics, and accelerated nuclear arms races signal the imminence of disaster and catastrophe around the world, the idea of the apocalypse is gaining traction in popular culture, political debate and scholarly discourses.

The end of the world is increasingly featured in fiction films, TV series, music, art, video games, comics, literature, theatre, and photography. We are particularly interested in how these depictions of the apocalypse articulate our cultural politics of past and present while imagining devastating or liberatory futures. The notion of apocalyptic upheaval is met (and productively troubled/sometimes also utilized) by new social justice movements, innovative narratives, and storytelling practices that draw on (and simultaneously influence) new socio-economic discourses in an effort to put forward speculative imaginations, deconstructive epistemologies, and novel ways of conceiving ‘the end’. In these views, apocalypses and their envisioned aftermaths (also) produce emancipatory and creative potentials that engage with the possibility of plural worlds, embodied futurities, non-linear temporalities and radical difference as they are increasingly reflected in the invocation of cultural orlived experience, haunting sensibilities, and productive fantasies that employ the un/making of worlds.

Moving beyond notions of redemption or more traditional theological approaches to the end of the world, we ask: How do we make sense of/in a doomed world? How does the apocalypse help us to meet the challenges of the present while considering the often-violent legacies of the past with a view to emancipatory future(s)?

The unprecedented trials of the COVID-19 pandemic, petro-capitalism’s extraordinary expansion, technocratic and algorithmic governance and escalating surveillance, mounting social and ecological inequality, the escalation of global border regimes, aggressive risk management, and, of course, the continuity and exacerbation of gendered, raced, colonial and environmental violence in the face of these challenges give rise to new considerations of what it meant and means to live through the end of the world.

In light of these challenges, we seek submissions that grapple with the question of what it means to think with, against, and beyond the apocalypse today. What movements, politics, ideas, geographies, sensibilities, stories, and images might be considered (post)apocalyptic or invoke debates and feelings about the end of the/a world? How do apocalypses entangle temporalities of past, present, and future? How do crisis and catastrophe shape human and non-human actors and their relationships? What are we to make of the concepts of ‘world’, ‘worlds’ and ‘worlding’; or indeed, ‘the end’ and its ‘aftermath(s)’? And, how does the apocalypse as an idea help us to address escalating global as well as local challenges which (also) articulate the promise of diverse futures and (perhaps) more just,political compositions, alternative collectivities, and fuller relationships with each other and the world?

Possible contributions might examine the apocalypse in relation to the following themes, contexts and media (the list may serve as inspiration): 

• De/Colonial apocalypses
• Anti/Epistemologies of the apocalypse
• Anthropogenic climate change and decolonial ecologies
• Race, gender, and sexuality (queer apocalypse, apocalypse as decolonization, feminist apocalypse, anthropogenic whiteness)
• Apocalyptic temporalities (decentered futurisms, experiential histories, alternative memories)
• Cultural imaginaries, narratives, and practices (film, TV, literature, music, comics, video games, art, theatre, photography)
• Apocalypse, genre and motifs (Sci-Fi, satire, comedy, melodrama, cyberpunk, dystopia and utopia)
• Collective political imaginaries, movements and activism (indigenous resistance and postcolonial struggles, Black Lives Matter; Extinction Rebellion, Fridays for Future)
• Embodied experiences (viscerality, affect, survival)
• Apocalyptic sensibilities (ghosts and haunting, aesthetics, art)
• Elemental apocalypse (solar imaginaries, anti-imperial ontologies of water, fire, earth)
• Petrocultures, nuclear necropolitics, and securitization
• Animal studies, ecocriticism, and animacies
• Architecture and landscape (including social relations to the environment, atmospheric knowledge, and climate strategies)
• White supremacy and right-wing politics
• Algorithmic governance and technocolonialism (digital cultures, social media, surveillance)
• Border politics and global mobilities (climate migration, border-walls, ecologies)
• Pandemics and epidemics
• Conceptualizing the ‘end’ of ‘worlds’

Please submit your article (no longer than 8,000-9,000 words including abstract (250 words) and bibliography) and a short bio (50 words) by 15 July 2022 to publications@capas.uni-heidelberg.de.

We take rolling submissions year-round; however, for consideration in our upcoming issue, please adhere to the deadline of 15 July 2022.

All submissions must use author-date reference style, 12pt font and at least 1.5 line spacing. Please check our style guide prior to submission.

For further Information please contact Jenny Stümer or Michael Dunn: publications@capas.uni-heidelberg.de.

More information about Apocalyptica: https://heiup.uni-heidelberg.de/journals/apoc

CfP online: https://www.capas.uni-heidelberg.de/cfp-apocalyptica-05-2022.html


 
Last updated July 20, 2022

Lovecraft Annual for 2021

I lost track of these. I'm not sure when was the last post.

Lovecraft Annual No. 15 [2021]

Details and available for purchase at Hippocampus Press: https://www.hippocampuspress.com/journals/lovecraft-annual/lovecraft-annual-no.-15-2021.

New Scholarship on H. P. Lovecraft Edited by S. T. Joshi
ISSN 1935-6102
ISBN 9781614983446
August 2021
270 pp 

$15.00



This fifteenth issue of The Lovecraft Annual features cutting-edge scholarship on the life, work, and thought of H. P. Lovecraft. Among the biographical articles, we find Horace A. Smith examining aspects of Lovecraft’s early interest in astronomy; Ken Faig, Jr.’s study of Lovecraft’s relations with Irish friends and relatives; Marc Beherec’s analysis of the church in Red Hook that played a critical role in “The Horror at Red Hook”; and Brendan Whyte’s discussion of the appearance of a 1905 letter by Lovecraft in a New York newspaper. Among the articles on Lovecraft’s work, Duncan Norris writes articles on Lovecraft’s disdain for money in his stories and a comprehensive survey of recent films that have drawn upon Lovecraft; James Goho studies the nature of the title character of The Case of Charles Dexter Ward; and Christopher Cuccia closely analyzes John Milton’s influence on Lovecraft. A section of reviews examines three recent editions of Lovecraft’s letters.





TABLE OF CONTENTS

The Acolyte of the Abyss: or, In the Long Shadow of the House at 454 Angell Street ....... Manuel Pérez-Campos

Astronomy with Lovecraft’s First Telescope ....... Horace A. Smith

The Detestation of Mammon in Lovecraft ....... Duncan Norris

Lovecraft and the Irish ....... Ken Faig, Jr.

Following The Ancient Track ....... David E. Schultz

Lovecraft’s Presentiment: Taphonomy as a Narrative and Horrific Element in the Tales of H. P. Lovecraft ....... Raphaël Hanon

The Promise of Cosmic Revelations: How the Landscape of Vermont Transforms “The Whisperer in Darkness”....... Dylan Henderson

H. P. Lovecraft’s First Appearance in Print Reconsidered ....... Brendan Whyte

New England Fallen ....... H. P. Lovecraft

A Bridge through Chaos: The Miltonic in “Dagon” and Lovecraft’s Greater Cthulhu Mythos ....... Christopher Cuccia

The Church That Inspired “The Horror at Red Hook” and the Fall of the House of Suydam ....... Marc Beherec

A Portrait of Charles Dexter Ward as a Haunted Young Man ....... James Goho

The Reverberation of Echoes: Lovecraft in Twenty-First-Century Cinema ....... Duncan Norris

How to Read Lovecraft ....... A Column by Steven J. Mariconda

Reviews