CFP Journal of Dracula Studies for 2023 (5/1/2023)

Not sure how I missed this before.

Journal of Dracula Studies

deadline for submissions:
May 1, 2023

full name / name of organization:
Journal of Dracula Studies

contact email:
journalofdraculastudies@kutztown.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2023/01/23/journal-of-dracula-studies.


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

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

Please follow MLA style.

Contributors are responsible for obtaining any necessary permissions and ensuring observance of copyright. Manuscripts will be peer-reviewed independently by at least two scholars in the field. Copyright for published articles remains with the author.

Send electronic submissions to journalofdraculastudies@kutztown.edu

Contact: Dr. Nicole McClure or Dr. Jonathan Shaw




Last updated January 26, 2023

CFP Creature Redux: Considering the Pasts, Presents, and Futures of Chimera in Fiction and Popular Culture (3/31/2023)

Creature Redux: Considering the Pasts, Presents, and Futures of Chimera in Fiction and Popular Culture

deadline for submissions:
March 31, 2023

full name / name of organization:
academic anthology edited by Samantha Baugus and Ayanni Cooper

contact email:
creatureredux@gmail.com


source: https://call-for-papers.sas.upenn.edu/cfp/2023/01/04/creature-redux-considering-the-pasts-presents-and-futures-of-chimera-in-fiction-and.

Call for Papers - Creature Redux: Considering the Pasts, Presents, and Futures of Chimera in Fiction and Popular Culture

Animals are the quotidian absolute Other. They are not inherently horrifying, dangerous, or invasive; nor do they have designs to usurp or subjugate humanity. In his lecture-turned-book The Animal That Therefore I Am, Derrida critiques the use of the word “animal” to describe an almost limitless array of creatures. “Animal” becomes a catch-all term for everything that is otherwise than human–and not the biological entity, but a specific, constructed hegemonic entity.

Similarly, monsters and monstrosity are oft used to delineate the limits of “the human” or “the normal.” And yet, the boundaries around what makes a monster are in constant flux, adjusting to fit the time and place of a monster’s creation. As Jeffery Jerome Cohen famously states in Monster Theory: Reading Culture, monsters are “an embodiment of a certain cultural moment—of a time, a feeling, and a place.” “Monster,” then, becomes a term to understand not only the creature it describes, but the people wielding it as well.

Drawing a bridge between the study of animals and monsters, this collection turns toward the chimera. As a proper noun, Chimera are figures in Greek mythology. However, the term has transformed to, a) suggest any blend of persons, places, or things (though frequently creatures) that is an amalgamation of different elements or to, b) dismiss something as a flight of fancy, entirely unrealistic. Across time, the chimera has maintained a presence in literature and, in our modern era, has become entwined with cutting-edge scientific research. Yet, while stories of chimera abound and are even becoming a complex, biological reality, the chimera resists classification and rejects taxonomy. She instead creeps, leaps, and breathes fire through staid categories, forced boundaries, and comfortable assumptions. And she does not always do it nicely.

This collection aims to combine the meanings of chimera in our own chimerical creation–monster, animal, mythological, fantastical–to propose a “neither this nor that,” but an “all of the above.” Though we look to center fictional representations of chimera, we encourage writers to think broadly about the figure and what she could be or represent across genres and time. Additionally, this collection could be considered posthuman and posthumanist–rejecting the Cartesian definition of the individual and the traditional binaries–but rather than something that comes after, the chimera is something that comes through. The chimera extends from the past to the future, evolving and mutating along the way.

Through this collection, we look to investigate junctions, crossings, and mixtures of creatures that push, challenge, and distort the boundaries of the human in numerous ways. What the human is, has been, or could be is a question that possesses serious and highly relevant implications in our contemporary moment. How does the chimera’s inherent hybridity complicate our understanding of the familiar and the other? We seek analyses that center the idea of the chimera in fictional texts of any medium, genre, place, or time period. 

Some topics of interest include, but are not limited to:

• Animals becoming monsters
• Body horror and the chimera
• Chimera across genre/chimerical-genres
• Chimera across time
• Hybrids, transformations, and blends
• Kaiju as chimera
• Mythological origins and histories of chimera
• Pets as chimera
• Pop-culture franchises as chimera; the chimera and the crossover event
• Post-subject chimera, the chimera after “humanism”
• Realistic depictions of chimeras in fiction
• Robo-chimera; the machine animal; or the animal as machine
• The legacy of H.G. Well’s The Island of Dr. Moreau
• The posthuman as chimera
• The sliding scale of anthropomorphism
• Time/place/space as chimera

Please send chapter proposals to creatureredux@gmail.com no later than March 31st, 2023. We welcome proposals from scholars, researchers, and practitioners of all levels and particularly encourage early-career scholars and scholars without university affiliation to apply.

Additionally, we’re looking to produce a short, companion podcast series for Creature Redux that interfaces with collected essays. The series might consist of interviews with contributors or conversations around points of connection between essays, but will ultimately evolve and take shape based on the pieces we receive and interest from authors/publishers. Please know that this podcast will not be a requirement of participation.

Please include the following with your chapter proposal:

Name


Preferred email contact


Institutional Affiliation, if applicable


A 350 - 500 word abstract of the proposed essay


Working title for your essay


A brief, 150-word biography

Chapter proposals are due no later than March 31st, 2023. If the essay is accepted to the collection, we anticipate complete chapter drafts of approximately 5000-7000 words will be due in October 2023. All drafts should be in MLA format, reflecting the 9th edition updates. The editors, Dr. Samantha Baugus and Dr. Ayanni C. H. Cooper, are happy to receive questions, queries, and concerns at creatureredux@gmail.com.




Last updated January 9, 2023

CFP Fogo Congress 2023 (4/1/2023; University of León (Spain) 7/5-7/2023)

FOGO CONGRESS 2023: FOLKLORE AND GOTHIC: SUPERNATURAL PRESENCES AND ENVIRONMENTS IN EUROPE AND THE AMERICAS

Full details, the hard copy of CFP, and links to submit at the conference site: https://fogoconference.unileon.es/home/#congress. 

Who has not felt fascinated by a terrifying image?


This conference aims to open a space of dialogue to analyze the intersections of Gothic and folklore, focusing on fairy tales, the representation of nature, and the treatment of horror. What is the relevance of the ghosts, cemeteries and stormy nights that remain in our subconscious as images and spaces of fear? How can fictional horror represent the climate emergency? How can we explore literature, film and other media through the lens of the monster and the ghost? Ultimately, what is the interaction between folklore, horror and the Gothic?

Read more

In the 21st century we are still haunted by ghosts from the past, scared by creaking floors in the middle of the night, afraid of monsters lurking in the shadows. We also face more tangible dangers: we have become collectively scared of the expansion of viruses and technological advancement, represented by zombies and the rebellion of the machines in the popular imagination from an Apocalyptic perspective. Similarly, there is a constant terror inspired by the sexual violence and the constant insecurity of women in public and private spaces. Women are, still today, afraid of violence in public and private spaces. These and other dangers have brought along the gothic appropriation of the witch as an empowering figure which, from ecofeminist practices, has been linked to the loss of natural spaces and the climate emergency.

Folklore and the Gothic share a common ground based on the experimentation of fear, both in the natural environment and in enclosed and claustrophobic spaces. In these manifestations, terror materializes as extraordinary entities (Bouyer 1985; Fontea, 2008; Montaner, 2014), which are deeply ingrained in the cultures and historical moments in which they appear. The concept folk horror, coined in the 1970s, defines the fear and terror experienced by local communities though ritual (Eamon Byers, 2014). The Gothic, on the other hand, has evolved since the writer Horace Walpole added this term as subtitle in The Castle of Otranto (1764). Since then, readers have engaged with tragic stories which repeat the same Gothic formula: the presence of the heroine, the villain, the landscape and an unresolved mystery. The presence of the Gothic in Postmodernity (Catherine Spooner, 2006; Maria Beville, 2009; Abigail Lee Six, 2010; William Hughes, 2012; Fred Botting, 2013; Maria Purves, 2014; Ann Davies, 2014) and its global scope (Byron 2013; Punter 2015) demonstrate its vitality and its ability to adapt to new realities. In the last decade, the study Ecogothic helps bring together ecocriticism and the Gothic, establishing a direct relationship between fear and the effects that humankind has on the environment (Smith and Hughes, 2013).



CALL FOR PAPERS AND SUBJECT AREAS


IMPORTANT DATES: Proposal submission deadline April 1, 2023
Celebration of the Congress on July 5, 6 and 7, 2023


The organizing committee invites professors, academics, researchers, postgraduate students and artists to participate by sending proposals for presentations in the following formats:

• A single paper for a 15-20 minute presentation, summary of max. 300 words;
• A round table of 3-5 people for a 60-minute discussion, summary of max. 1000
• words;
• A complete panel of 3-4 people for a 60-minute set of presentations, summary of
• max. 1000 words;
• Any other type of artistic format or workshop that touches on the topic of the
• conference and which can take place in under 90 minutes.

Please also include a brief summary (less than 100 words) or your academic CV.

Please send your proposals before April 1, 2023 by following the following link:

SEND PROPOSAL



SUBJECT AREAS

• Horror and the Anthropocene
• Cultural Studies
• EcoGothic
• Affect Theory and Horror
• Gender Studies and Queer Gothic
• Cinema Studies and Folk Horror
• Medical Humanities and Mental Illness
• Postcolonial Studies
• Posthumanism and the Gothic
• Digital Humanities
• Bestiaries and the Preternatural
• Children’s and Teen Gothic

Registration fees will be of 15 € for undergraduate students; 80 € for postgraduate students, instructors and researchers in training; and 100 € for lecturers, professors and salaried independent researchers. More information about payment methods will be given in due course.

DC's Batman: The Doom that Came to Gotham

 Coming soon to home video based on the graphic novel series by Mike Mignola:

Universal's Renfield

 Coming soon to theaters--a new take on Bram Stoker's Dracula from Universal Pictures. 

CFP Disability and the Vampire Collection (5/31/2023)

Edited Collection -- Disability and the Vampire

deadline for submissions:
May 31, 2023

full name / name of organization:
Brooke Cameron / Queen's University

contact email:
brooke.cameron@queensu.ca

source: https://call-for-papers.sas.upenn.edu/cfp/2023/02/27/edited-collection-disability-and-the-vampire.

CFP: edited collection -- Disability and the Vampire

Dr. Brooke Cameron (Queen’s University), Peadar O’Dea (Maynooth University) and Adam Owsinski (Charles Darwin University) invite proposals for chapters that explore the connections between vampires and disability, from history to modern cultural and popular representations.

Project Description:

From its inception, the vampire has long been associated with disability and illness. Before it was named as “vampire” by western officials (eg the Arnold Paole case, c1726), the revenant was a figure well established in eastern folkloric traditions as a way to make sense of wasting diseases and chronic illnesses as well as the rampant and devastating effects of plague. And in naming and claiming this figure for its own literary and cultural tradition, Western officials and authors (from Germany to Britain) reproduced — if not outright invented and amplified — this narrative of the vampire as an outsider figure, an “Other” upon and through whom ableist fears and discriminatory narratives would propagate throughout the eighteenth century and after.

This edited collection is interested in scholarly work that focuses on the role of disability and illness in the cultural and literary history of the vampire. Drawing from recent work in Critical Disability Studies as well as the postmodern turn in Monster Theory, we are especially interested in essays that centre disability and illness in order to challenge this cultural history. After all, as Jack Halberstam writes in Skin Shows (1995), we have grown “suspicious of monster hunters, monster makers,” and instead sympathize with, if not root for, the vampire.

Chapters in this collection will encourage us to think about the central role that disability and illness have played in the formation of this particular Gothic monster, and will also therefore encourage us to ask who or what is the real “monster” in this history. We seek chapters on the range of disabilities and illnesses central (but also marginalized or caricatured) in the vampire’s story; and we also hope to see submissions that address this wide range of forms that encompass this cultural legacy – including submissions on vampires in literature and film, as well as chapters on folklore or Victorian science and the vampire. We also invite chapters that encourage our rethinking of the disabled vampire in the time of covid, or how the pandemic has given us yet another chance to engage with this Gothic figure and their legacy.

We have currently secured chapters on: Cripping The Count: A Disability Studies Reading of Dracula.
The Freak Show and Disgusting Cultural Transmissions
Neurodiversity and Vampire “Rules” in Late-Victorian Literature
Peter Wolf’s Deafula: Deafness through the Lens of “Monstrosity”?

We are seeking chapter proposals on–but are not limited to–the following topics:

• Chapter(s) on disability and vampirism in medical literature
• Chapter(s) on disability and the vampire scares of the 18th and 19th centuries
• Disability in nineteenth-century vampire literature, when the genre is born (?)
• Chapter(s) on disability and vampirism in modern film
• Disability and the vampire in contemporary politics, especially in light of the COVID pandemic
• The visually-impaired Vampire
• Vampirism and blood illnesses
• the vampiric “turn” and critical disability
• Vampires and transhuman abilities/ableism
• A MAD Studies approach to vampirism/ the vampire
• Disability Activism and the Vampire

Proposals of 400-500 words should be submitted along with a 60-word author biography and one-page cv to brooke.cameron@queensu.ca by 31 May 2023.

We will notify applicants of results by 31 July 2023. Following acceptance, final papers should be approximately 5,000-6,000 words long and will be due by 01 Dec 2023. Routledge has expressed interest in this collection.




Last updated March 1, 2023

CFP Nightmare/s in the Long Nineteenth Century Collection (3/15/2023)

Nightmare/s in the Long Nineteenth Century (CFP for edited volume)

deadline for submissions:
March 15, 2023

full name / name of organization:
Frances Clemente/University of Oxford; Greta Colombani/University of Cambridge

contact email:
nightmaresconference@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2022/12/19/nightmares-in-the-long-nineteenth-century-cfp-for-edited-volume.

Nightmare/s in the Long Nineteenth Century

(CFP for edited volume)

Building on the exciting multidisciplinary conference held last May 2022 at King’s College, University of Cambridge, funded by the Open-Oxford-Cambridge AHRC Doctoral Training Partnership, we would like to invite proposals for essays to be included in an edited collection titled Nightmare/s in the Long Nineteenth Century.

The collection aims to explore the rich and multifaceted theme of nightmare in the arts, thought, and culture of the long nineteenth century. From Johann Heinrich Füssli’s 1781 oil painting The Nightmare, which was to become the iconic image of a newly emergent sensibility, to the first psychoanalytic investigations culminating in the Freudian study On the Nightmare by Ernest Jones (first published in 1911), the nineteenth century was characterised by a pervasive fascination with nightmares both as frightening dreams and, in their personified form, terrifying creatures or spirits (like the incubus).

Described by Samuel T. Coleridge as “not a mere Dream” but a peculiar oneiric phenomenon taking place “during a rapid alternation, a twinkling as it were, of sleeping and waking”, in the course of the nineteenth century the nightmare raised fundamental questions about conscience, the mind, fear, the Other, and the fear of the Other.

It occupied a special place in “the mythology of the Gothic imagination” (Philip W. Martin) not only because nightmares abounded in Gothic texts but also, and more significantly, because some of the most famous works in this genre – such as Mary Shelley’s Frankenstein (1818) and Robert Louis Stevenson’s Dr Jekyll and Mr Hyde (1886) – allegedly had their origins in their author’s nightmares. As “a phenomenon of passivity, self-effacement, irrationality, terror, and erotic excess” (Lisa Downing), the nightmare also conveyed cultural anxieties about repressed and deviant aspects of sexuality, as exemplified by another Füssli’s painting, the sapphic An Incubus Leaving Two Sleeping Girls (c. 1793), and by Louis Dubosquet’s definition of the nightmare as a nervous illness similar to hysteria in his medical thesis Dissertation sur le cauchemar (1815). Additionally, the age of imperialism witnessed the rise of ‘colonial nightmares’ which haunted Western imagination and gave voice to fears of racial otherness, as can be seen in “Lukundoo”, an American short story written in 1907 by Edward Lucas White about an explorer cursed by an African witch doctor and based on the authors’ own nightmares.

We invite proposals for contributions from various disciplines across the arts & humanities, with different methodological approaches and different geographical focus areas. Topics may include but are not restricted to:



● 19th-century literary and artsitic representations of nightmares

● 19th-century psychological and medical understanding of nightmares;

● nightmares and sleep

● nightmares and the unconscious

● nightmares and the Gothic;

● nightmares, inspiration, and the creative mind;

● nightmares, eroticism, and sexuality;

● nightmares and spectral apparitions;

● nightmares and hallucinations

● nightmares, altered states of consciousness, and psychoactive substances;

●nightmares and madness;

●prophetic nightmares;

●nightmares and the fear of (racial, ethnic, social, sexual…) Otherness;

●19th-century non-Western conceptions and depictions of nightmares.



Abstracts of 500 words, together with a short bio (max. 200 words), due March 15 2023 (notification of outcome by May 2023).

Final essays of 7.000-10.000 words, due September 15 2023.



All materials to be submitted to nightmaresconference@gmail.com.



With all best wishes,



The editors,

Frances Clemente (University of Oxford)

Greta Colombani (University of Cambridge)



Last updated December 20, 2022

CFP What is a life worth living? Speculative Fiction and Eternal Life (3/15/2023; MLA Philadelphia 1/4-7/2024)

What is a life worth living? Speculative Fiction and Eternal Life

deadline for submissions:
March 15, 2023

full name / name of organization:
Christene d'Anca, University of California Santa Barbara

contact email:
christene_danca@ucsb.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2023/01/22/what-is-a-life-worth-living-speculative-fiction-and-eternal-life.

Despite numerous post-apocalyptic storylines, many science fiction texts are a celebration of life and seek ways of prolonging it, whether artificially or by providing warnings against our current behavior in order to preserve the life that already exists. The fact that death and potential immortality are so frequently featured throughout the genre underscores our preoccupation with overcoming the limitations imposed on our bodies by nature, while seeking means to go beyond what is currently possible.

Such an interest has informed a broad literary fascination with immortality and rebirth, particularly in nineteenth and early twentieth century fantasy and science fiction, with Mary Shelley’s Frankenstein, H. Rider Haggard’s She, or Arthur Conan Doyle’s “The Ring of Thoth” being prime examples. These concerns persisted into the late twentieth century, especially in the aftermath of two world wars, and continue to intrigue us in the twenty-first.

Moreover, we look towards modern technology to grant us invincibility, and these developments have been foreshadowed through a variety of texts from Ovid’s Daedalus in antiquity to Bruce Sterling’s Holy Fire, Richard Morgan’s Altered Carbon, and Margaret Atwood’s MaddAddam trilogy in the modern era, to name but a few. As such texts interrogate what a world might look like in which human and/or non-human beings experience immortality, or versions of it, they address questions such as what constitutes the human soul, individuality, and our relationships with others as well as the planet over periods of time beyond a single human lifespan.

For our panel at the 2024 MLA conference January 4-7 in Philadelphia, we welcome 250-300 word abstracts for 15-minute papers focusing on the extension of life in science fiction or fantasy, with topics including, but not limited to the following:

- Human enhancement

- Monstrosity and reconceptualization of the human body

- Digital consciousness

- Carnality and bodily experience

- Bodily commodification

- Immortality pros/cons

- Death as a character

- Life-extending instruments and technology

- New perspectives on death, immortality, and rebirth

- Theological afterlives

- Time travel

Please address abstracts and/or questions to Christene d’Anca (christene_danca@ucsb.edu) and Darren Borg (borgdj@piercecollege.edu).




Last updated January 26, 2023a

CFP Ann Radcliffe Academic Conference (3/19/2023; StokerCon Pittsburgh and remote 6/16/2023)

Ann Radcliffe Academic Conference

For Academic Researchers across the Horror Genre!


Source: https://www.stokercon2023.com/ann-radcliffe-academic-conference.






Call for Papers:


The Sixth Annual Ann Radcliffe Academic Conference at StokerCon 2023

Conference Date: Friday, June 16, 2023

Conference Location: Station Square Hotel, 300 W Station Square Dr, Pittsburgh, PA 15219

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


The 2023 StokerCon ® convention in Pittsburgh promises to be a banner event. In addition to
celebrating the birthplace of many aspects of modern horror, this year also represents the
bicentenary of Ann Radcliffe’s death, and the publication of the 2nd edition of Frankenstein, the
first to bear Mary Shelley’s name.


The co-organizers of the Ann Radcliffe Academic Conference are eager to embrace and
interrogate the potential of this moment by examining and critiquing a wide range of topics
related to horror and gothic studies. The Ann Radcliffe Conference is intended as a research
showcase, as well as a tool for building community and collaboration. Therefore, we invite all
interested scholars, researchers, academics, and non-fiction writers to submit presentation
abstracts for completed research projects, works-in-progress, and projects that advance the
academic analysis of the horror genre in all its forms. This will be a hybrid conference with both
in-person and online events via Hopin.


As in prior years, we are eager to receive abstracts that expand the scholarship across horror and
gothic studies. This can include, but is by no means limited to:

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

We invite papers that take an interdisciplinary approach to their subject matter and welcome
scholarship that considers a diverse range of readings, interpretations, and application of
theories. This includes work from a variety of interdisciplinary and transmedia fields such as:

• Critical race theory
• Film theory and analysis
• Gender/LGBTQIA+ theory
• Historical analysis and interpretation
• Literary theory and analysis
• Pedagogical approaches to horror
• Psychology and Medicine
• Philosophical approaches

Presentation and Submission Guidelines

Please upload a 250 – 300 word abstract to our form on Submittable (or by clicking the "Submit Here" button below) by March 19, 2023. Responses will follow as soon as possible during March 2023.


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


Please note in your abstract whether you plan to present your work in person or virtually.


For those presenting virtually, details will be available soon, and video recordings will need to be sent by April 15, 2023.

​

Submit Here

​

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



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


Membership to the Horror Writers Association is not required to submit or present, however
registration to StokerCon 2023 is required to be accepted and to present. StokerCon registration,
including full event registration and day passes, can be obtained by going to
https://www.stokercon.com.



There is no additional registration or fees for the Ann Radcliffe Academic Conference outside StokerCon registration. If interested in applying to the Horror Writers Association as an academic member, please see www.horror.org/about/.

​