New Book: Penny Dreadful and Adaptation: Reanimating and Transforming the Monster

Penny Dreadful and Adaptation: Reanimating and Transforming the Monster

Editors: Julie Grossman and Will Scheibel

Palgrave Macmillan, 2023

Available from SpringerLink in print, as an ebook, and as individual chapters. Full details at https://link.springer.com/book/10.1007/978-3-031-12180-7. 


Experiments with recent interdisciplinary methodologies to understand the mechanisms of adaptation more broadly


Conceptualizes adaptation beyond the traditional dyad of literature and screen media


Explores the relationship between text, context, and intertext to understand how meaning is made and remade


Part of the book series: Palgrave Studies in Adaptation and Visual Culture (PSADVC)

About this book

This edited collection is the first book-length critical study of the Showtime-Sky Atlantic television series Penny Dreadful (2014-2016), which also includes an analysis of Showtime’s 2020 spin-off City of Angels. Chapters examine the status of the series as a work of twenty-first-century cable television, contemporary Gothic-horror, and intermedial adaptation, spanning sources as diverse as eighteenth and nineteenth-century British fiction and poetry, American dime novels, theatrical performance, Hollywood movies, and fan practices. Featuring iconic monsters such as Dr. Frankenstein and his Creature, the “bride” of Frankenstein, Dracula, the werewolf, Dorian Gray, and Dr. Jekyll, Penny Dreadful is a mash-up of familiar texts and new Gothic figures such as spiritualist Vanessa Ives, played by the magnetic Eva Green. As a recent example of adapting multiple sources in different media, Penny Dreadful has as much to say about the Romantic and Victorian eras as it does about our present-day fascination with screen monsters.

Contents

Front Matter

Pages i-xviii



Introduction

Julie Grossman, Will Scheibel

Pages 1-11



Welcome to the Night: Issues of Reading and Media

The Medium Is the Model

Thomas Leitch

Pages 15-30

The Adaptive Marketing of Penny Dreadful: Listening to The Dreadfuls

Christine Becker

Pages 31-47

Penny Dreadful and Frankensteinian Collection: Museums, Anthologies, and Other Monstrous Media from Shelley to Showtime

Mike Goode

Pages 49-67



Anatomy of a Monster: Horror and the Gothic in Literature and on the Screen

In the House of the Night Creatures: Penny Dreadful’s Dracula

Joan Hawkins

Pages 71-86

Vampirism, Blood, and Memory in Penny Dreadful and Only Lovers Left Alive

Luciana Tamas, Eckart Voigts

Pages 87-104

“The Dead Place”: Cosmopolitan Gothic in Penny Dreadful’s London

Kendall R. Phillips

Pages 105-120

Adapting the Universal Classic Monsters in Penny Dreadful: An Uncanny Resurrection

Will Scheibel

Pages 121-137



The Monster Unbound: Theatrical Performance, Western Dime Novels, and TV Noir

Penny Dreadful and the Stage: Lessons in Horror and Heritage

Shannon Wells-Lassagne

Pages 141-155

Ethan Chandler, Penny Dreadful, and the Dime Novel; or, Dancing with American Werewolves in London

Ann M. Ryan

Pages 157-176

Dreadful Noir, Adaptation, and City of Angels: “Monsters, All, Are We Not?”

Julie Grossman, Phillip Novak

Pages 177-193



Meanings of Monstrosity: Identity, Difference, and Experience

Penny Dreadful’s Palimpsestuous Bride of Frankenstein

Lissette Lopez Szwydky

Pages 197-215

Predators Far and Near: The Sadean Gothic in Penny Dreadful

Lindsay Hallam

Pages 217-232

“All Those Sacred Midnight Things”: Queer Authorship, Veiled Desire, and Divine Transgression in Penny Dreadful

James Bogdanski

Pages 233-252

Borderland Identities in Penny Dreadful: City of Angels

Seda Öz

Pages 253-267



Back Matter

Pages 269-282

About the editors

Julie Grossman is a professor of English and Communication and Film Studies at Le Moyne College in Syracuse, NY, USA. Her monographs include Literature, Film, and Their Hideous Progeny (2015), Ida Lupino, Director (with Therese Grisham, 2017), Twin Peaks (with Will Scheibel, 2020), and The Femme Fatale (2020). She is co-editor (with R. Barton Palmer) of the essay collection Adaptation in Visual Culture (2017) and (with Marc C. Conner and R. Barton Palmer) Screening Contemporary Irish Fiction and Drama (2022).

Will Scheibel is an associate professor of English at Syracuse University, USA, where he teaches film and screen studies. He is the author of Gene Tierney: Star of Hollywood’s Home Front (2022) and, with Julie Grossman, co-author of Twin Peaks (2020).

New Book: The Medial Afterlives of H.P. Lovecraft: Comic, Film, Podcast, TV, Games

The Medial Afterlives of H. P. Lovecraft: Comic, Film, Podcast, TV, Games

Editors: Tim Lanzendörfer and Max José Dreysse Passos de Carvalho

Palgrave Macmillan, 2023

Available from SpringerLink in print, as an ebook, and as individual chapters.

More details at https://link.springer.com/book/10.1007/978-3-031-13765-5.


This book is the first to sustainedly engage with the whole breadth of adaptations of H.P. Lovecraft


Includes not just film and TV, but also comics, podcasts, video games, and board games


Develops an affordance-based theory of adaptation by recourse to the example of Lovecraft

About this book

Medial Afterlives of H.P. Lovecraft brings together essays on the theory and practice of adapting H.P. Lovecraft’s fiction and the Lovecraftian. It draws on recent adaptation theory as well as broader discourses around media affordances to give an overview over the presence of Lovecraft in contemporary media as well as the importance of contemporary media in shaping what we take Lovecraft’s legacy to be. Discussing a wide array of medial forms, from film and TV to comics, podcasts, and video and board games, and bringing together an international group of scholars, the volume analyzes individual instances of adaptation as well as the larger concern of what it is possible to learn about adaptation from the example of H.P. Lovecraft, and how we construct Lovecraft and the Lovecraftian today in adaptation. Medial Afterlives of H.P. Lovecraft is focused on an academic audience, but it will nonetheless hold interest for all readers interested in Lovecraft today.

Contents

Front Matter

Pages i-xxvi



Theory

Lovecraft, the Lovecraftian, and Adaptation: Problems of Philosophy and Practice

Max José Dreysse Passos de Carvalho, Tim Lanzendörfer

Pages 3-25

Disseminating Lovecraft: The Proliferation of Unsanctioned Derivative Works in the Absence of an Operable Copyright Monopoly

Nathaniel R. Wallace

Pages 27-44

When Adaptation Precedes the Texts: The Spread of Lovecraftian Horror in Thailand

Latthapol Khachonkitkosol

Pages 45-60



Comics

Conveying Cosmicism: Visual Interpretations of Lovecraft

Rebecca Janicker

Pages 63-75

The Problematic of Providence: Adaptation as a Process of Individuation

Per Israelson

Pages 77-99

Twice Told Tale: Examining Comics Adaptations of At the Mountains of Madness

Tom Shapira

Pages 101-119



Film and TV

Image, Insoluble: Filming the Cosmic in The Colour Out of Space

Shrabani Basu, Dibyakusum Ray

Pages 123-137

The Threshold of Horror: Indeterminate Space, Place and the Material in Film Adaptations of Lovecraft’s The Colour Out of Space (1927)

Gerard Gibson

Pages 139-158

Cthulhoo-Dooby-Doo!: The Re-animation of Lovecraft (and Racism) Through Subcultural Capital

Christina M. Knopf

Pages 159-172

Dispatches from Carcosa: Murder, Redemption and Reincarnating the Gothic in HBO’s True Detective

Patrick J. Lang

Pages 173-189

Lovecraft Country: Horror, Race, and the Dark Other

Dan Hassler-Forest

Pages 191-204

The Lovecraftian Festive Hoax: Readers Between Reality and Fiction

Valentino Paccosi

Pages 205-220



Podcasts

“In My Tortured Ears There Sounds Unceasingly a Nightmare”: H. P. Lovecraft and Horror Audio

Richard J. Hand

Pages 223-240

The Lovecraft Investigations as Mythos Metatext

Justin Mullis

Pages 241-259



Video Games

Head Games: Adapting Lovecraft Beyond Survival Horror

Kevin M. Flanagan

Pages 263-277

The Crisis of Third Modernity: Video Game Adaptation of H.P. Lovecraft in The Sinking City

Erada Adel Almutairi, Tim Lanzendörfer

Pages 279-293

Authorship Discourse and Lovecraftian Video Games

Serenay Günal, Colleen Kennedy-Karpat

Pages 295-314



Analog Games

Challenging the Expressive Power of Board Games: Adapting H.P. Lovecraft in Arkham Horror and Mountains of Madness

Torben Quasdorf

Pages 317-337

Playing the Race Card: Lovecraftian Play Spaces and Tentacular Sympoiesis in the Arkham Horror Board Game

Steffen Wöll, Amelie Rieß

Pages 339-357



Back Matter

Pages 359-367

About the editors

Tim Lanzendörfer is research assistant professor of American Studies at Goethe University, Frankfurt, Germany. He has published widely in contemporary literature and media. His most recent books are the forthcoming Utopian Pasts and Futures in the Contemporary American Novel (2023) and the Routledge Companion to the British and North American Literary Magazine (2021).

Max José Dreysse Passos do Carvalho is a graduate student of American Studies at Goethe University, Frankfurt, Germany. His research and forthcoming publications concentrates on game studies and philosophy.

CFP Demystifying Mystic Falls: Race and Racism in The Vampire Diaries Franchise Collection (7/31/2023)

One more for the night:

Demystifying Mystic Falls: Race and Racism in The Vampire Diaries Franchise

deadline for submissions:
July 31, 2023

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

contact email:
dkoretsk@spelman.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2023/05/08/demystifying-mystic-falls-race-and-racism-in-the-vampire-diaries-franchise

Demystifying Mystic Falls: Race and Racism in The Vampire Diaries Franchise

From the time it premiered on The CW in 2009, The Vampire Diaries was duly castigated in the media for uncritically tiptoeing around Civil War “lost cause” mythology and overtly tokenizing its Black characters. As the public later learned, minoritized actors were also treated poorly behind the scenes. Still, the series became a cultural juggernaut, boasting two successful spin-offs (The Originals and Legacies), reviving the book series on which the show was based, and inspiring a cottage industry of franchise-related institutions and conventions that, as of 2023, is just beginning to take off.

Although vampire narratives have long been read as vehicles of social disruption, The Vampire Diaries and its spin-offs consistently privilege white, heteropatriarchal social orders. With the cancellation of Legacies last June presumably marking the end of The Vampire Diaries’ extended universe, the time is right to assess the franchise as a whole and reflect on what it tells us about the culture that continues to eagerly embrace it.

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

Possible topics may include (but are certainly not limited to):

• The relationship between the undead, social death, and racial politics
• Black witches, Native American spirits, Confederate and Viking vampires, and other overtly racialized monsters and heroes
• The series’ rewritings of local and global racial histories
• The role of race in the series’ fan cultures, especially in the rise of franchise-inspired businesses and conventions in the small Southern towns where the shows were shot
• How The Vampire Diaries reflects/challenges depictions of race in other popular vampire narratives, such as its immediate contemporaries Twilight and True Blood, and its clearest predecessor, Buffy the Vampire Slayer
• How media and fan critiques shaped the franchise’s treatment of minoritized characters and actors within a single series or across all three

For consideration, please submit a 300-word abstract, reference list of 3-5 peer-reviewed sources, and 50-word author biography with current affiliation and email address to dkoretsk@spelman.edu

Final essays should be between 5000 and 7000 words and follow the Chicago Manual of Style, 16th ed. Please use 12 pt. Times New Roman font (including endnotes), double space throughout, with 1-inch margins all around.



Projected schedule (subject to change):

Abstract/Bio/References July 31, 2023

Acceptance Notice August 31, 2023

First Draft December 30, 2023

First Edit May 31, 2024

Final Version July 31, 2024




Last updated May 9, 2023

CFP Gothic Studies Area (6/30/2023; MAPACA Philadelphia 11/9-11/2023)

MAPACA: Gothic Studies

deadline for submissions:
June 30, 2023

full name / name of organization:
Mid-Atlantic Popular and American Culture Association: Gothic Studies Area

contact email:
wsmcmasters@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2023/05/10/mapaca-gothic-studies



Gothic Studies CFP for MAPACA 2023: The Mid-Atlantic Popular and American Culture Association is accepting proposals until June 30 for their 2023 conference, Nov 9 - 11, in Philadelphia, PA. General guidelines can be found at mapaca.net and below. Please consider submitting to the Gothic Studies area: https://mapaca.net/areas/gothic-studies



The Gothic Studies area invites proposals which engage with the genre and culture of the Gothic as it is represented in film, television, literature, art, and society. We are especially interested in ways that the Gothic aesthetic defines itself against other predominate modes, or genres, of storytelling or culture. We also invite proposals concerned with subgenres of the Gothic across media, like the American Gothic, southern Gothic, feminine Gothic, the “weird tale,” and the ecoGothic as represented film, television, literature, music, fashion, art, and culture.

For more information and for the general CFP, visit mapaca.net



Last updated May 11, 2023

CFP Fright Nights: Live Halloween Horror Events Collection (7/24/2023)

Fright Nights: Live Halloween Horror Events

deadline for submissions:
July 24, 2023

full name / name of organization:
Kieran Foster/Cassie Brummitt

contact email:
kieran.foster@nottingham.ac.uk

source: https://call-for-papers.sas.upenn.edu/cfp/2023/05/04/fright-nights-live-halloween-horror-events

Fright Nights: Live Halloween Horror Events

CALL FOR CHAPTERS: EDITED COLLECTION



Editors: Kieran Foster, University of Nottingham (UK), and Cassie Brummitt, University of Nottingham (UK)



Horror’s origins - with its roots in folklore, mythology and the oral tradition - stretch much further back in time than screen media, and beyond even ‘canonical’ literature such as Frankenstein and Dracula. However, in the 20th century and beyond, horror as a media genre has become big business, especially in the screen industries where horror film and television franchises have become globally-exploited intellectual properties ripe for spin-offs, sequels, remakes, transmedia world-building and merchandising (Fleury and Mamber 2019, Harris 2010, Mee 2022).



What remains less explored in extant scholarly literature, which this edited collection intends to address, is the phenomenon of space and place within horror’s commercial logics. Importantly, the past few decades have seen a rise in immersive, interactive environments that draw on horror imagery as an indelible part of the attraction. Events such as escape rooms, immersive experiences and fan-led celebratory events enable horror intellectual property to escape the confines of the big and small screen to pervade cultural spaces globally (Kennedy 2018, Ndalianis 2010). These physical, participatory, often visceral environments have implications for the ways in which horror properties are materialised, remediated, and engaged with.



These kinds of immersive attractions are no more popular than at Halloween, where it has become increasingly common to see both branded and non-branded horror events take place across the globe. For example, in the UK, pop-up ‘scream parks’ such as York Maze’s ‘HallowScream’, or theme park events such as ‘Fright Nights’ at Thorpe Park, draw on non-branded horror, folklore and supernatural imagery. Meanwhile, internationally, events such as ‘Halloween Horror Nights’ (at Universal Studio sites in Orlando, Hollywood, Singapore and Japan) and ‘Mickey’s Not-So-Scary Halloween Party’ (at Walt Disney World’s Magic Kingdom in Orlando and Disneyland Paris) exploit branded iconography, IP, and franchises.



Horror’s preoccupation with the abject and the visceral offers arguably unique opportunities to translate cultural fears into a physically inhabitable and interactable experience. Seeking to address this important phenomenon, this edited collection will examine Halloween-focused horror events as an under-explored but sizable part of horror media’s global creative and commercial logics, both historically and contemporarily.



We are seeking abstracts of up to 250 words in response to this theme (plus author biography up to 100 words). The form of contributions can be flexible, whether a standard chapter, an interview (for example, with a practitioner, an industry professional, or fans), an autoethnographic piece, or another creative means of exploring the topic.



Topics may include but are not limited to:

• Issues of labour in Halloween horror events
• Marketing and promotional discourses of Halloween horror events
• Franchising and intellectual property in Halloween horror events
• Immersion and interactivity
• Halloween horror events as film, media or literary tourism
• Notions of play and lusory attitudes to Halloween horror events
• Performance and emotion in Halloween horror events
• Audience engagement and experience
• Fan studies of horror events
• Narratives and storytelling
• Industrial relationships, logics and practices

Please send your abstract and bio to Dr. Kieran Foster (kieran.foster@nottingham.ac.uk) and Dr. Cassie Brummitt (cassie.brummitt@nottingham.ac.uk). The deadline for abstracts is July 24th 2023.



Last updated May 9, 2023

CFP A24 and Horror Cinema Collection (6/15/2023)

A24 and Horror Cinema

deadline for submissions:
June 15, 2023

full name / name of organization:
Todd Platts Piedmont Virginia Community College

contact email:
toddkplatts@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2023/03/30/a24-and-horror-cinema

Since its formation in 2012, A24 has curated a distinctive horror (and horror adjacent) oeuvre with films like Tusk (2014), The Witch (2016), Green Room (2016), The Monster (2016), The Blackcoat’s Daughter (2016), It Comes at Night (2017), A Ghost Story (2017), The Killing of a Sacred Deer (2017), Hereditary (2018), Slice (2018), High Life (2019), Midsommmar (2019), The Lighthouse (2019), In Fabric (2019), Saint Maud (2021), False Positive (2021), The Green Knight (2021), Lamb (2021), X (2022), Men (2022), Bodies Bodies Bodies (2022), and Pearl (2022) many of which have been termed post- and elevated horror among other problematic and highly contested sobriquets.

Despite occupying a central position in the production of cinematic horror, A24 has elided academic scrutiny. To date, there exists a small scattering of studies that partially focus on a company that has grown in prominence and commands significant attention from the business and trade press. To fill this gap, proposed collection will offer the first in-depth academic analysis of A24’s horror films.

Suggested topics for this proposed collection include but are not restricted to: 

• A24’s business model (e.g., budgeting, marketing, theatrical releasing, nontheatrical releasing, distribution)
• A24’s production history and/or promotional strategies
• Essays documenting A24’s use of auteurism or director profiles (e.g., Ari Aster, David Lowery, Ti West)
• Essays on significant standalone films (e.g., It Comes at Night, A Ghost Story, Saint Maud)
• A24’s relation to elevated horror
• A24 films and the audience

Please send a 150–300 word abstract and a 50–100 word academic biography to Todd Platts (toddkplatts@gmail.com) by June 15, 2023.

Preference will be given to proposals received by June 15, 2023. All notifications of acceptance will be emailed no later than June 30, 2023. If an abstract is accepted, essays can be expected to be between 6,000 and 7,500 words in length (including references). Edinburgh University Press has expressed interest in the volume as part of their 21st Century Horror series.

Further inquiries should be sent to Todd Platts (toddkplatts@gmail.com).



Last updated April 4, 2023

CFP Special Section: Monstrous New Orleans (6/15/2023; Popular Culture Association South, New Orleans 9/28-30/2023)

Monstrous New Orleans

deadline for submissions:
June 15, 2023

full name / name of organization:
Popular Culture Association South

contact email:
pcavampires@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2023/05/05/monstrous-new-orleans


New Orleans is known as one of the most haunted cities in the U.S. and as a haven for vampires (thank you, Anne Rice), but there are so many more monsters there than ghosts and vampires. With such a rich tradition of magic and the paranormal, New Orleans dazzles artists and scholars alike, inviting us all into the mysteries. To celebrate the dark depths of the city, PCAS welcomes papers or presentations that explore the monsters and the monstrous that roam the streets and psyches of New Orleans.



To have your proposal/abstract considered for this special session, please submit your proposal/abstract of approximately 250 words to pcavampires@gmail.com



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



The conference will be held in New Orleans, Sept. 28-30, 2023.



Last updated May 9, 2023

CFP Literary Monsters (6/15/2023; SAMLA Atlanta 11/9-11/2023)

Literary Monsters

deadline for submissions:
June 15, 2023

full name / name of organization:
SAMLA / South Atlantic Modern Language Association

contact email:
tracie.provost@mga.edu

soure: https://call-for-papers.sas.upenn.edu/cfp/2023/04/18/literary-monsters

SAMLA’s 95th annual conference, (In)Security: The Future of Literature and Language Studies, will be held at the Atlanta Marriott Buckhead Hotel & Conference Center in Atlanta, Georgia this year from November 9-11. Those accepted must be members of SAMLA to present. You can find more information at: https://samla.memberclicks.net/



Literary Monsters Panel

In today's culture, it's almost impossible to avoid "monsters." Straight from mythology and legend, these fantastic creatures traipse across our television screens and the pages of our books. Over centuries and across cultures, the inhuman have represented numerous cultural fears and, in more recent times, desires. They are Other. They are Us. This panel will explore the literal monsters--whether they be mythological, extraterrestrial, or man-made--that populate fiction and film, delving into the cultural, psychological and/or theoretical implications.



Please submit a 250-300 word abstract, a brief bio, and any A/V needs by June 15, 2023 to Tracie Provost, Middle Georgia State University, at tracie.provost@mga.edu.



Last updated April 27, 2023

CFP Casas Tomadas: Monsters and Metaphors on the Periphery of Latin American Literature (7/30/2023)

Call for Book Chapters: "Casas Tomadas: Monsters and Metaphors on the Periphery of Latin American Literature"

deadline for submissions:
July 30, 2023

full name / name of organization:
Carlos A. Gonzalez

contact email:
cgonzalez@g.harvard.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2023/04/24/call-for-book-chapters-casas-tomadas-monsters-and-metaphors-on-the-periphery-of-latin

Vernon Press invites book chapters for an edited volume on the subject of "Casas Tomadas: Monsters and Metaphors on the Periphery of Latin American Literature."

Editor: Carlos A. González (Harvard University)

Monsters have always played an important role in the literature of Latin America, and have managed to persist in the national imaginations from which hispano- and lusophone writers draw their own source material. Dictators, strongmen, and organized crime roam the peripheries of language and history side by side with monsters, specters, and creatures horrible to behold.
This edited volume will draw together scholarship exploring the ways in which monsters, of the imagination and of history, persist in the literature, politics, language, and culture of Latin America, drawing from a wide array of sources and disciplines. It will also explore the role of literature in ensuring, processing, and reimagining the ongoing survival of the monstrous, with perhaps surprising results. It aims to explore the several manifestations of monsters and monstrosity in literature, arts, film and other Latin American media, by investigating the ever-changing forms they assume from early modernity to the present.
We welcome submissions that examine the ways in which monsters and monstrosity have been, and continue to be, depicted across temporal and geographical lines.

Possible topics may include, but are not limited to:

• Monsters and monstrosity in myth and folk-lore
• The literary and artistic representation of monsters through time
• The subversion of the monster trope in contemporary art and literature
• The representation of monstrous Others
• The intersection of race, class, sexuality, and gender in the representation of monsters and monstrosity
• The ethics of monsters or monstrous others

We encourage submissions from scholars of all backgrounds and levels of experience. Particularly welcome are interdisciplinary and transcultural contributions which highlight the subversive power of monsters, as well as challenging the category of monstrosity as a whole.

Please submit a 250-word abstract and a brief biography to Carlos A. González, cgonzalez@g.harvard.edu, by July 30th, 2023.

Full papers should be no longer than 8.000 words and will be due by Nov 30th, 2023. All submissions will be peer-reviewed.

We look forward to receiving your submissions and engaging in a rich and thought-provoking exchange on the topic of monstrosity and monsters in Latin American culture, literature, and the arts.



Last updated April 27, 2023

CFP Medieval Monstrosities Online Symposium (9/15/2023; online 10/27/2023)

Medieval Monstrosities

deadline for submissions:
September 15, 2023

full name / name of organization:
Illinois Medieval Association

contact email:
mwgeorge.51@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2023/05/10/medieval-monstrosities

Illinois Medieval Association Annual Symposium: Medieval Monstrosities

October 27, 2023, 3:00 pm via Zoom

The Illinois Medieval Association is now accepting proposals for our annual Halloween session: Medieval Monstrosities. This session is part of our annual Symposium, which runs online throughout the year. Topics are open to any work on the Middle Ages involving the monstrous, supernatural, strange, and/or bizarre. The Symposium aims to engage all disciplines and geographical areas of medieval studies. The session will be free and online, and papers presented at the session are eligible for submission to Essays in Medieval Studies, IMA's annual, peer-reviewed proceedings volume, published annually by the West Virginia University Press and available via Project Muse. The session is online via Zoom and completely free.

To submit, please send a proposal by August 20 of no more than 300 words to mwgeorge.51@gmail.com. Include your name, institutional affiliation (if any), the title of the proposed paper, and your proposal narrative.



Last updated May 12, 2023