CFP “Provocations” Essays for American Gothic Studies (10/15/2025)

CFP: “Provocations” Essays for American Gothic Studies

deadline for submissions: 

October 15, 2025

full name / name of organization: 

American Gothic Studies/Society for the Study of the American Gothic

contact email: 

jschell5@alaska.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2024/07/24/cfp-%E2%80%9Cprovocations%E2%80%9D-essays-for-american-gothic-studies

UPDATED: SEEKING ESSAYS ON SPECIFIC TOPICS, SEE DESCRIPTION AND LIST BELOW

CFP: “Provocations” for American Gothic Studies

American Gothic Studies is seeking short essays for its “Provocations” section. These pieces (2,000 words) are meant to question conventional wisdom, tackle compelling issues, or advance new theses about the American Gothic as an academic field or pedagogical subject. Please note that they are not traditional essays.

At this time, we are interested in essays that revisit, interrogate, and update older concepts and terms. Some examples might include (but are not limited to) the following:

• Wilderness (sublime and otherwise)
• Bodies (mutable, multispecies, and otherwise)
• Contagion and Infection
• Symbiosis
• Space and Inter-Spaces (domestic, online, and otherwise)
• Nostalgia
• Posthuman
• Scientist (mad and otherwise)

Our questions for authors include (but are not limited to) the following: What relevance do these terms have for the field of American Gothic studies in the present moment? What shifts in meaning have occurred over time? What makes these terms problematic or troublesome? What makes these terms productive or fruitful? What updates can we make to our thinking insofar as these terms are concerned?

To propose a Provocations piece, please contact section co-editors Jennifer Schell (jschell5@alaska.edu) and Cristina Santos (csantos@brocku.ca). Please explain what makes your proposal provocative insofar as the field of Gothic studies is concerned.  

Our submission deadline is October 15, 2025. Please review the formatting guidelines before entering your manuscript for consideration. 

American Gothic Studies is the first scholarly journal dedicated to the American Gothic and publishes rigorously vetted scholarship on the topic, broadly construed. This encompasses considerations of literature, film, television, comics, and new media, as well as cultural artifacts and practices.

American Gothic Studies is the official journal of the Society for the Study of the American Gothic (SSAG), which promotes and advances the study of the American Gothic through research, teaching, and publication. It is the goal of the Society to strengthen relations among persons and institutions both in the United States and internationally who are undertaking such studies, and to broaden knowledge among the general public about the American Gothic in its many forms.

 

Last updated May 31, 2025

CFP Dark Tourism in Colonial, Postcolonial and Decolonial Contexts (10/1/2025 Special Issue of From the European South)

 

CFP From the European South, 19, Fall 2026 Special Issue: Dark Tourism in Colonial, Postcolonial and Decolonial Contexts: Topographies of Suffering, Narrative Constructions and the Consumption of Place(s)

deadline for submissions: 

October 1, 2025

full name / name of organization: 

From the European South journal

contact email: 

marilena.parlati@unipd.it

source: https://call-for-papers.sas.upenn.edu/cfp/2025/02/22/cfp-from-the-european-south-19-fall-2026-special-issue-dark-tourism-in-colonial

CFP From the European South, 19, Fall 2026

Special Issue: Dark Tourism in Colonial, Postcolonial and Decolonial Contexts: Topographies of Suffering, Narrative Constructions and the Consumption of Place(s) 

Guest Editors: Eleonora Federici (University of Ferrara) and Marilena Parlati (University of Padova)

 From the European South invites submissions for a special issue dedicated to exploring dark tourism in colonial, postcolonial and decolonial contexts, with a particular focus on the role literature, language, museum culture and storytelling in general may have in representing, but also cordoning off, global topographies of suffering, such as sites of catastrophes, genocide, environmental change and neocolonial exploitation. The editors of this issue aim to critically examine the complex relationships between dark tourism and colonial legacies, postcolonial realities and imagined communities, and also the possibilities entailed by decolonization processes. We specifically seek contributions that analyze how dark tourism sites are experienced, consumed and represented, especially in relation to the Global South.

With reference to publications about dark tourism (Lennon and Foley, Dark Tourism the Attraction of Death and Disaster 2000; Sion, Death Tourism Disaster as Recreational Landscape 2014), we wish to analyse how sites associated with death and disaster (assassination, slavery, genocide, war, tragic events) become tourist attractions. Linguistic, visual and multimodal elements help to create a representation of these sites as places of memory, education, but also, quite controversially, leisure.
We are also interested in the ways in which the consumption of ‘shadow zones’ shapes these processes, both in the present and in a future-oriented perspective. We are aware that no singling out of ‘one’ memory is less than intensely debatable, since any past idea about national memory as cohesive and intrinsic has luckily often - although not everywhere - been dismantled. Thus, we would also welcome papers that help usher in discussions on the risk that memory sites (dark, in particular) may serve to reinforce overpowering ‘invented traditions’ and monolingual master narratives (see Derrida, The Monolingualism of the Other 1998).

We suggest a few potential areas of focus which include, but are not limited to:
●    The influence of literature on the experience, interpretation and discursive representation of dark tourism sites
●    The impact of colonial and postcolonial literatures on dark tourism site representation and vice versa
●    The role of fiction and non-fiction in shaping visitor expectations and experiences
●    Written narratives, on-site storytelling, multi-format (including digital) narratives in dark tourism
●    Digital consumption of dark tourism places: virtual tours and social media representations
●    Linguistic and multimodal strategies in tourism texts (on site texts; leaflets, brochures, websites, blogs, social media)
●    The role of art and tourism discourse in commemorating and interpreting sites of trauma, also in relation to reconciliation processes
●    Resistance, resurgence and/or reconciliation in dark tourism sites: mapping topographies of suffering in colonial and postcolonial contexts
●    Tourism and postcolonial memory: the commodification of traumatic pasts, and the role of dark tourism in (postcolonial) nation-building and place branding
●    Indigenous tourism and dark sites: negotiating consumption, sacredness, and resistance
●    Shadow zones: Conflicting narratives and dissonant memories in colonial, postcolonial, decolonial dark tourism sites
●    ‘Authenticity’ and staged experiences in colonial/postcolonial/neocolonial dark tourism sites
●    Intergenerational transmission of guilt, shame, and responsibility through dark tourism
●    Dissonant memories: managing, re-presenting, revisiting conflicting historical narratives
●    Indigenous cosmologies and their integration in (or exclusion from) dark tourism narratives

We welcome contributions from various disciplines, including but not limited to: anthropology, cultural studies, gender studies, geography, history, literary studies, media studies, museum and heritage studies, philosophy, political science, postcolonial studies, religious studies, sociolinguistics, sociology, translation studies, tourism studies, urban planning.

Please submit your abstract (500 words) and a brief bionote by Wednesday 1 October 2025 to both Eleonora Federici (eleonora.federici@unife.it) and Marilena Parlati (marilena.parlati@unipd.it).
Notification of acceptance will be communicated by Monday 1 December 2025, with completed papers due 1 March 2026.
FES 19 will be published in Fall 2026.

Reading List/Suggestions

Lennon, J. J., M. Foley, Dark Tourism: the Attraction of Death and Disaster, New York, Continuum, 2000
Bauman, Z., Consuming Life, London, Polity, 2007
Binik, O., The Fascination with Violence in Contemporary Society, London, Palgrave, 2020
Carrigan, A., Dark Tourism and Postcolonial Studies: Critical Intersections, Postcolonial Studies, vol. 17, 3, pp. 236-250
Dann G., The Language of Tourism. A Sociolinguistic Perspective, Wallingford, CAB International, 1996
Derrida, J., The Monolingualism of the Other, or, The Prosthesis of Origin (Cultural Memory in the Present), Stanford, Stanford UP, 1998
Hall, S. (ed.), Cultural Representation and Signifying Practices, London, Sage, 1997
Hobsbawm, E., T. Ranger (eds), The Invention of Tradition, Cambridge UP, 2012
Nora, P., Between Memory and History: Les Lieux de Mémoire, Representations, Vol. 26, Special Issue: Memory and Counter-Memory (Spring 1989), pp. 7-24
Sion, B., ed., Death Tourism Disaster Sites as Recreational Landscape, London, Seagull, 2014
Stone, P. R., R. Hartmann, A. V. Seaton, R. Sharpley (eds), The Palgrave Handbook of Dark Tourism Studies, London, Palgrave, 2018
Sturken, M., Tourists of History: Memory, Kitsch, and Consumerism from Oklahoma City to Ground Zero, Durham, Duke UP, 2007
Urry, J., J. Larsen (eds), The Tourist Gaze 3.0, London, Sage, 2011
White L., E. Frew (eds), Dark Tourism and Place Identity, London, Routledge, 2013

 

PLEASE NOTE
From the European South considers all proposals on condition that they are
●    your own original work, and does not duplicate any other previously published work, including your own previously published work;
●    follow the journal’s “Author’s Guidelines” closely[https://www.fesjournal.eu/author-guidelines/];•not a translation (IT or EN) of an already published text;
●    have been submitted only to FES; it is not under consideration for peer review or accepted for publication or in press or published elsewhere;
●    contain nothing that is abusive, fraudulent, or illegal.
            
                    
                                   

Last updated May 26, 2025

CFP Gothic Literature: Creative Activity, Research, and Pedagogy (9/1/2025; Special Issue of Interdisciplinary Humanities)

Gothic Literature: Creative Activity, Research, and Pedagogy

deadline for submissions: 

September 1, 2025

full name / name of organization: 

Interdisciplinary Humanities

contact email: 

cuevae@uhd.edu

Call for Papers

Interdisciplinary Humanities

Special Double Issue

Gothic Literature: Creative Activity, Research, and Pedagogy

 

Interdisciplinary Humanities announces a special double issue dedicated to exploring Gothic literature's rich and diverse world. This special issue will feature creative works, scholarly research, and pedagogy with a particular focus on the New England Gothic context, although submissions on alternate Gothic traditions are encouraged for specific areas of focus outlined below. We invite papers that investigate the New England Gothic genre's literary, cultural, and historical dimensions as well as creative works that engage with, draw inspiration from, and/or reinterpret Gothic traditions for contemporary audiences.

 

Research Topics

We welcome submissions that engage with topics such as the following:

• Critical analysis of Gothic texts, particularly focused on those rooted in the New England Gothic tradition.
• The evolution of New England Gothic literature’s themes and motifs, including the supernatural, horror, isolation, and decay.  Of particular interest are the ways in which these phenomena integrate with conversations about Indigenous peoples, the Puritans, religious and cultural superstitions and stereotypes, clashes of diverse cultures in these contexts, etc.
• The intersection of Gothic literature with other literary genres such as horror, fantasy, science fiction, and media such as film, video games, and digital texts.  This topic is open to submissions rooted across a more holistic Gothic literature and art field.
• Comparative studies of New England Gothic with other regional Gothic traditions, such as Southern Gothic or Transatlantic Gothic.
• Exploration of how New England Gothic literature reflects and shapes cultural anxieties related to gender, race, class, or historical trauma.
• Environmental and eco-Gothic themes, particularly in relation to the landscapes of New England.
• The role of art, architecture, geography, and space in Gothic narratives.  This topic is open to submissions investigating a broad field of Gothic traditions.
• The relationship between Gothic literature and cultural theory and analysis, including religious or philosophical traditions.

Creative Works

We also invite creative submissions inspired by Gothic traditions. These may include but are not limited to:

• Short stories, flash fiction, or novel excerpts that are drawn specifically from New England Gothic themes and/or contexts.
• Poetry that evokes the New England Gothic tradition's atmosphere, tone, or imagery.
• Experimental or hybrid forms that push the boundaries of New England Gothic literature.
• Creative non-fiction or memoirs that reflect on personal encounters with New England Gothic themes, narratives, or landscapes.

Pedagogy

• Innovative teaching methods for the Gothic.
• Curriculum design and assessment strategies.
• Interdisciplinary approaches to teaching Gothic texts.
• Digital humanities and Gothic literature /culture education.

 

Editors

Volume 1: Gothic Literature: Creative Activity and Research

• Jay Burkette (Embry-Riddle Aeronautical University)
• Wendy Galgan (Saint Joseph’s College of Maine)
• Megan Gannon (Ripon College)
• Darian Wharton (University of New Mexico)

 

Volume 2: Gothic Literature / Culture and Pedagogy

• Debra Bourdeau (Missouri University of Science and Technology)
• Clint Jones (Capital University)
• Mary Powell (Desert Vista High School and Grand Canyon University)
• Elissa Pugh (Concord University)

 

Important Dates

• Submission Deadline: October 1, 2025
• Notification of Acceptance: November 1, 2025

 

Review Process

All submissions will undergo a double-blind peer review process. Manuscripts will be evaluated based on originality, relevance, methodological rigor, and contribution to the field.

 

Contact Information

• Ed Cueva, Interdisciplinary Humanities Lead Editor: cuevae@uhd.edu

 Last updated March 31, 2025

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

Journal of Dracula Studies

deadline for submissions:
May 1, 2024

full name / name of organization:
Journal of Dracula Studies

contact email:
journalofdraculastudies@kutztown.edu

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

past issues are accessible at: https://research.library.kutztown.edu/dracula-studies/

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

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

Please follow MLA style.

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

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

Copyright for published articles remains with the author.

Send electronic submissions to journalofdraculastudies@kutztown.edu


Last updated April 16, 2024

CFP Metamorphosis, Transformation, and Transmutation (Spec Issue of Cerae) (3/31/2024)

Metamorphosis, Transformation, and Transmutation

deadline for submissions: March 31, 2024

full name / name of organization: Cerae Journal

contact email: editorcerae@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2023/12/06/metamorphosis-transformation-and-transmutation

Shifting – or transforming – between states of being is a feature of human and animal societies as well as of the wider living world and the cosmos. This act of shifting is experienced through both natural and unnatural processes and can be seen in all areas of life, from the reproductive cycles of organisms, to epochal changes undergone by entire societies, and everything in between. But transformations can also refer to distortions of reality, both deliberate and accidental, magical or real, as much as they can reflect genuine changes to an individual, an institution, a landscape, or even a society. Understanding how one thing becomes another was arguably a feature of much of medieval and early modern intellectual history – from Isidore to Aquinas, Albertus Magnus to Descartes and Newtown – and whole schools of thought could be founded and even wars fought over the differences.

Topics may include, but are not limited to the following:

• Agricultural/environmental transformations;
• Alchemy/medicine/science;
• Literary and historiographical transformation;
• Magical, mystical, and shapeshifting transformations;
• Metamorphosis in relation to animals and plants;
• Political and economic transformation/metamorphosis;
• Shifting between states such as life stages, death or rites of passage;
• Spiritual transformations;
• The body as a site of transformation.

There is no geographic or disciplinary limitation for submissions, which can consider any aspect of the medieval or early modern world or its reception.

We invite submissions of both full-length essays (5000-8000 words) and varia (up to 3000 words) that address, challenge, and develop these ideas. Ceræ particularly encourages submissions from postgraduate and early career researchers, and there is a $200 AUD annual prize for the best postgraduate/ECR essay. Submissions should be sent to the editor (editorcerae@gmail.com), and submissions should follow the guidelines found on our submissions page (https://ceraejournal.com/submissions-2/). Please visit our Volume 11 page for further details on the submissions process (https://ceraejournal.com/volume-11-2024/).

The deadline for themed submissions is 31 March 2024.


Last updated December 7, 2023
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CFP Online Midwinter Seminar 2023 Fantasy Goes to Hell: Depictions of Hell in Modern Fantasy Texts (11/15/2022; online 1/27-28/2023)

Online Midwinter Seminar 2023
Fantasy Goes to Hell: Depictions of Hell in Modern Fantasy Texts

January 27-28 (Friday evening, Saturday all day)
Via Zoom and Discord

Source and registration link: https://www.mythsoc.org/oms/oms-2023.htm

Online Midwinter Seminar
Fantasy Goes to Hell: Depictions of Hell in Modern Fantasy Texts
Co-chairs: Janet Brennan Croft and Erin Giannini

Hell in modern fantasy is usually a far cry from traditional depictions in major world religions — the dry and dusty hells of ancient Mesopotamia and the Classical world, the ambiguous Hel of the Norse, the fiery pit and everlasting torment of medieval Christianity and Islam, the purgatorial hells of reincarnative religions like Buddhism and Hinduism. How do creators of fantasy imagine Hell differently? And more importantly, why? What do these depictions have to tell us about what is hellish in our modern world?

In addition to hosting this Online Midwinter Seminar, the co-chairs will be co-editing a special issue of Mythlore, in which they intend to present selected papers presented at this seminar.

REGISTRATION

Registration is US$20.00 per person.

Since a major component of the online seminar is the discussions and other activities on Discord, we would also like to know what screen name (or "handle") you use, or would like to use, on that platform. Specifying both your real name and your Discord name helps us keep track of who is registered and who is not. However, supplying your Discord name is technically optional, especially if you do not plan on participating in any Discord activities.

CALL FOR PAPERS

The CFP deadline is November 15, 2022.

The Mythopoeic Society invites paper submissions for an online conference that focuses on the various depictions of the concept of hell in modern fantasy works. Aspects of this topic might include but are certainly not limited to any of the following:

• The mystical spiritual descent: what can be gained from a descent to hell
• The escape from hell: What is saved, and what is left behind
• The harrowing of hell: the rescue of others from hell
• The pact with hell: self-damnation or turning the tables
• The intersection of race, racism, and hell
• Hellish places: Mordor, Charn, the Upside Down, the post-apocalyptic world
• The influence of fantastic ur-texts about Hell: Aeneas’s visit in The Aeneid; Dante’s Inferno; Marlowe’s Doctor Faustus; Milton’s Paradise Lost; Jean-Paul Sartre’s No Exit; the art of Hieronymus Bosch; Mozart’s Don Giovanni
• “This IS the Bad Place!”: The primary world as Hell

Papers from a variety of critical perspectives and disciplines are welcome. We are interested in ANY form of media — text, graphic novels, television, movies, music and music videos, games — as long as it can be described as fantasy and includes a hell or its denizens.
Some texts to consider:

• C.S. Lewis’s The Screwtape Letters and The Great Divorce
• Charles Williams’s All Hallows’ Eve
• Terry Pratchett and Neil Gaiman’s Good Omens (book and television series)
• Lois McMaster Bujold’s Five Gods series
• Music videos: Lil Nas X’s “Montero” and “Industry Baby”
• Television series: Buffy the Vampire Slayer, Angel, Lovecraft Country, Supernatural, The Good Place
• Movies: Get Out, Dogma
• Tanith Lee’s Tales From the Flat Earth series (Death’s Master et seq.)
• Works by Vaclev Havel, Franz Kafka, Nikolai Gogol, George Orwell
• Neil Gaiman’s Sandman (graphic novels and television series)
• Walter Wangerin, Jr.’s Dun Cow trilogy
• Evan Dahm’s Harrowing of Hell (graphic novel)

Each paper will receive a 50-minute slot to allow time for questions, but individual papers should be timed for oral presentation in 40 minutes maximum. Two or three presenters who wish to present short, related papers may also share a one-hour slot. Participants are encouraged to submit papers chosen for presentation at the conference to the special issue of Mythlore devoted to this theme. All papers should conform to the MLA Style Manual current edition.

Proposals should be approximately 200 words in length and should be sent to both co-chairs: oms-chair@mythcon.org and oms-co-chair@mythcon.org.

CFP Three centuries of the literature of fear by women authors (Spec Issue of Revista Abusões; 7/17/2022)

Three centuries of the literature of fear by women authors

source: https://www.e-publicacoes.uerj.br/index.php/abusoes/index

Editors:
Ana Paula Araujo dos Santos (UERJ, Brazil); Ana Resende (UERJ, Brazil); Anna Faedrich (UFF, Brazil); Renata Philippov (UNIFESP, Brazil)

Submissions are due by July 17, 2022
Publicado: 2022-04-12





Three centuries of the literature of fear by women authors



In Literary Women (1976), Ellen Moers defines the term “female Gothic” as those works written by women that produce fear or fear-related sensations, such as horror, terror, and disgust, in the readers. Moers makes her point by drawing on Ann Radcliffe, the most successful writer of the eighteenth century, and the Gothic machinery she used in her novels to create the sublime effect, such as dark landscapes and ruined castles—suitable spaces for supernatural apparitions. According to Mary Shelley, in Frankenstein (1831), a successful narrative depends on the intensity of the physical sensations produced, such as freezing the blood and accelerating the heartbeat.

At the turn of the nineteenth century, only the “ghosts within us” caused chills and excited the nerves, as Virginia Woolf observes in Granite and Rainbow (1928), referring to the interest in a fiction that addressed more contemporary fears rather than those explored by early Gothic literature. The literature of fear has gained a new life with the fin-de-siècle and modernist female fiction of authors such as Kate Chopin, Júlia Lopes de Almeida, Shirley Jackson, Flannery O’Connor, and Virginia Woolf herself.

Contributors may submit work that focuses on various aspects of women’s literature of fear from a transnational and transhistorical perspective, reflecting its global diversity. We invite contributions in English, Spanish, and Portuguese.




Revista Abusões
e-ISSN: 2525-4022

CFP Folk Horror (Spec Issue of Horror Studies 10/3/2022)

FOLK HORROR – SPECIAL ISSUE OF HORROR STUDIES, CFP

POSTED ON JANUARY 17, 2022

source: https://www.horrorhomeroom.com/folk-horror-special-issue-of-horror-studies-cfp/

Horror Studies – Proposed special issue on Folk Horror

Guest editors, Dr. Dawn Keetley, Professor of English and Film, Lehigh University, dek7@lehigh.edu, and Dr. Jeffrey A. Tolbert, Assistant Professor of American Studies and Folklore, Pennsylvania State University – Harrisburg, jat639@psu.edu

This special issue attempts to systematize and formalize the study of folk horror, a subgenre whose meteoric rise (or return?) to popularity in the past ten years or so raises critical questions relating to rurality, “traditional” cultures, nationalism, and place, among others. Folk horror posits a folk as the source of horror, and a body of related folklore as constituting a simultaneously picturesque and horrifying aesthetic/symbolic backdrop to its portrayals of atavistic danger and pre- or anti-modern “heathenism.” Sharing with the increasingly broad cross-media genre of the gothic an obsession with landscape, folk horror tends to abandon dark corridors and windswept mountain fastnesses in favor of agrarian and/or pastoral settings (though even this distinction is often elided in practice, with the genres often becoming entangled). In the end, though, one distinguishing trait is that the peasant folk of the countryside, imagined as preserving earlier ways of life, become the source of fear—or at least provide the context for its encroachment into otherwise “normal” modern life.



Folklorists and scholars of literature, film, and television have taken notice of folk horror, calling out the genre’s resonances with the gothic and noting its reliance on nineteenth-century models of folk cultures. While definitions of folk horror are emerging in the scholarly literature, there is much room for broad and diverse theories of folk horror, including those that position the genre in conversations about nationalism, globalism, tribalism, populism, class and economics, race, and the Anthropocene, as well as the active participation of fan communities. There has, moreover, been a distinct propensity to focus on British texts as virtually constitutive of the genre. Thus the “unholy trinity” of films—The Blood on Satan’s Claw, Witchfinder General, and The Wicker Man—are felt to be uniquely British folk horror, even as they share certain aesthetic concerns and elements of setting and grounding in supposed traditionality with American folk horror films such as The Witch and Midsommar. There is much work to be done, then, not only on national folk horrors beyond Britain but also on transnationality and folk horror.

This issue aims to move beyond the description and cataloging of genre works to a more sustained theoretical engagement with the deep implications of a “horror” of the “folk.” In doing so, contributions will seek to address core questions:

• What counts as folk horror and why?
• Why is folk culture imagined as frightening?
• What are the meanings of the ways in which rural people and rural settings are positioned at the center of this type of horror?
• What is the role of folklore and folkloristics in folk horror?
• What are the political meanings of folk horror?
• What are the effects of replicating nineteenth-century understandings of cultural evolution and center-periphery relationships in a twenty-first century already heavily marked by the reemergence of virulent, destructive nationalism?
• Does folk horror’s focus on landscape speak to politics concerning the environment, the climate, and the Anthropocene?
• Why the resurgence of folk horror criticism and cultural productions now? Why were the late 1960s and 1970s so critical in the folk horror tradition? What periodizations emerge for folk horror beyond Britain?
• How do we understand fans of folk horror as they actively and collaboratively construct meanings of folk horror works, tying key films, books, and other media to an ineffable but deeply felt sense of “folkness” apparently felt to reside at the heart of all cultures?

There are many more potential questions, and we are interested in any and all approaches. But, in general, we seek essays that seek to offer a broad theoretical approach to genre from a wide range of disciplinary perspectives (as well as interdisciplinary and transdisciplinary approaches) and from diverse parts of the globe.

We are more than happy to field questions and inquiries at any time, so feel free to email us: Dawn Keetley at dek7@lehigh.edu and Jeff Tolbert at jat639@psu.edu.

Below is the tentative schedule:

Essays of 6-7,000 words due: Monday October 3, 2022

Decisions / requests for revision by Monday December 19, 2022

Revisions due by Monday April 24, 2023

Manuscript into press by late June / early July 2023

Published summer 2023

CFP Recycling the Gothic: Adaptations in the Romantic-Era Marketplace (Spec Issue of Literature 8/5/2022)

My thanks to Open Grave, Open Minds for the head's up on this and a number of posts today.

Special Issue "Recycling the Gothic: Adaptations in the Romantic-Era Marketplace"

main site: https://www.mdpi.com/journal/literature/special_issues/gothic_literature

Print Special Issue Flyer
Special Issue Editors
Special Issue Information
Keywords
Published Papers

A special issue of Literature (ISSN 2410-9789).

Deadline for manuscript submissions: 5 August 2022.

Special Issue Editor

Prof. Dr. Franz Potter E-Mail Website SciProfiles
Guest Editor

Arts and Humanities Department, College of Letters and Sciences, National University, San Diego, CA 92123, USA
Interests: Gothic literature; nineteenth-century Gothic chapbooks; trade Gothic; Gothic publishing industry; the author Sarah Wilkinson

Special Issue Information

Dear Colleagues,

We invite submissions for a Special Issue of Literature focusing on adaptations of Gothic texts in the Romantic-era marketplace. From its inception, the Gothic tradition has been built upon a framework of familiar set themes, motifs and characterizations, such as the use of geographically and temporally displaced settings, an emphasis on terror and horror, the exploitation of the supernatural and, significantly, techniques of literary suspense. This framework was then recycled, imitated, redacted, adapted, manipulated and restructured into new and interesting novels, chapbooks, short stories and serials. As Frederick Frank in The First Gothics observed, ‘the Gothic in all its stages and mutations is a highly parasitic form; Gothics shamelessly feed on the literary remains of previous Gothic, theft of material is a universal law of composition, and the line between crafty imitation and over plagiarism is often so weak that it breaks down entirely…’ (p. xii).

This Special Issue seeks to examine adaptations of the Gothic in all forms, from the novel to the short story, chapbooks and serialized publications. It will explore the recycling of essential elements of the Gothic as a sign of activity and innovation rather than monotony and stagnation. The recycling of the Gothic, whether specific motifs and characterizations or stories themselves, reveals continual interest and engagement between the author and the reader. This distinction is important not only because it allows recycling to be seen as crucial to the growth and sustainability of the Gothic, but also because it allows the Gothic tradition to continue to be viewed in the larger context of evolving discourses.

We are interested in papers that focus on topics such as, but not limited to:

• Adaptation vs. imitation.
• The recycling of Gothic motifs and tropes.
• Chapbook adaptions of Gothic novels.
• Re-examination of authors such as Eliza Parsons, Mary Meeke, Francis Lathom, Sarah Wilkinson and Charlotte Dacre.
• Formulaic Gothic.
• Imitations of Radcliffe and Lewis.
• The critical divide between the Gothic canon and the trade Gothic.
• Gothic short stories.
• Gothic adaptations of dramas.
• Gothic chapbooks to novels.
• The Gothic in periodicals such as Marvellous Magazine or Tell-Tale Magazine.
• Gothic dramas.
• Publishers of Gothic novels and chapbooks, including Ann Lemoine and Thomas Tegg.
• Gothic book trade.
• Female authorship.

Prof. Dr. Franz Potter
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Literature is an international peer-reviewed open access quarterly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1000 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

Gothic
adaptations
chapbooks
abridgements
book trade
publishers
terror
female authorship
Ann Radcliffe
Matthew Lewis

Published Papers

This special issue is now open for submission.

CFP Premodern Otherness (Spec Issue of Otherness: Essays and Studies) (2/1/2022)

Special Issue: Premodern Otherness (Otherness: Essays and Studies 9.1)

deadline for submissions: February 1, 2022


full name / name of organization: Centre for Studies in Otherness


contact email: engms@cc.au.dk


Source: https://call-for-papers.sas.upenn.edu/cfp/2021/11/24/special-issue-premodern-otherness-otherness-essays-and-studies-91

The peer-reviewed, open-access e-journal Otherness: Essays and Studies is now accepting submissions for its special issue: Premodern Otherness: Encounters with and Expressions of the Other in Classical Antiquity, Medieval, and Early Modern Periods, Autumn 2022.



Otherness: Essays and Studies publishes research articles from and across different scholarly disciplines that critically examine the concepts of Otherness and alterity. We particularly appreciate dynamic cross-disciplinary study.



This special issue will focus on representations and ideas of Otherness in classical antiquity, medieval, and early modern periods. Confrontations with and distinctive conceptualizations of Otherness were also present in the premodern era. The papers in this issue will focus on the different ways in which Otherness was expressed in thought, representations, and processes during this period. This can include but is not limited to, philosophical or literary works, material culture, historiography, treatises, etc.



Thinking about Otherness is not limited to contemporary identity politics nor Orientalism in the modern era. Socrates based his anamnesis principle, the idea that we have known everything in a previous life but have simply forgotten it, on his questioning how to deal with the Other and the unknown. However, the relevance of this theory and other premodern thoughts and texts on Otherness is often overlooked. When we discuss Otherness today, we mention modern thinkers such as Levinas or Derrida and might then discount the role Socrates and other premodern philosophers have had. The ideas of ancient thinkers have long remained relevant throughout the Middle Ages too and left their traces in the cultural production of that period and beyond. Think, for example, of the interactions in the Old English poem Beowulf between the monster Grendel and his surroundings, or encounters with the Faërie in Arthurian romances. The way in which these unnatural or unfamiliar phenomena are treated can generate fruitful discussions when it comes to Otherness and how it has been conceptualized through time. How can we now study and interpret these traces and what exactly are they? How are the encounters with Otherness or the Other visualised, presented, and described in premodern artwork or treatises? What can we learn from looking at representations of Otherness in the past and use those in our own dealings with Otherness now?



For this special issue of Otherness: Essays and Studies, we invite papers that explore representations and conceptualisations of the Other in the premodern period. These representations can be historiographical, literary, architectural, artistic, or interdisciplinary. We seek practice-led research outcomes, cross-disciplinary theoretical considerations, conceptualizations and theory formations and critical and analytical readings of source material.



Welcome topics include but are not limited to:

• Representation and Reception of Otherness in Classical and Medieval Philosophy
• Translation of Otherness in Premodern Literature
• Theoretical Frameworks for Premodern Alterity
• Framing the Other in Premodern Historiographical Texts
• Representations of the Other in Premodern Material Culture
• Spatial Practices in the Premodern Periods and the Other
• Encounters with Monstrosities in Premodern Art
• The Treatment of Women in Premodern Texts
• Marginalisation of Race in Premodern Treatises

Articles should be between 5,000 – 8,000 words. All electronic submissions should be sent via email with Word document attachment formatted to Chicago Manual of Style standards to the guest editor Bregje Hoed at Otherness.research@gmail.com



Further information: http://www.Otherness.dk/journal/



The deadline for submissions is 1 February 2022.

 Last updated December 1, 2021 

 

CFP Journal of Gods and Monsters Upcoming Special Issues (3/15/2022)

CFP Journal of Gods and Monsters Upcoming Special Issues

source: https://www.theofantastique.com/2021/10/18/cfp-journal-of-gods-and-monsters-special-issues/

The Journal of Gods and Monsters is a peer-reviewed, open access journal that seeks to explore the connections between the sacred and the monstrous. “Religion” can refer to the world’s religious traditions or to ideas that are religious in a substantive sense, such as God, demons, or death and the afterlife.   However, the journal will also consider articles that explore the “religious” dimension of culture in a functional sense as relating to values, myths, and rituals.

Special Issue #1: Religion, Monstrosity, and the Paranormal

Lead Issue Editor: John Morehead

Deadline for Submission: March 15, 2022

Although typically dismissed and viewed as fringe phenomena by scholars, the paranormal is enduring. The Chapman University Survey of American Fears, which includes survey data on paranormal beliefs, those phenomena at odds with mainstream science and orthodox religion, reported in 2018 that large numbers of people find the paranormal of interest. Some 58% believe that places can be haunted by spirits, 57% believe in lost ancient civilizations like Atlantis, and 41% believe aliens once visited the earth in the ancient past. The paranormal often functions as a source of transcendence and meaning for people, even as it draws upon various forms of monstrosity. We would like to produce a theme issue of the journal on the paranormal intersecting with monstrosity and religion.

Special Issue #2: Candyman

Guest Editor: Joseph P. Laycock

Deadline for Submission: March 15, 2022

The Journal of Gods and Monsters seeks papers for a special issue on Candyman, to be guest edited by Joseph Laycock.  We especially seek papers interpreting the 2021 film directed by Nia DeCosta.  However, we also encourage papers that consider the previous films (1992, 1995, and 1999), as well as Clive Barker’s original story “The Forbidden” (1985).

Some possible angles of analysis might include:

• The significance of ritual and summoning in the Candyman mythos
• Candyman as monstrous object of horror and/or prophetic agent of justice
• The nature and function of narrative and folklore in the Candyman mythos
• Candyman as object of worship
• The intersection of the monstrous with anxieties over race and (in 1992 film) miscegenation
• How the religious dimension of the BLM movement has influenced the Candyman mythos
• Themes of damnation, destiny, and the Gothic in Candyman

Submissions for BOTH special issues:

Proposals should be submitted directly to the journal via its online system, but authors may reach out to the guest editor for more information or to submit a 250-word abstract.

Submissions for both issues should be scholarly in nature, between 5000 and 10000 words, and are requested by March 15, 2022 (submissions after this date will be considered for future issues). We encourage submissions from all disciplines, geographic areas, and time periods. Articles should be submitted via the online system at https://godsandmonsters-ojs-txstate.tdl.org after registration. In the case of questions please contact the editorial team at editorsJGM@gmail.com or at their professional email addresses. Please reach out to John Morehead and Joseph Laycock individually with specific questions or concerns on each special issue.

To inquire regarding book or media reviews for either special issue, please contact Brandon Grafius (bgrafius@etseminary.edu).

CFP Journal of Dracula Studies (5/1/2022)

 Journal of Dracula Studies

Source: https://call-for-papers.sas.upenn.edu/cfp/2021/11/03/journal-of-dracula-studies

deadline for submissions: May 1, 2022

full name / name of organization: Anne DeLong/Curt Herr

contact email: Journalofdraculastudies@kutztown.edu

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

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

Please follow MLA style.

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

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

Copyright for published articles remains with the author.

Submissions must be received no later than May 1, 2022, in order to be considered for the Fall 2021 issue.

Send electronic submissions to journalofdraculastudies@kutztown.edu

Contact: Dr. Anne DeLong or Dr. Curt Herr

Last updated November 3, 2021

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

Apologies for having missed this earlier:

Journal of Dracula Studies

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

deadline for submissions: May 1, 2021


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


contact email: Journalofdraculastudies@kutztown.edu



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

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

Please follow MLA style.

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

Manuscripts will be peer-reviewed independently by at least two scholars in the field.
Copyright for published articles remains with the author.

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

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

Last updated January 21, 2021

CFP Afro-Gothic: Black Horror and the Relentless Haunting of Traumatic Pasts (journal spec issue) (11/30/20)

 Do note the impending deadline:

Afro-Gothic: Black Horror and the Relentless Haunting of Traumatic Pasts

https://call-for-papers.sas.upenn.edu/cfp/2020/10/21/afro-gothic-black-horror-and-the-relentless-haunting-of-traumatic-pasts

 

deadline for submissions: 

November 30, 2020

full name / name of organization: 

Special Issue, Peer-Reviewed Journal on Black Aesthetics

contact email: 

afrogothiccfp@gmail.com

Afro-Gothic: Black Horror and the Relentless Haunting of Traumatic Pasts
Call for Papers

For Afro-Gothic: Black Horror and the Relentless Haunting of Traumatic Pasts, we seek work that explores the Afro-Gothic as an aesthetic and as a means of working through the trauma of colonial slavery. Although the Gothic genre is widely discussed as a purely European literary tradition, the gothic manifests as a global phenomenon. Every culture possesses its own ghost stories, monster tales, or myths about creatures with supernatural powers. This project examines how the tropes of the gothic—with its constructions of the monstrous, the villainous, the mad and the haunted—take on wholly different valences when they are studied within the contexts of blackness, particularly under the modern colonial project. In our view, one important characteristic of the Afro-Gothic that distinguishes it from its European counterpart is its rootedness in lived black experiences. The Afro-Gothic often addresses the everydayness of black horror in ways that attest to the repetitive violence against black bodies and the relentless haunting of traumatic pasts.

We seek work that explores Afro-Gothic sensibilities in film, fiction, performance, and the visual arts. What we might call Afro-Gothic narratives have emerged lately in popular works by Jordan Peele (Get Out and Candyman), in the series Tales from the Hood (1995/2018) and Lovecraft Country (2020), Childish Gambino’s This is America, and Kara Walker’s antebellum silhouettes, to name just a few. We are interested in works that expand and explode current generic definitions of the Gothic and highlight the ways in which contemporary black artists are reckoning with aesthetics. In what ways does the Afro-Gothic serve to frame our understanding of the contemporary moment through a dark prism of organized terror?
Possible topics to explore might include (but are certainly not limited to):

• colonial hauntings – living among ghosts and the walking dead
• the plight of the hunted and state-sanctioned violence
• dark tourism and haunted houses
• maritime Afro-Gothic – nautical narratives
• medical experimentation and the trope of the mad scientist
• miscegenation, hybridity, and the bodily mash-up
• conjuring, the witch doctor and practitioners of the dark arts
• urban decay and environmentalism – climate crisis, toxicities, eco-gothic and natural disasters
• Afro-Gothic and new technologies, soundscapes, surveillance, cyber-haunting, ghost in the machine
• menageries of the grotesque and public display of monstrosity
• cannibalization and ‘Eating the Other’
• sexual exploitation and gendered violence
• bondage, dungeons, incarcerations, and the restricted body

Essays must be written in English, but we encourage international submissions on all African Diasporic Afro-Gothic topics. Accepted works will be included in our proposal for a special issue of an online, open-access, peer-reviewed journal dedicated to black studies and aesthetics. Please submit an abstract (300 words) along with a brief bio to afrogothiccfp@gmail.com.

The deadline for submissions is November 30, 2020.

Tashima Thomas, Editor
Pratt Institute

Sybil Newton Cooksey, Editor
New York University

 

Last updated October 22, 2020

Call for Chapters: Japanese Horror (1/3/2021) to be published by Rowman & Littlefield

Call for Chapters: Japanese Horror: New Critical Approaches to History, Narratives and Aesthetics (Additional Chapters) to be published by Rowman & Littlefield 

 

https://call-for-papers.sas.upenn.edu/cfp/2020/11/18/call-for-chapters-japanese-horror-new-critical-approaches-to-history-narratives-and

 

deadline for submissions: 

January 3, 2021

full name / name of organization: 

Subashish Bhattacharjee

contact email: 

subashishbhattacharjee@gmail.com

Call for Chapters: Japanese Horror: New Critical Approaches to History, Narratives and Aesthetics (Additional Chapters).

deadline for submissions: 

January, 3, 2021

full name / name of organization: 

Subashish Bhattacharjee (Jawaharlal Nehru University), Ananya Saha (Jawaharlal Nehru University) and Fernando Gabriel Pagnoni Berns (Universidad de Buenos Aires, Argentina)

contact email: 

subashishbhattacharjee@gmail.com

 

citeron05@yahoo.com

 

Call for Chapters: Japanese Horror: New Critical Approaches to History, Narratives and Aesthetics for Rowman & Littlefield Publishers (Additional Chapters).

 

Edited by Subashish Bhattacharjee (Jawaharlal Nehru University),

Ananya Saha (Jawaharlal Nehru University)

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

Cathedra of Film and Literature

http://artes.filo.uba.ar/la-literatura-de-las-artes-combinadas-ii

 

We, the editors, are looking for five-six additional chapters for our book on Japanese horror. A contract with Rowman & Littlefield has been signed and we expect a quick turnaround. Below, our original CFP.

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

 

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

 

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

 

At this stage we are looking for abstracts for proposed chapters up to 500 words within January, 3, 2021, but complete papers will be well received. The papers must be written according to the MLA stylesheet, following the rules of the 7th Edition handbook, with footnotes instead of endnotes. All submissions (Garamond, 1.5 pt line spacing) must be accompanied by an abstract (200-250 words) and a short bio-biblio of the author. Images, if used, should preferably be free from copyright issues—sourced from creative commons/copyright-free sources, or permissions should be obtained from relevant copyright holders.

 

Enquiries and submissions are to be directed to Subashish Bhattacharjee, Ananya Saha and Fernando Pagnoni Berns at 

subashishbhattacharjee@gmail.com

citeron05@yahoo.com

Subashish Bhattacharjee is an Assistant Professor of English at the University of North Bengal, India. He edits the interdisciplinary online journal The Apollonian, and is the Editor of Literary Articles and Academic Book Reviews of Muse India. His doctoral research, on the cultures of built space, is from the Centre for English Studies, Jawaharlal Nehru University, where he has also been a UGC-Senior Fellow. His recent publications include Queering Visual Cultures (Universitas, 2018), and New Women's Writing (Cambridge Scholars, co-edited with GN Ray, 2018).

 

 

 

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

 

 

 

Fernando Gabriel Pagnoni Berns (PHD) is an Assistant Professor at the Universidad de Buenos Aires (UBA) - Facultad de Filosofía y Letras (Argentina)-. He teaches courses on international horror film and is director of the research group on horror cinema “Grite.” He has published chapters in the books To See the Saw Movies: Essays on Torture Porn and Post 9/11 Horror, edited by John Wallis, Critical Insights: Alfred Hitchcock, edited by Douglas Cunningham, A Critical Companion to James Cameron, edited by Antonio Sanna, and Gender and Environment in Science Fiction, edited by Bridgitte Barclay, among others. He has authored a book about Spanish horror TV series Historias para no Dormir and edited James Wan: Critical Essays for McFarland (forthcoming 2021).

https://publicaciones.uca.es/alegorias-televisivas-del-franquismo-narcis...

 

Contact Info:

subashishbhattacharjee@gmail.com;

 

citeron05@yahoo.com

 

Last updated November 19, 2020

Supernatural Studies Open Calls (Summer/Fall 2020)

An interestng set of calls from the journal Supernatural Studies.

https://www.supernaturalstudies.com/calls-for-papers

Call for Papers, Spring 2021 Special Issue on Disease

Supernatural Studies invites submissions for a special issue, inspired by the current crisis, on supernatural engagements with disease, broadly conceived. We welcome essays that explore this theme through explicitly monstrous tropes, e.g. zombies, vampires, parasitism, haunting, and other uncanny embodiments of sickness and contagion. We also invite investigations of narratives that deploy the supernatural to engage existing cultural “maladies” that infectious diseases routinely expose and exacerbate: e.g., economic precarity, healthcare inequities, media mis/disinformation, science skepticism and denial, environmental challenges, and experiences of alienation. We encourage submissions that explore oral, written, and/or visual texts across time, place, and genre. To be as relevant as possible, this special issue will be published in Spring 2021; for guaranteed consideration, submissions should be sent by 31 October 2020 (since Halloween is canceled anyway).

Supernatural Studies is a peer-reviewed journal that promotes rigorous yet accessible scholarship in the growing field of representations of the supernatural, the speculative, the uncanny, and the weird. The breadth of “the supernatural” as a category creates the potential for interplay among otherwise disparate individual studies that will ideally produce not only new work but also increased dialogue and new directions of scholarly inquiry.

Submissions should be 5,000 to 8,000 words, including notes but excluding Works Cited, and follow the MLA Handbook, 8th ed. (2016); notes should be indicated by superscript Arabic numerals in text and pasted at the end of the article. International submissions should adhere to the conventions of U.S. English spelling, usage, and punctuation. Manuscripts should contain no identifying information, and each submission will undergo blind peer review by at least two readers. Contributors are responsible for obtaining any necessary permissions and ensuring observance of copyright. Submissions should be emailed to supernaturalstudies@gmail.com as an attached Microsoft Word file.

General Call for Papers

Supernatural Studies is a peer-reviewed journal that promotes rigorous yet accessible scholarship in the growing field of representations of the supernatural, the speculative, the uncanny, and the weird. The breadth of “the supernatural” as a category creates the potential for interplay among otherwise disparate individual studies that will ideally produce not only new work but also increased dialogue and new directions of scholarly inquiry. To that end, the editorial board welcomes submissions employing any theoretical perspective or methodological approach and engaging with any period and representations including but not limited to those in literature, film, television, video games, and other cultural texts and artifacts.

Submissions should be 5,000 to 8,000 words, including notes but excluding Works Cited, and follow the MLA Handbook, 8th ed. (2016); notes should be indicated by superscript Arabic numerals in text and pasted at the end of the article. International submissions should adhere to the conventions of U.S. English spelling, usage, and punctuation. Manuscripts should contain no identifying information, and each submission will undergo blind peer review by at least two readers. Contributors are responsible for obtaining any necessary permissions and ensuring observance of copyright. Submissions should be emailed to supernaturalstudies@gmail.com as an attached Microsoft Word file.

Submissions are accepted on a continuous basis, and those accepted for publication will be placed in the earliest possible issue according to publication schedule and needs.

 

CFP Emerging Trends in Twenty-First-Century Horror (Spec Issue of LIT; 1/15/2021)

Emerging Trends in Twenty-First-Century Horror
https://call-for-papers.sas.upenn.edu/cfp/2020/05/28/emerging-trends-in-twenty-first-century-horror

deadline for submissions:
January 15, 2021


full name / name of organization:
LIT: Literature Interpretation Theory


contact email:
litjourn@yahoo.com




CFP: Emerging Trends in Twenty-First-Century Horror

Deadline for submissions: January 15, 2021

full name / name of organization: LIT: Literature Interpretation Theory

contact email: litjourn@yahoo.com

Horror is experiencing a boom in the twenty-first century, one that spans media, genres, and the culture at large. Get Out, IT, and A Quiet Place dominated the box office, the way paved for them by predecessors like Paranormal Activity, Insidious, and The Conjuring. US television has also seen its share of horror fare: The Walking Dead, American Horror Story, and Stranger Things have been staples of the small screen, not to mention the hundreds of “reality” shows that probe the paranormal. Horror fiction has also flourished: sales hit a four-year high in the UK in 2018, and in the US, horror consistently ranks among the most profitable genres. Horror video games have increased in number and variety, expanding into virtual reality. And Halloween is now the second-largest commercial holiday in the United States, an almost $9 billion industry; ticket sales to haunted attractions alone account for $300-500 million.

As the title suggests, this special issue of LIT: Literature Interpretation Theory seeks essays that examine emerging trends in horror. We are looking for essays that identify broad tendencies in terms of subject matter and content, innovations in style and form, ways in which changes to technologies, industries, or economics have influenced the genre, and the increasing global spread of horror production. Although we are, of course, interested in essays that focus on traditional forms, such as novels, feature-length films, and television shows, we also welcome essays that consider other forms of horror.

Essays may explore the following, although this list is by no means exhaustive, and we are equally interested in receiving essays on trends we haven’t thought of:

• national and global/transnational horror film, television, and fiction and fandoms
• horror production by women, people of color, and the LGBTQIA community
• representations of gender, race, religion, age, class, nationality, and sexuality
• horror television, long-form, serial horror, and anthologies
• the role of streaming services such as Netflix, Hulu, Shudder, and Amazon Prime
• “elevated” horror and other value-based categories applied to both texts and fans
• cross-genre productions, such as gothic westerns, sci-fi horror, or crime/horror hybrids
• found-footage horror and the use of social media or the internet
• subgenres such as folk horror, ecohorror (including animal, plant, and fungal horror), political horror, urban/suburban gothic, haunted house stories, and dark comedy
• toys, video games, virtual reality, cosplay, creepypastas, haunted/dark tourism, and other immersive and participatory experiences

LIT: Literature Interpretation Theory publishes critical essays that employ engaging, coherent theoretical perspectives and provide original, close readings of texts. Submissions must use MLA citation style and should range in length from 5,000-9,000 words. Please direct any questions relating to this CFP to the guest co-editors Karen J. Renner (karen.renner@nau.edu) or Dawn Keetley (dek7@lehigh.edu). Submissions should be emailed to litjourn@yahoo.com. Please include your contact information and a 100-200 word abstract in the body of your email. LIT: Literature Interpretation Theory also welcomes submissions for general issues.

Guest Editors: Karen J. Renner, Northern Arizona University, and Dawn Keetley, Lehigh University

Editors: Dwight Codr and Tara Harney-Mahajan
 

Last updated May 28, 2020 

 

CFP Weird Sciences and the Sciences of the Weird (Spec Issue of Pulse 6/30/20)

Apologies for the delay in posting this:

WEIRD SCIENCES AND THE SCIENCES OF THE WEIRD
https://call-for-papers.sas.upenn.edu/cfp/2020/03/10/weird-sciences-and-the-sciences-of-the-weird

deadline for submissions:
June 30, 2020


full name / name of organization:
PULSE - THE JOURNAL OF SCIENCE AND CULTURE


contact email:
mbregovi@gmail.com


Recent scientific discoveries in climatology, animal cognition and microbiology have radically altered our conceptions of ourselves and the environment we live in, both on micro and macroscales. Zooming in on the human microbiome and out to the planetary ecosystem, or even further into infinite cosmic spaces, the sciences are revealing strange dynamics of human-nonhuman interconnectedness, doing away with the established anthropocentrism and the idea of human exceptionalism. Current theoretical discussions revolving around the human-environment relation have shifted their interests from discourse to matter, shedding new light on strange bodily assemblages composed of anaerobic bacteria which live in symbiotic relationships with the human body (Jane Bennett, Stacy Alaimo), other types of cognition and intelligent life apart from our own (Steven Shaviro) and, especially, the mechanisms by which human action, no matter how abstract or invisible, contributes to the global ecological transformations (Donna Haraway, Timothy Morton). The ultimate effect of these conceptual transformations is a certain sense of estrangement that is often, but not necessarily, tied to feelings of unease, horror and/or fascination. This specific affect is commonly referred to as the weird because it operates through disrupting our ordinary perception and experience, creating confusion and a sense of disorientation.

Strange modes of human-nonhuman interactions are steadily pervading contemporary theoretical thought which analyzes the weird as a specific form of affect, effect and aesthetics signaled by a sense of wrongness (Mark Fisher). In conjunction with an increasing awareness of these estranged environments, a growing tendency towards the aesthetics of the weird is visible in popular culture and contemporary art production. As a continuation of H.P. Lovecraft’s weird tradition, “the weird” is now bringing together some of the most exciting contemporary writers and filmmakers: China Miéville, Elvia Wilk, Caitlin R. Kiernan, Jeff VanderMeer, Athina Rachel Tsangari and Yorgos Lanthimos, to name just the most significant ones. Similar tendencies are also evident in TV shows such as True Detective (inspired by Thomas Ligotti’s nihilistic weird fiction), Stranger Things and the Twin Peaks revival (echoing Lovecraftian cosmic horror). The aesthetics of weird is also embraced by musicians such as Björk, Gazelle Twin, FKA Twigs and inscribed in particular new media art practices, especially bioart.

In this issue of Pulse, we aim to investigate the aesthetics, politics and ethics of the weird from various theoretical and disciplinary perspectives, particularly those within the framework of environmental humanities: ecocriticism, geocriticism, animal studies, critical plant studies, posthumanism, new materialism, actor-network theory, queer theory, xenofeminism etc. How do the sciences estrange our conceptions of the world and how is this articulated in artistic practices? Starting from the confluence of art and science, our aim is to map diverse territories of the weird in literature, film, music, television, video games, visual arts, comic books, dance, theatre and other media.

Possible topics include but are not limited to:

— theory of the weird: posthumanism, speculative realism, object oriented ontology, new materialism

— cognitive and affective aspects of the weird

— the weird, supernatural and unheimlich

— New Weird and the Other

— speculative fiction, science fiction, horror and weird fiction

— intersections of the weird and grotesque, fantasy, magical realism, etc.

— Anthropocene, deep time and the weird

— animal and plant life and the weird

— multispecies ecologies, human-nonhuman entanglements

— anomalies, mutations and hybrids

— inorganic matter in arts and literature

— eerie landscapes and extinction

— weird bodies: trans-corporeality, queer, transhumanism


References:

Mark Fisher, The Weird and the Eerie, 2016, Repeater Books, London.

Julius Greve and Florian Zappe (eds.), Spaces and Fictions of the Weird and the Fantastic: Ecologies, Geographies, Oddities, 2019, Palgrave Macmillan, London.

Donna Haraway, 2016, Staying with the Trouble: Making Kin in the Chthulucene, Duke Univ. Press

Steven Shaviro, Discognition, 2016, Repeater Books, London.



SUBMISSION DEADLINE: 30 June 2020

We welcome the submission of FULL ARTICLES (5000-6000 words) on these and related themes. We also publish BOOK REVIEWS(800-1000 words); please get in touch if there is a book you would like to review.

All articles should be prepared for blind review including the removal of authorship from the document file information. Submissions should include a cover sheet in a separately attached document containing: the paper title and short abstract (ca. 250 words) author’s name, affiliation, word count (including footnotes & references), and contact information. Article and cover sheet should be submitted in a .doc, .docx, or .odt (or similar open-source) file format. PDF submissions are also accepted but previously stated file formats are preferred where possible. References should be formatted according to Chicago style (Footnotes and Bibliography).

All articles and related material should be submitted to: submissions.pulse@gmail.com

For any inquires please feel free to contact us at pulse.scistudies@gmail.com. Please do not submit articles to this email address. For general information and to access previous issues of Pulse you can visit:

​Central and Eastern Europe Online Library: https://www.ceeol.com/search/journal-detail?id=2187

​Facebook Page: https://www.facebook.com/pulse.scistudies

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Last updated March 13, 2020

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