Showing posts with label Calls for Papers. Show all posts
Showing posts with label Calls for Papers. Show all posts

Friday, July 31, 2026

CFP Second Annual Things That Go Bump in the Night: An International Literary Conference on All Things Scary (8/31/2026; Online 10/22-24/2026)

Second Annual “Things That Go Bump in the Night: An International Literary Conference on All Things Scary”


deadline for submissions:
August 31, 2026

full name / name of organization:
Anais Shelley

contact email:
anais@ttgbn.org

source: https://call-for-papers.sas.upenn.edu/cfp/2026/05/29/second-annual-%E2%80%9Cthings-that-go-bump-in-the-night-an-international-literary-conference


Welcoming submissions for a free scholarly conference on scary literature to be hosted online from October 22nd-24th, 2026 by graduate student, Anais Shelley.

Research may draw inspiration from (but is not limited to) these prompts:

  • Supernatural themes
  • Domestic horror
  • The role of setting within scary stories
  • Frightening myths and folklore
  • The gothic novel and short story
  • Monsters and the monstrous
  • Multicultural superstition and regional ghost stories
  • The works of authors such as Stephen King, Anne Rice, and Edgar Allan Poe

A variety of presentations are encouraged, including traditional papers, digital graphics, multimodal/powerpoints, roundtables, creative writing, performance art, and visual art. The event is open to researchers at all levels. Please note that all presentations will take place in Central US time. Proposals will be accepted through this form with a deadline of 31 August 2026: https://forms.gle/TfvuQLFPfpj23enq8


Sunday, July 26, 2026

Notice The Ruthven Literary Bulletin

Late on this, but it seems a promising endeavour.

JFA Presents: The Ruthven Literary Bulletin


deadline for submissions:
June 6, 2026

full name / name of organization:
Journal of the Fantastic in the Arts

contact email:
journal@fantastic-arts.org

source: https://call-for-papers.sas.upenn.edu/cfp/2026/04/06/jfa-presents-the-ruthven-literary-bulletin


JFA Presents: The Ruthven Literary Bulletin – FOCUSED ISSUE CALL FOR PAPERS

Issue Editor: Elizabeth Schechter

In preparation of the relaunch the Ruthven Literary Bulletin. the Lord Ruthven Assembly welcomes papers that explore and expound on the appearance and mythology of vampires and revenants in world literature and media, including fiction/nonfiction/mass media/periodicals, as well as reviews of both academic works and fiction. Interdisciplinary approaches are welcome and encouraged, including but not limited to explorations of the vampire in non-Eurocentric settings, African/Diaspora Studies, anthropology, area studies, critical game studies, disability studies, future studies, gender studies, history, Indigenous studies, music, philosophy, political science, postcolonial studies, psychology, queer studies, religious studies, science and technology studies, and sociology. All papers are made available in English. Those interested in publishing in other languages in addition to English are asked to inquire with our Acquisitions Editor at jfa.editor@fantastic-arts.org with the subject line “Languages.”

Submissions should contain a more in-depth discussion than a conference-length paper and demonstrate a grasp of current scholarship on the subject. The length of articles generally varies from 3,500-9,000 words and ranges from 15-35 pages.

Submissions are peer-reviewed in accordance with our peer review statement and the BIPOC Anti-Racist Statement on Scholarly Reviewing Practices. If submissions are flagged at any point of the review process for the risk of promulgating potentially misrepresentative, stereotypical, ableist, or racist views, contributors will be asked to address these problems before the review process can continue.

An accessibility or subject reviewer can recommend a final rejection, which will be upheld by the Journal. Please be aware that there is an upper limit of three review rejections of an essay, even without a reviewer’s request for a final rejection, that will nevertheless result in a final rejection. This means that if an essay does not pass an accessibility and sensitivity or subject review, the submission may only be revised and submitted twice more before the Journal‘s final rejection. Please pay careful attention to feedback from any and all anonymized reviews. Be aware that requests for revision are alternatives to final rejection. Please respect and leave in place editorial revisions reviewers may have made for you. Should you wish to discuss revisions, immediately contact the Acquisitions and Reviews Editor-in-Chief at jfa.acquisitions@fantastic-arts.org. Please also be aware that compromising your or a reviewer’s anonymity will also result in an immediate final rejection of the essay.

JFA also publishes reviews of scholarly works addressing the fantastic, broadly construed. Reviews of fiction are limited to reissues of speculative works with new introductions and scholarly apparatuses, and speculative works with the potential to impact scholarship in the genre. Books and other media received are advertised on the IAFA discussion list (which can be subscribed to through the IAFA homepage at www.iafa.org), and IAFA members are encouraged to suggest titles for review. Questions and suggestions may be addressed to the Acquisitions Department through Submissions Editor-in-Chief Tedd Hawks at journal@fantastic-arts.org with the subject line including the phrase “Book Review.”

Formatting the Manuscript

Since the refereeing process is anonymous, the author’s name should not appear anywhere on the text file itself, including the notes. No title page is needed. However, an abstract of 100-150 words should be included with each submission.

Please ensure that all citations and the Works Cited entries follow MLA 8 or 9 style rules. Please do not use automatically generated notes; end notes (only) must be entered manually. A paper that doesn’t meet our printing parameters can take many hours to adjust. To avoid needless changes and delays, it is best to use our guidelines from the start. For complete guidelines, please refer to the Submission, Accessibility and Sensitivity Review Handbook. In case of conflicting instructions, defer to the Submission, Accessibility and Sensitivity Review Handbook.

Contributors are responsible for acquiring all permissions to quote and/or use illustrations that accompany their article, and for paying (or arranging to have their institutions pay) all usage fees, including copyright.

Submitting

All submissions should be sent to Submissions Editor-in-Chief Tedd Hawks at journal@fantastic-arts.org. When submitting, use the following subject line format: “LRB Submission: Title” in order for your Bulletin submission to be directed to the appropriate editor. All submissions should be written to: journal@fantastic-arts.org, cc: easchechter+LRA@gmail.com.

Scholarly articles are processed through the department of the JFA‘s Acquisitions and Reviews Editor-in-Chief, Novella Brooks de Vita, jfa.acquisitions@fantastic-arts.org. Book reviews are solicited, however the journal’s Submissions Editor-in-Chief Tedd Hawks may be contacted for information on books available for review and to suggest books for review.

Submissions will be open through the month of May and will close June 2026. You may expect a formal acceptance or rejection of your submission by September 2026. JFA Presents: The Ruthven Literary Bulletin will be published in early 2027.


Last updated April 13, 2026


CFP Lands of Fear: Gothic and Horror in Literature, Art, and Culture (10/31/2026; Special Issue of JACLR)

CFP - Lands of Fear: Gothic and Horror in Literature, Art, and Culture


deadline for submissions:
October 31, 2026

full name / name of organization:
Journal of Artistic Creation and Literary Research (JACLR)

contact email:
jsegurasanmiguel@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2026/05/19/cfp-lands-of-fear-gothic-and-horror-in-literature-art-and-culture


Call for Papers
Journal of Artistic Creation and Literary Research 14.2
Lands of Fear: Gothic and Horror in Literature, Art, and Culture

The Journal of Artistic Creation and Literary Research (JACLR) invites submissions for its forthcoming thematic issue, Lands of Fear: Gothic and Horror in Literature, Art, and Culture , scheduled for publication in Vol. 14.2.
From haunted architectures and spectral returns to ecological anxieties, monstrous bodies, uncanny technologies, and the terror of contemporary existence, Gothic and Horror Studies continue to provide fertile ground for exploring the cultural, political, psychological, and aesthetic fears that shape both past and present societies. The Gothic mode, in its many manifestations, remains uniquely positioned to interrogate liminality, trauma, desire, repression, otherness, memory, and the instability of the human subject in times of crisis and transformation.
This thematic issue seeks to explore the multiple forms, genealogies, and mutations of the Gothic and the Horrific across literary, artistic, audiovisual, and cultural productions. We welcome contributions engaging with canonical traditions as well as emerging perspectives and transnational approaches.

Possible topics may include, but are not limited to:
  • Gothic literature and culture
  • Contemporary horror fiction
  • Eco-Gothic and climate horror
  • Folk horror and regional hauntings
  • Queer Gothic
  • Gender, sexuality, and the monstrous
  • Gothic bodies and body horror
  • Trauma, memory, and spectrality
  • Haunted spaces and liminal architectures
  • Digital, technological, and cyber Gothic
  • Posthuman and nonhuman horror
  • Vampires, ghosts, witches, demons, and monstrosity
  • Southern Gothic, Arctic Gothic, Global Gothic, and transnational Gothic forms
  • Gothic adaptations in film, television, comics, or video games
  • Gothic aesthetics in visual arts and artistic creation
  • Horror and the uncanny in contemporary media
  • Colonial, postcolonial, and decolonial Gothic
  • Gothic intersections with race, class, aging, disability, and identity studies
  • Experimental or hybrid forms of Gothic expression

In addition to scholarly articles, JACLR also welcomes artistic and creative pieces, interviews, book and film reviews, and other contributions related to the thematic focus of the issue.

Submissions should follow the journal’s guidelines and be sent
through the journal platform: https://reunido.uniovi.es/index.php/jaclr/about/submissions

Submission deadline: 31 October 2026 (Halloween)
For queries regarding the issue, please contact: jsegurasanmiguel@gmail.com

https://reunido.uniovi.es/index.php/jaclr


Last updated May 22, 2026


Saturday, July 18, 2026

CFP Faery Tales: At the Crossroads of Literature and Preternatural Belief (9/15/2026; ICMS Kalamazoo/Hybrid 5/13-15/2027)

This sounds intriguing:

Faery Tales: At the Crossroads of Literature and Preternatural Belief


deadline for submissions:
September 15, 2026

full name / name of organization:
Christine Neufeld

contact email:
cneufeld@emich.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2026/07/13/faery-tales-at-the-crossroads-of-literature-and-preternatural-belief


International Congress on Medieval Studies, Kalamazoo 13-15 May 2027

Special Session (Hybrid)

While the rise of Monster studies has done much to explain the symbolic significance of preternatural creatures (faeries, djinn, elves) in medieval narrative, the recently expanded scope and regional specificity of folkloric scholarship about the history of fairy belief offers the opportunity to investigate what "veridical" faery tales (historical accounts or use in magical practices) can contribute to our understanding of medieval artistic representations of preternatural creatures and vice versa.

Recent studies by folklorists and cultural historians [Purkiss (2000); Wade (2011); Firth Green (2016); Ostling (2018); Clark (2024); Young (2026)] provide complex, fascinating accounts of folk belief that beg to be brought into conversation with the "faery tales" medievalists have long studied. While much work has been done examining the faery as a plot device in romance or metaphor in moral exempla, reading these narratives in conjunction with emerging historical documents and analyses of faery faith provides the opportunity to explore how folklore and literature mutually inform and illuminate one another.

To submit: https://icms.confex.com/icms/2027/prelim.cgi/Session/8447



Last updated July 13, 2026

Thursday, July 16, 2026

CFP The Playful Monster Conference (7/31/2026; Winchester/Hybrid 9/24-25/2026)

Call for Papers: The Playful Monster


deadline for submissions:
July 31, 2026

full name / name of organization:
Winchester School of Art

contact email:
theplayfulmonster@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2026/05/11/call-for-papers-the-playful-monster


Call for Papers
The Playful Monster
24–25 September 2026

The monster, conventionally understood, is a figure of dread. It is meant to signal threat, invasion, disgust: something to be fled from, fought against, or kept at a safe distance. But that is only part of the story. Monsters also give pleasure. We look for them in horror games, not only to be frightened but to enjoy the encounter. We buy creature plushies and bring them into our rooms, where they become small, quiet, oddly comforting companions. We copy monstrous gestures, voices, and movements in play with friends, turning fear into performance or shared amusement. So this is one of the questions the conference wants to open up: what it means for the monster to become playful — and how we might understand those moments when play does not dispel fear, but becomes caught up with it.

The Playful Monster is a conference hosted by Winchester School of Art, University of Southampton. It looks at how monsters are made playful, and how the monstrous appears in playful ways across games, media, and everyday culture. What interests us is the space where monsters and horror come into contact with games, toys, and play. We welcome contributions from people working in game studies, play studies, monster studies, horror studies, media studies, cultural studies, and related areas. But part of the interest of the conference is also in the work that happens between these fields: in asking how monsters, horror, games, toys, and play begin to come together, and what kinds of questions this makes possible.

Possible topics include, but are not limited to:
  • Monsters in video games, toys, plush culture, and collectibles.
  • Horror gameplay and pleasurable fear
  • Cute and comic monsters
  • Monsters, nostalgia and the affective pull of the past
  • Monstrosity across media forms
  • Material encounters with monsters
  • Where fear and pleasure meet
  • Memory studies
  • Queer theory

The conference will be hybrid, so people can take part either in Winchester or online.
We welcome proposals for individual papers of 15 minutes, followed by 10 minutes of discussion.
Abstracts of around 300 words should be submitted to: theplayfulmonster@gmail.com
Please include a short bio with your abstract, saying a little about your research background and the questions your work is concerned with.

The conference will take place on 24–25 September 2026.
The submission deadline is 31 July 2026.
Decisions will be communicated by 25 August 2026.

For those joining us in person, the conference will take place in Winchester, a small cathedral city in the south of England. The campus sits within walking distance of the city centre, with its river, cathedral, and, for those with a taste for literary geography, the house where Jane Austen spent her final years. This is not quite the reason for the conference, of course, but it may be a further reason to make the journey.

For participants based beyond the UK who wish to attend in person, we are happy to provide a letter of invitation to support a visa application.

If you would like to attend online, please let us know when you submit your abstract, and tell us what time zone you are in. We will try to take this into account when putting the programme together.


Last updated May 27, 2026

CFP Geographies of Horror Conference (10/1/2026; Croatia 5/20-21/2027)

Geographies of Horror


deadline for submissions:
October 1, 2026

full name / name of organization:
Department of English Studies (University of Zadar) in collaboration with The Society for the Study of the American Gothic (SSAG)

contact email:
geographyhorror@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2026/06/06/geographies-of-horror


Keynote speaker: Jeffrey Andrew Weinstock (Central Michigan University)

May 20-21st 2027, University of Zadar (Zadar, Croatia)

The study of horror has always been inseparable from the question of space. From the shadowed corridors of Gothic castles to contemporary digital voids, spaces in horror are never just passive backdrops. They function as active agents that shape perception, destabilize subjectivity, and collapse the distinction between interior and exterior, revealing how fragile our sense of spatial coherence can be. This conference seeks to understand how spaces become haunted - materially, symbolically, psychologically, and technologically, and how these hauntings articulate broader cultural anxieties, historical traumas, and epistemological uncertainties.

In Gothic and horror traditions, fear unfolds through space, guiding perception, and encounters with the unknown. Early Gothic forms, such as castles and monasteries, establish models of spatial excess, enclosure, and architectural anxiety, while the haunted house transforms domestic familiarity into something uncanny. In modern and contemporary horror, this logic extends to urban environments, where entire cities and infrastructures become haunted. While urban legends and other unsettling narratives embed fear in everyday life, abandoned malls, transit systems, and brutalist structures evoke concepts such as “non-places,” characterized by transience and anonymity.

At the same time, horror increasingly stages the breakdown of spatial logic itself. Non-Euclidean geometries, infinite corridors, and paradoxical environments destabilize perception and challenge epistemological certainty. In these instances, space becomes fundamentally unknowable, aligning with cosmic horror and philosophical pessimism. These concerns extend into digital and virtual environments, where video games, online narratives, and immersive technologies generate new forms of spatial horror. Phenomena such as The Backrooms exemplify liminal, endlessly reproducible environments that evoke both familiarity and existential dread. Simultaneously, haunted space becomes internalized within the body and mind, as psychological and body horror depict interiority as fragmented and invasive.

With all this in mind, we welcome papers from across disciplines and media that examine the spatial dimensions of horror, including but not limited to:
  • Gothic and classical haunted spaces
  • Urban and infrastructural hauntings, including “non-places”
  • Non-Euclidean, paradoxical, and incoherent spatialities
  • Digital and virtual environments (games, online narratives, immersive media)
  • The body and subjectivity as haunted spaces
  • Ecological and environmental horror
  • Spatial storytelling across literature, film, television, comics, and interactive media

The keynote speaker for the event will be Professor Jeffrey Andrew Weinstock (Central Michigan University). He is a Professor of English at Central Michigan University, where he teaches a range of courses on American literature and popular culture. He is the founder and president of The Society for the Study of the American Gothic, the founder and general editor of the peer-reviewed journal American Gothic Studies, and the co-founder and past chair of the Modern Language Association Gothic Studies Forum. He also serves as the associate editor in charge of horror for the Los Angeles Review of Books and is currently the general editor for Bloomsbury Publishing’s six-volume Cultural History of Monsters series.

His research focuses on the “cultural work” performed by the Gothic in its various manifestations - the ways in which Gothic texts and practices give shape to culturally specific anxieties and desires. This interest has led him from considering, for example, how nineteenth-and early twentieth-century American women made use of Gothic conventions as a strategy to express discontentment with their circumscribed roles to thinking about the ways contemporary monsters reflect shifting American fears and aspirations.

To date, he is the author or editor of 34 books and more than 100 essays and book chapters on the Gothic, American literature, cult film, and popular culture.

Abstracts of 250–300 words, accompanied by a short bio (approximately 100 words) and 3-5 keywords, should be submitted to geographyhorror@gmail.com .

The deadline for the abstract submission is October 1st 2026.

Selected papers focused on American Gothic and horror themes will also be considered for publication in the American Gothic Studies Journal.



Last updated June 6, 2026

CFP Horror in Tragedy / Tragedy in Horror (9/30/2026; NeMLA Newport RI 3/6-9/2027)

Horror in Tragedy / Tragedy in Horror


deadline for submissions:
September 30, 2026

full name / name of organization:
NeMLA

contact email:
gorlamia@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2026/07/07/horror-in-tragedy-tragedy-in-horror


While tragedy and horror are often treated as distinct genres, both traditions ask audiences to look steadily at what ordinarily repels them. From unburied corpses and undead monsters to violated kinship and failed agency, these spectacles produce fear, pity, disgust, and sorrow alongside fascination. This session explores what might be understood as a tragedy–horror continuum, examining the aesthetic, affective, and ritual overlaps between tragic and horrific representation across historical periods and media.

This panel welcomes interdisciplinary approaches to the relationship between tragedy and horror in theater, film, literature, television, performance, and visual culture. Possible topics include abjection, affect, taboo, pollution, spectatorship, ritual, violence, mourning, trauma, revenge, monstrosity, catharsis, embodiment, psychoanalysis, genre theory, and adaptation. Papers may address how tragedy and horror construct communal affective experiences; how art and literature shape cultural understandings of taboo and trauma; or how horror inherits, transforms, or reimagines tragic structures.

The significance of this session lies in its effort to create a space for dialogue between fields that are often separated institutionally and generically despite their shared concerns with suffering, transgression, and collective spectatorship. By bringing tragedy and horror studies into conversation, this panel seeks to reconsider the boundaries between canonical and popular forms while illuminating how these shared spectacles mediate communal encounters with what culture cannot easily assimilate.

___

Please submit abstracts by September 30, 2026 through the NeMLA portal: https://cfplist.com/nemla/User/SubmitAbstract/22290



Last updated July 7, 2026


CFP Still Screaming: An Online Conference Celebrating 30 Years of 'Scream' (8/15/2026)

Still Screaming: An Online Conference Celebrating 30 Years of 'Scream'


deadline for submissions:
August 15, 2026

full name / name of organization:
Dr. Alissa Burger

contact email:
aburger@culver.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2026/07/07/still-screaming-an-online-conference-celebrating-30-years-of-scream


Still Screaming: An Online Conference Celebrating 30 Years of Scream



2026 marks the 30th anniversary of Wes Craven’s Scream (1996), which has had a profound impact on horror films and the slasher subgenre specifically. In the past three decades, Scream has become a franchise of seven films and a television series (2015-16, 2019). Scream has also expanded beyond the screen, reverberating throughout the popular culture landscape and serving as the foundation for a game, collectible figures, multiple Ghostface mask variations, and an entire collection of merchandise at Spirit Halloween (and elsewhere).



Proposals are invited for a one-day online conference celebrating Scream on Tuesday, November 24th, 2026.



Possible topics include (but are not limited to):
  • Scream and slasher conventions
  • Scream films as part of individual horror cycles (i.e. ‘90s horror, millennial horror)
  • Sidney Prescott and the maturation of the Final Girl
  • Variation, reworking, and subversion of the Final Girl figure (i.e. Jill in Scream 4, Tara and Samantha in Scream 5 and Scream 6, Tatum Evans in Scream 7)
  • Role of evolving technologies (i.e. caller ID, cell phones, AI) in Scream films
  • Themes of fame and notoriety within the Scream films
  • Narrative construction and epistemology (i.e Stab franchise; role and process of adaptation in Scream 3; Sidney’s autobiology Out of Darkness in Scream 4)
  • Characters’ perceptions of and responses to trauma in Scream films
  • Spoofs of the Scream franchise (i.e. Scary Movie franchise, Shriek if You Know What I Did Last Friday the 13th)
  • Scream merchandising (i.e. mask variations, collectibles, apparel)
  • Scream and music (i.e. Nick Cave’s “Red Right Hand,” character themes, Ice Nine Kills)
  • The return (and loveability) of Matthew Lillard
  • Family dynamics, secrets, and generational trauma in Scream films
  • Scream at horror cons, fright fests, and other fan events



Individual presentations will be 15-20 minutes. Proposals should be 250-300 words and accompanied by a brief (~100) word bio. Proposals are due to aburger@culver.edu by August 15th, with notification of acceptance by September 15th.

Contact Dr. Alissa Burger (aburger@culver.edu) with any questions.



Last updated July 7, 2026

CFP Seminar on Horror, Today: Genre, Mediation, Collapse (9/30/2027; NeMLA Newport, RI 3/6-9-2027)

CfP | NeMLA 2027 Seminar | Horror, Today: Genre, Mediation, Collapse


deadline for submissions:
September 30, 2026

full name / name of organization:
Northeast Modern Language Association (NeMLA)

contact email:
vdani@hamilton.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2026/07/02/cfp-nemla-2027-seminar-horror-today-genre-mediation-collapse



NeMLA's 58th Annual Convention March 6-9, 2027 | Newport, RI


Which tools, discourses, and categories do we employ to understand horror today? How is the current regime of images and narrative control reshaping (or annihilating) our relationship with this category? How are we to rethink the instability between representation and event, the normalization of atrocity, and the breakdown of epistemology? As Eugene Thacker (2011) notes, “the world is increasingly unthinkable . . . To confront this idea is to confront an absolute limit to our ability to adequately understand the world at all.” After years of collective NeMLA conversations around cinematic horror, we look forward to receiving contributions that reflect upon horror by exploring its (algorithmically defined) diffusion and consumption. With this discussion, whose urgency lies in the accelerated mediatic (and mediated) circulation of brutality, we wish to explore the post-2023 instability of the distinction between representation, documentation, and aestheticization.

In a technological landscape increasingly saturated with horror, we are called to confront the ethics and politics of spectatorship by reconsidering the image's ontological status. In this light, horror is not reducible to affective intensity, nor to a genre: it rather functions as a structuring condition of mediation. Following this framework, we welcome interdisciplinary submissions exploring dark media that move beyond representational analysis toward critical theory, Marxism, film studies, and affective theory. Together, we strive to reflect upon the political implications hidden under regimes of continuous exposure, the new contours of horror as entertainment, and the collapse of epistemic distance.

Please submit an abstract of 200-250 words by September 30, 2026 on the NeMLA portal: https://cfplist.com/nemla/Home/S/22586

Accepted participants must submit their paper draft no later than February 1, 2027. Essays should be between 10 and 15 pages, double-spaced, and include a “Works Cited” section. All participants are expected to read each other’s work before the session and provide a one-paragraph response to one person as assigned by the chairs.

If you have any questions regarding the seminar, please contact the organizers directly: Valeria Dani (vdani@hamilton.edu) and Ruth Z. Yuste-Alonso (ryustealonso@stetson.edu).


CFP Oceanic Horror (9/30/2026; NeMLA Newport, RI 3/3-9/2027)

Oceanic Horror

deadline for submissions:
September 30, 2026

full name / name of organization:
NeMLA

contact email:
phillipzapkin@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2026/07/01/oceanic-horror


As we meet in Newport, an island at the edge of the Atlantic, this panel invites papers about ocean-based horror media. Oceans, seas, and other waterways have been central to human culture throughout history, offering both opportunities to build communities across the waves and the threat of lonely, painful death through drowning or isolation through shipwrecks. Add to these latter fears the strange (from a terrestrial perspective) and sometimes disconcerting forms of ocean life, and humanity has generated a rich body of horror stories and myths based on the ocean—from the monstrous Homeric whirlpool Charybdis, to Japanese yokai like the Nure-onna or Bake-kujira, to broadly shared myths about mermaids or sea serpents, to shark-based horror like the Jaws franchise and its imitators, to supernatural pirates like the Pirates of the Caribbean franchise, to existential horror like Robert Eggers’ The Lighthouse.

This panel invites papers about any aspect of oceanic horror, welcoming proposals from different literary/cultural traditions and with different theoretical focuses. By bringing together various presentations, this panel intends to enact the conference theme of empowering community by finding links between how people across cultures and times have negotiated oceanic anxieties. Because experiences of the sea are ubiquitous throughout many cultures, finding common ground in myths, legends, and stories about ocean-based terror provides a lens for identifying shared human experiences.

To paraphrase Martin Brody from Jaws, “you’re gonna need a bigger conference.”

Please submit 200-300 word abstracts through the NeMLA panel submissions page at https://cfplist.com/nemla/Home/S/22329. Submissions are due by 30 Sept. 2026.

The NeMLA conference will be held in Newport, RI from 6-9 Mar. 2027.







Friday, June 19, 2026

CFP NEPCA Monsters & the Montrous Area 2026 - UPDATED DEADLINE (7/1/2026; Online 10/15-17/2026)

CFP NEPCA Monsters & the Montrous Area 2026 - UPDATED DEADLINE


The Monsters & the Monstrous Area of the Northeast Popular Culture Association (a.k.a. NEPCA) seeks proposals for inclusion in NEPCA’s 2026 annual conference.


The event will run as a virtual conference from Thursday, October 15th, through Saturday, October 17th. Virtual sessions will take place via Zoom throughout the day on Thursday, Friday, and Saturday. Registration will open up in mid-July. The registration fee is expected to be around 50 USD.


The Monsters & the Monstrous Area welcomes proposals that investigate any of the things, whether mundane or marvelous, that scare us. Through our sessions, we hope to pioneer fresh explorations into the darker sides of the intermedia traditions of the fantastic (including, but not restricted to, aspects of fairy tale, fantasy, gothic, horror, legend, mythology, and science fiction) by illuminating how creative artists have both formed and transformed our notions of monsters within these sub-traditions in texts from various countries, time periods, and media and for audiences at all levels. Our primary goal is to foster a better understanding of monsters in general and to examine their impact on those who receive their stories as well as on the world at large.


In addition, as a component of the Northeast Popular Culture Association, the Monsters and the Monstrous Area is also especially interested in fostering discussion and debate on the monsters and the monstrous of the Northeastern United States (here defined as New England and New York). Topics might include the abduction of Betty and Barney Hill, Annabelle, the Borden Family Murders, the Bridgewater Triangle, the Conjuring House, the Dover Demon,  the Gloucester Ghoul, the Gloucester Sea Serpent, the Legends of Sleepy Hollow, the New England Gothic tradition, the New England Vampire Panic, the New England Witchcraft Hysteria, the Palatine Light, and the life, works, and legacies of local Gothic/horror authors such as Mary E. Wilkins Freeman, Charlotte Perkins Gilman, John Greenleaf Whittier, Nathaniel Hawthorne, Joe Hill, Washington Irving, Shirley Jackson, Stephen King, and H. P. Lovecraft.


NEPCA prides itself on holding conferences that emphasize sharing ideas in a non-competitive and supportive environment. We welcome proposals from graduate students, independent scholars, disciplinary professionals, junior faculty, and senior scholars. NEPCA conferences offer intimate and nurturing sessions in which new ideas and works-in-progress can be aired, as well as completed projects.


The call will be open until Wednesday, July 1st, by 5 pm EDT. Submissions should be made directly at https://www.northeastpca.org/call-for-papers. This site offers full information on the submission process and a link to send your proposal to us. If you have any questions about the conference, please reach out to the Executive Secretary, Lance Eaton (northeastpopculture@gmail.com).


Questions on the Monsters & the Monstrous Area can be directed to the area chair, Michael A. Torregrossa (popular.preternaturaliana@gmail.com). The area maintains a series of blogs that offer resources and potential topics. Please access them at Popular Preternaturaliana: Studying the Monstrous in Popular Culture (https://popularpreternaturaliana.blogspot.com/).









Thursday, May 7, 2026

CFP NEPCA Monsters & the Monstrous Area (6/15/2026; Online 10/15-17/2026)

CFP NEPCA Monsters & the Monstrous Area 2026


The Monsters & the Monstrous Area of the Northeast Popular Culture Association (a.k.a. NEPCA) seeks proposals for inclusion in NEPCA’s 2026 annual conference.


The event will run as a virtual conference from Thursday, October 15th, through Saturday, October 17th. Virtual sessions will take place via Zoom throughout the day on Thursday, Friday, and Saturday. Registration will open up in mid-July. The registration fee is expected to be around 50 USD.


The Monsters & the Monstrous Area welcomes proposals that investigate any of the things, whether mundane or marvelous, that scare us. Through our sessions, we hope to pioneer fresh explorations into the darker sides of the intermedia traditions of the fantastic (including, but not restricted to, aspects of fairy tale, fantasy, gothic, horror, legend, mythology, and science fiction) by illuminating how creative artists have both formed and transformed our notions of monsters within these sub-traditions in texts from various countries, time periods, and media and for audiences at all levels. Our primary goal is to foster a better understanding of monsters in general and to examine their impact on those who receive their stories as well as on the world at large.


In addition, as a component of the Northeast Popular Culture Association, the Monsters and the Monstrous Area is also especially interested in fostering discussion and debate on the monsters and the monstrous of the Northeastern United States (here defined as New England and New York). Topics might include the Borden Family Murders, the Bridgewater Triangle, the Legends of Sleepy Hollow, the New England Gothic tradition, the New England Vampire Panic, the New England Witchcraft Hysteria, and the life, works, and legacies of local Gothic/horror authors such as Mary E. Wilkins Freeman, Nathaniel Hawthorne, Joe Hill, Shirley Jackson, Stephen King, and H. P. Lovecraft.


NEPCA prides itself on holding conferences that emphasize sharing ideas in a non-competitive and supportive environment. We welcome proposals from graduate students, independent scholars, disciplinary professionals, junior faculty, and senior scholars. NEPCA conferences offer intimate and nurturing sessions in which new ideas and works-in-progress can be aired, as well as completed projects.


The call will be open until Monday, June 15, by 5 pm EDT. Submissions should be made directly at https://www.northeastpca.org/call-for-papers. This site offers full information on the submission process and a link to send your proposal to us. If you have any questions about the conference, please reach out to the Executive Secretary, Lance Eaton (northeastpopculture@gmail.com).


Questions on the Monsters & the Monstrous Area can be directed to the area chair, Michael A. Torregrossa (popular.preternaturaliana@gmail.com). The area maintains a series of blogs that offer resources and potential topics. Please access them at Popular Preternaturaliana: Studying the Monstrous in Popular Culture (https://popularpreternaturaliana.blogspot.com/).



Tuesday, April 28, 2026

CFP Journal of Dracula Studies 2026 (6/1/2026)

Journal of Dracula Studies


deadline for submissions:
June 1, 2026

full name / name of organization:
Journal of Dracula Studies

contact email:
journalofdraculastudies@kutztown.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2026/04/10/journal-of-dracula-studies



The Journal of Dracula Studies is open for submissions for its upcoming 2026 issue. 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 literature including 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. Examples of papers published in the Journal are available at https://research.library.kutztown.edu/dracula-studies/. 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 13, 2026

Sunday, March 15, 2026

CFP Promises of Monsters: Those Haunting Feminist Speculative Fiction (3/14/2026; MLA 2027)

2027 MLA CFP: The Promises of Monsters: Those Haunting Feminist Speculative Fiction


deadline for submissions:
March 14, 2026

full name / name of organization:
Ezgi Hamzaçebi / MLA 2027

contact email:
ezgi.hamzacebi@ozyegin.edu.tr

source: https://call-for-papers.sas.upenn.edu/cfp/2026/03/04/2027-mla-cfp-the-promises-of-monsters-those-haunting-feminist-speculative-fiction


This panel explores the promises and provocations of monstrous and ghostly figures in feminist and queer speculative fiction, focusing on gendered human and nonhuman bodies. We are particularly interested in how monsters articulate socially ingrained fears and anxieties about women, queer communities, and the nonhuman world, as well as the desires and apprehensions they evoke toward the impossible, the fantastic, or the supernatural. Contributors might consider how these monstrous imaginings shape, challenge, or expand the category of “us,” offering critical insights into who is included, who is excluded, and on what grounds. By interrogating these entanglements, the panel seeks to illuminate how feminist and queer speculative fiction uses the figure of the monster to question normative assumptions, open new imaginative possibilities, and rethink the ethical and social stakes of inclusion, otherness, and coexistence.

*Please submit a 250-word abstract and a brief bio by March 14.

ezgi.hamzacebi@ozyegin.edu.tr

https://mla.confex.com/mla/2027/webprogrampreliminary/Paper33661.html



Last updated March 10, 2026

CFP Ninth Annual Ann Radcliffe Academic Conference at StokerCon 2026 (3/27/2026; Pittsburgh/Hopin 6/5/2026)

The Ninth Annual Ann Radcliffe Academic Conference at StokerCon 2026


deadline for submissions:
March 27, 2026

full name / name of organization:
Horror Writer's Association

contact email:
AnnRadcliffeCon@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2026/03/12/the-ninth-annual-ann-radcliffe-academic-conference-at-stokercon-2026


The Ninth Annual Ann Radcliffe Academic Conference at StokerCon 2026

Conference Date: Friday, June 5, 2026

Conference Location: The Westin Pittsburgh, 1000 Penn Avenue, Pittsburgh, PA 15222, and via Hopin

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

Stokercon 2026 will be the tenth anniversary of Stokercon, and the Ann Radcliffe Academic Conference is delighted to be a part of this banner year. Along with the HWA, we look forward to reflecting on the history of Stokercon and the horror genre, while considering the potential of our future. We are thrilled to be hosting our 2026 and 2027 conferences in Pittsburgh, home to the University of Pittsburgh’s Horror Studies Center, Horror Studies Collection, and a wealth of historic sites and horror-related venues to explore. We are delighted to take part in this banner year, and to prepare for our own ten-year anniversary in 2027. With these milestones in mind, the co-organizers of the Ann Radcliffe Academic Conference are pleased to announce our call for papers. 

This year, we are eager both to welcome traditional academic presentations and to encourage inventive proposals and formats that engage with the study and critique of the horror genre and its media. This year, we especially seek to engage with the stories, histories, and cultures of Pittsburgh and the wider Appalachian region, as well as with the history of the HWA and Stokercon itself. 

The Ann Radcliffe Conference serves as a research showcase within Stokercon for scholars of horror, and an opportunity for building community and collaboration among participants. We look forward to continuing this tradition by inviting all interested scholars, researchers, creators, academics, and non-fiction writers to submit abstracts for completed research projects, works-in-progress, and projects invested in the academic analysis of the horror genre and its history in all its forms. As in previous years, this conference will be held in a hybrid format, with both in-person panels and recorded online presentations available via Hopin. Please note that while this conference is slightly different in its format and approach, all Stokercon participants are welcomed to take part in the Ann Radcliffe Academic Conference, and to submit proposals for presentation. 

We are eager to receive abstracts that expand scholarship, analysis, and theory across horror and gothic studies in fields or formats including (but certainly not limited to): 
  • Art
  • Cinema
  • Comics/Manga
  • Literature
  • Music
  • Podcasts/Radio
  • Digital and Analog Media
  • Poetry
  • Television
  • Video Games
  • Cartoons/Anime

We invite presentations that take an interdisciplinary approach to their subject matter and welcome scholarship that considers a diverse range of readings, interpretations, and application of theories. This includes work from a variety of viewpoints, scholarly backgrounds, and transmedial fields including, but not limited to:

  • Critical race theory
  • Environmental Studies
  • Film theory and analysis
  • Gender/LGBTQIA+ theory
  • Historical analysis and interpretation
  • Archival research
  • Literary theory and analysis
  • Popular responses and audience studies
  • Pedagogical approaches to horror and the gothic
  • Intersections with psychology, biology, and the history of medicine
  • Philosophical approaches
  • The history of the HWA and Stokercon, including the Ann Radcliffe Academic Conference

Presentation and Submission Guidelines Please upload a 250 – 300 word abstract to SUBMITTABLE LINK (https://horrorwritersassociation.submittable.com/submit) by March 27, 2026. Responses will follow as soon as possible.
Accepted presentations should adhere to a 15-minute time limit, in order to ensure adequate time for discussion and commentary.

Please note in your abstract whether you plan to present your work in person or virtually. For those presenting virtually, recordings will need to be sent by April 17, 2026.

Please address any questions to AnnRadcliffeCon@gmail.com

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

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

Membership to the Horror Writers Association is not required to submit or present, however registration to StokerCon 2026 is required to be accepted and to present. Information regarding StokerCon registration, including day passes and full event registration, can be found on the Stokercon website: https://www.stokercon.com. There is no additional registration or fees for the Ann Radcliffe Academic Conference outside StokerCon registration. If interested in applying to the Horror Writers Association as an academic member, please see www.horror.org/about/.



Last updated March 14, 2026


CFP Monster Media Conference 2026 (3/15/2026; Edinburgh/Hybrid 6/18-19/2026)

Not sure how I missed posting this sooner.


Monster Media Conference 2026


deadline for submissions:
March 15, 2026

full name / name of organization:
Julia Larsen / University of Edinburgh

contact email:
monstermediaconference@gmail.com


source:



As long as humans have been making media, we have been making media about monsters. From neolithic paintings of monsters in the Cave of Beasts and the myriad monsters of Homer’s Odyssey, to the now-classic monsters of 19th-century Gothic literature and the creature features of 20th-century cinema, to zombie video games and Lady Gaga’s Monster Ball tour, our fascination with monsters has spanned across nearly every medium. While monstrosity is complex and its manifestations manifold, Jeffrey Jerome Cohen has theorized that the monster will defy easy categorization, that it is an embodiment of a specific cultural moment, and that it will evolve and shift to ensure its survival through the ages (“Monster Culture (Seven Theses)”). While it has often been accepted that media can be a cipher for a specific cultural moment, new directions in media studies, particularly theories of intermediality, find even more similarities between media and the monster: intermediality posits that media categories are not actually as solid as we may like to believe (Lúcia Nagib and Anne Jerslev, Impure Cinema: Intermedial and Intercultural Approaches to Film), and that media forms evolve and shift over time while maintaining traces of their predecessors in their new forms (Jay Bolter and David Gruisin, Remediation: Understanding New Media). This conference aims to explore the relationship between monsters and the media in which they are portrayed, and the way monsters and monster theory can help us better understand media itself. We are interested in papers on the following topics (or any others that deal with the intersection of monsters and media):



Media about monsters

Vampire movies, zombie video games, ghost novels, etc.


Media that is itself monstrous

Remix/mashup, adaptation, hybrid media forms, etc.


Relationships between monster narratives and their mediums


How medial affordances affect constructions of monstrosity


Media as part of the telling of monster narratives/part of the construction of monstrosity


Adaptations, transmediations, and retellings of monster narratives


Media forms that, like the monster, defy boundaries


Monstrosity in non-narrative media forms

Fashion, music, painting, photography, sculpture


Monsterizing effects of mediation


Using monster theory to better understand medial phenomena/using medial theory to better understand monstrosity



In addition to academic papers, we are interested in showcasing practical and artistic works that use monstrous medial approaches. These could take many forms, including a film screening, a visual art piece, a musical performance, a literature reading – or whatever else your monstrous mind can dream up!



We will also feature keynote talks, presentations, and interactive workshops from special guests – check our website for updates.

Monstrous media that inspired the organizers:

Monograph: Gothic Remixed: Monster Mashups and Frankenfictions in 21st-Century Culture, Megen de Bruin-Molé


Article: “Vampire Adaptation”, Thomas Leitch


Film: Ringu, Hideo Nakata


Novel: Jane Bites Back, Michael Thomas Ford


Video Game: Layers of Fear: Legacy, Bloober Team



The conference will take place 18-19 June 2025 at the University of Edinburgh. Remote participants are welcome and will present their works virtually.



Please submit a title and 250-word abstract to monstermediaconference@gmail.com by 15 March 2026. In your email, please include your name, what type of submission you are proposing (paper or practical work), and if you expect to be presenting in-person or remotely.




Last updated January 29, 2026

Saturday, January 17, 2026

CFP Otherness: Essays and Studies - Spring 2026 (2/15/2026)

Otherness: Essays and Studies - Spring 2026


deadline for submissions:
February 15, 2026

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

contact email:
otherness.research@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2025/12/05/otherness-essays-and-studies-spring-2026


The peer-reviewed e-journal Otherness: Essays and Studies is now accepting submissions for its 2026 general issue.

Otherness: Essays and Studies publishes research articles from and across different scholarly disciplines that examine, in as many ways as possible, the concepts of otherness and alterity. We particularly appreciate dynamic cross-disciplinary study.

“To approach the Other in conversation is to welcome his expression, in which at each instant he overflows the idea a thought would carry away from it. It is therefore to receive from the Other beyond the capacity of the I, which means exactly: to have the idea of infinity. But it also means: to be taught.”
― Emmanuel Levinas, Totality and Infinity: An Essay on Exteriority

Otherness is complex and multivalent term. Otherness is defined by difference, both via outside markers and internal characteristics. Otherness is also a means by which we define ourselves. Thus the concept is inevitably bound with conceptions of selfhood, making it fundamental for discussions of subjectivity, social, cultural and national identity, and larger discussions of ontology. In light of more recent theory and criticism, the assumed line between the self and the other, the defining boundary of identity construction, is blurred, and as such the entire concept of otherness has become intricate and problematic.

In recent years, the concept has become even more salient, as boundaries become increasingly tested, identities challenged, and difference ever more powerfully promoted. As bell hooks reminds us, “when the dominant culture demands that the Other be offered as a sign that progressive political change is taking place … it invites a resurgence of essentialist cultural nationalism” (Black Looks 1992). With that resurgence, we find the discussion of otherness ever more important. It is this concept, otherness, in all of its complexities and nuances that we seek to explore and discuss through Otherness: Essays and Studies.

Past projects from the Centre, and past issues of the journal, have brought together articles from the fields of cultural theory, continental philosophy, sociology, postcolonial studies, psychoanalysis, gender studies, Gothic studies, animal alterity, the performing arts, fandom and celebrity studies, postmodernism and poststructuralist theory, and the consideration of the post-linguistic turn in their consideration of otherness. This journal invites submissions dealing with aspects of critical, socio-political, cultural, and literary exploration, within the scope of studies in otherness and alterity.

Topics may include, but are not limited to:

Otherness in Cultural Representation

The Representation of Otherness in Popular Culture

Race, Otherness, and Mediated Representation

Cultural Appropriation, or The Commodification of the Other

Hybridity, Creolization, and the Global Other

Representations of Otherness in the Global South

Precarity, Otherness and Marginalization

Otherness and the Non-Human Animal

Ethics, Responsibility, and the Other

Memory, History, Trauma, and Otherness

Sexuality, Gender, the Body and the Other

Otherness, Phenomenology, and Lived Experience

Absolute Otherness vs. Self-Same Other

Monstrosity, Spectrality and Terror of the Other

Uncanny or Abject Others; or The Familiar Other

The Sublime or the Unimaginable Other

Otherness and the ‘Post-Racial’

Political Otherness, Democracy, and the Post-Truth Era

Nationalism, Multiculturalism, and the Identity of the Other

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 (Author-Date) to the editor Matthias Stephan at otherness.research@gmail.com. See the submission guidelines at www.otherness.dk/journal for more details.

While we accept papers on a rolling basis, consideration for the next general issue will cut off on Feb 15, 2026.


Last updated December 8, 2025

CFP Welcome to Hawkins: A Special Issue on Stranger Things (1/30/2026)

Welcome to Hawkins: A Special Issue on Stranger Things


deadline for submissions:
January 30, 2026

full name / name of organization:
Slayage

contact email:
janet.croft@uni.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2026/01/10/welcome-to-hawkins-a-special-issue-on-stranger-things


Welcome to Hawkins: A Special Issue on Stranger Things



Slayage plans a special issue on Stranger Things for publication in late June 2026. Slayage is an international and interdisciplinary refereed scholarly journal concerned with the “fuzzy set” with Buffy the Vampire Slayer at its center, and Stranger Things, a multi-season television series with kick-ass heroines, the irruption of the supernatural into the mundane, high-stakes action, strong characterizations, snarky humor, and an emphasis on relationships and the complexities of queerness and race, fits our definition nicely. It’s even got a Hellmouth in a library!



As an interdisciplinary journal primarily concerned with visual media, we will be interested in nearly any approach to Stranger Things: literary-critical, sociological, historical, musical, queer theory, pop science, etc. Read more about Slayage at http://www.buffystudies.org/slayage-the-international-journal-of-buffy.html and please see the Slayage Style Sheet at http://www.buffystudies.org/slayage-house-style-sheet.html for guidance on citation style, especially for television episodes.



Here are some ideas to consider:

  • Mothers and mothering: good mothers, evil mothers, avenging mothers
  • Strong women, beweaponed and weaponized girls, and the Ripley (Alien) trope
  • Fathers and fathering, and masculinities in general
  • Groupings of generations and cohorts, and how their different story arcs work together
  • Nostalgia and audience engagement
  • Mythic patterns in storytelling
  • Music used in the show and its significance; music as weapon and lifeline
  • Resonances with other texts: A Wrinkle in Time, The Lord of the Rings, the Indiana Jones movies, the Star Wars movies, Carrie, The Goonies, A Nightmare on Elm Street, Ghostbusters, the Whedonverse, and on and on and on. Not just a recap of inspirations, but digging into the how and why.
  • The show’s use of Dungeons and Dragons, and the early D&D panic
  • Queer characters, queer theory, queer history
  • Race in the 1980s: what the show got right, what it got wrong
  • US/Russia/world relations in the 1980s and what the show does with them
  • Crazy science and conspiracy theories
  • The stage play Stranger Things: The First Shadow and the canonicity of other supplemental texts
  • The independent-kids-on-bikes motif in Stranger Things and its sources
  • The midwestern setting and its callbacks to sources like Breaking Away
  • The suburban shopping mall: its significance in 80s teen culture and its use in horror films like Dawn of the Dead



Editors for this special issue are:



Dr. Kristine Larsen is distinguished Connecticut State University Professor of Earth and Space Sciences at Central Connecticut State University, where she has taught since 1989. Her teaching and research focus on the intersections between science and society, including science in the works of J.R.R. Tolkien. Her latest books are Science, Technology and Magic in The Witcher: A Medievalist Spin on Modern Monsters (McFarland, 2023), and The Sun We Share: Our Star in Popular Media and Science (McFarland, 2024).



Janet Brennan Croft (ORCiD 0001-0001-2691-3586) recently retired from the University of Northern Iowa as Librarian Emerita. She is the author of War in the Works of J.R.R. Tolkien (recently reissued by Bloomsbury; 2005 Mythopoeic Society Award for Inklings Studies). She has also written on the Peter Jackson Middle-earth films, the Whedonverse, Orphan Black, Terry Pratchett, Lois McMaster Bujold, and other authors, TV shows, and movies, and is editor or co-editor of many collections of literary essays, the most recent being Loremasters and Libraries in Fantasy and Science Fiction, co-edited with Jason Fisher(Mythopoeic Press, 2021). She edits the refereed scholarly journal Mythlore, is archivist and associate editor of Slayage: The International Journal of Buffy+, and chairs the Tolkien in Popular Culture Area at SWPACA.



Send abstracts of 400 words plus selected preliminary references to Kris Larsen and Janet Brennan Croft at janet.croft@uni.edu and larsen@ccsu.edu by January 30, 2026. Decisions on abstracts will be made by February 4. Initial submissions are due by April 15, and final revisions completed by June 10 for publication at the end of June.


Last updated January 12, 2026

CFP Slayage 11 Conference (1/15/2026; Illinois 7/9-12/2026)

Slayage 11 Conference


deadline for submissions:
January 15, 2026

full name / name of organization:
Association for the Study of Buffy+

contact email:
slayage.conference@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2025/10/19/slayage-11-conference


Slayage: The International Journal of Buffy+ and the Association for the Study of Buffy+ invite proposals for the eleventh biennial Slayage Conference (SC11). Devoted to creative works and workers of the ‘fuzzy set’ surrounding Buffy the Vampire Slayer, SC11 will be held on the campus of Illinois State University in Normal Illinois, 9-12 July 2026. This eleventh convening of Slayage conference will be organized by Local Arrangements Chair Bin Lizzo, rlizzo@ilstu.edu.

We welcome proposals of 200-300 words (or an abstract of a completed paper) on any aspect of Buffy+ television, film, and web texts. The name Buffy recalls the significance of scholarly examinations of feminism, but Slayage is much more. The “plus” is meant to be a sign of inclusivity, both for scholars and texts.

The plus-mark is meant to invite analyses of not only Angel, Firefly, Dollhouse, etcetera, but also the work of all the various creators involved with those texts (ranging from, but not limited to: Amy Acker, Christophe Beck, Charisma Carpenter, Stephen DeKnight, Jane Espenson, Nathan Fillion, Sarah Michelle Gellar, Ron Glass, Summer Glau, Marita Grabiak, David Greenwalt, Diego Gutierrez, and all the alphabetical others, including the Ws) as well as (primarily visual) media more or less resembling Buffy (where ‘resemblance’ is likewise subject to further discussion). In other words, the plus-mark indicates the “fuzzy set” of which Buffy is the center. Drawing on Brian Attebery's description in Strategies of Fantasy, the fuzzy set is “defined not by boundaries but by a center.” Hence, a scholar applying to Slayage Conference 10 might use Buffy as a yardstick to tell us why we should consider their chosen topic to be part of this fuzzy set. For further thought, consider:

Is your object of study “high stakes TV” with a kick-ass young female lead?


A movie or book series concerned with the frequent irruption of the supernatural into the mundane?


Are snarky humor and linguistic play part of the appeal of the source text? Strong characterization, an emphasis on relationships, and long story arcs spanning a season or more?


Moral dilemmas, stylish but affordable boots, and starship captains with tight pants?

Moreover, the “plus” specifically alludes to LGBTQIA+, too, one of the important touchstones of the original series. The complexities of queerness are part of the intriguingly nuanced nature of many of these texts. The Tara/Willow storyline was both groundbreaking and, with Tara’s death, ultimately controversial. Scholarship explored this subject from many angles; the response to this LGBTQIA+ storyline is an illustration that our analyses should be scholarly critiques, not just hagiography. The conference was established to provide a venue for writing about good work, but good works are not perfect, and scholarship should strive to see clearly. LGBTQIA+ texts and scholars have been an important part of this clear-sighted assessment, and SC10would be strengthened by further contributions in light of contemporary scholarship. Intersectional scholarship is strongly encouraged.For further thought, consider:

How do we now see Dru and Darla?


Does Felicia Day’s Mag of Dollhouse connect at all with her Charlie in Supernatural?


Is asexuality visible anywhere in these texts?


How might current scholars address the presentation of J. August Richards’ Gunn in the light of his coming out as a gay man?

Importantly, the “plus” is meant to refer to the need to counteract a “minus”—that is, the scarcity of Latinx and Black, Indigenous, Person of Color representations in Buffy (the Original Sin of the Buffy text) as well as problematic representations in that and related texts. Since Kent Ono’s 2000 essay “To Be a Vampire on Buffy the Vampire Slayer,” scholars have been examining these matters. However, a great deal remains to be done—again, not just on Buffy but also on related texts. For further thought, consider:

What can we say about the multiple roles of Maurissa Tancharoen?


What about Gina Torres and Harry Lennix?


We can revive Kendra in our scholarly discussions, but we should not stop there.

Multidisciplinary approaches (literature, philosophy, political science, history, communications, film and television studies, women’s studies, religion, linguistics, music, cultural studies, art, and others) are all welcome. A proposal/abstract should demonstrate familiarity with already-published scholarship in the field, which includes dozens of books, hundreds of articles, and over twenty years of the peer-reviewed journal Slayage. Proposers may wish to consult the annotated Oxford University Press bibliography on Buffy the Vampire Slayer as well as the Slayage contents list and the bibliography housed at the ASB+ website.

An individual paper is strictly limited to a maximum reading time of 20 minutes, and we encourage, though do not require, self-organized panels of three presenters. Proposals for workshops, roundtables, or other types of sessions are also welcome. Submissions by graduate and undergraduate students are invited; undergraduates should provide the name, email, and phone number of a faculty member willing to consult with them (the faculty member does not need to attend). A limited number of hybrid slots will be provided. 

Proposals should be submitted online to using this form and will be reviewed by program chairs Cynthia Burkhead, Jessica Hautsch, and James Rocha. Submissions must be received by January 15th, 2026. Decisions will be made no later than March 15th; however, a rolling response to early submissions will be provided. Questions regarding proposals can be directed to the conference email address: slayage.conference@gmail.com.


Last updated October 27, 2025

CFP Don't Look Away: The Monstrous, the Gothic, and Survivance in the Worlds of Stephen Graham Jones (1/26/2026; ALA Chicago 5/20-23/2026)

American Literature Association Panel | Don't Look Away: The Monstrous, the Gothic, and Survivance in the Worlds of Stephen Graham Jones


deadline for submissions:
January 26, 2026

full name / name of organization:
Billy J. Stratton / Stephen Graham Jones Society

contact email:
billy.stratton@du.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2025/11/05/american-literature-association-panel-dont-look-away-the-monstrous-the-gothic-and


Don't Look Away: The Monstrous, the Gothic, and Survivance in the Worlds of Stephen Graham Jones

Organized by the Stephen Graham Jones Society

Chair: Dr. Billy J. Stratton, University of Denver

The Stephen Graham Jones Society invites proposals for a panel at the 2026 American Literature Association (ALA) meeting. We welcome submissions from emerging and established scholars investigating the vast, ever-expanding body of work by Stephen Graham Jones. This panel will focus on the recent and ongoing scholarship surrounding his horror fiction, as well as its significant pedagogical value in the contemporary classroom.

We seek proposals that examine any aspect of Jones’s profound literary, philosophical, and cultural engagements with the horrific. While we welcome all critical approaches, we are especially interested in presentations that engage with:
  • Monster Theory and the Gothic: How does Jones deploy, deconstruct, or “Indigenize” traditional Gothic tropes (the haunted past, uncanny landscapes, the doubled self)? We invite papers that draw from Monster Studies or Gothic theory (including American, Southern, the Frontier Gothic, and Indigenous Gothic) to explore how his creations—from werewolves and ghosts to human slashers—challenge boundaries, embody social anxieties, and critique settler-colonial histories.
  • Genre, Form, and Film Theory: We welcome analyses of his masterful manipulation of horror subgenres (the slasher, the possession narrative, the creature feature) and his deep, career-spanning intertextual dialogue with cinema. How do his narrative techniques force a new reckoning with the tropes we think we know?
  • Key Themes and Motifs: Examinations of recurring concerns such as settler-colonial anxiety, Indigenous futurity and Gerald Vizenor’s conception of survivance, intergenerational trauma, the complex politics of land and place, the search for community, and the fluid, often fraught, constructions of identity and masculinity.

We encourage presentations that trace the evolution of these themes in his early experimental works (Demon Theory, All the Beautiful Sinners, The Last Final Girl), as well as his breakout horror novels (Mongrels, The Only Good Indians) to his most recent bestsellers, including the Indian Lake Trilogy (My Heart Is a Chainsaw, Don't Fear the Reaper, The Angel of Indian Lake), The Buffalo Hunter Hunter, and Killer on the Road.

Submission Guidelines:

Please submit a 250-300 word abstract and a brief C.V. to Billy J. Stratton at bstratt4@du.edu by the deadline of January 26, 2026. Include “SGJ Society ALA 2026” in the subject line of your email.

The American Literature Association’s 37th annual conference will meet in Chicago at the Palmer House from May 20-23, 2026. For further information or specific questions, please consult the ALA website at www.americanliteratureassociation.org or contact the conference director, Professor Leslie Petty, at ALA@rhodes.edu., or the Executive Director of the ALA, Professor Alfred Bendixen of Princeton University, at ab23@princeton.edu.



Last updated November 6, 2025