Showing posts with label Dracula. Show all posts
Showing posts with label Dracula. Show all posts

Friday, April 4, 2025

CFP Journal of Dracula Studies 2025 (5/16/2025)

Journal of Dracula Studies

deadline for submissions: 
May 16, 2025
full name / name of organization: 
Journal of Dracula Studies

The Journal of Dracula studies is open for submissions for its upcoming 2025 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. For our 2025 issue we are especially interested in work looking at F.W. Murnau's 1922 film Nosferatu and its remakes/adaptations, as well as its influence on the legacy of Stoker's work and vampire literature more broadly. 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 March 31, 2025

CFP Dracula: A Companion (3/31/2025)

Just came across this. Apologies for the late posting.

CFP: Dracula: A Companion

deadline for submissions: 
March 31, 2025
full name / name of organization: 
Matthew Crofts (University of Hull), Maddy Potter (University of Edinburgh)

CFP: Dracula: A Companion

Matthew Crofts & Maddy Potter

Dracula: A Companion is intended to both be an essential guide to interpreting Bram Stoker’s Dracula and a collection of new perspectives supporting a reshaping of the way the text is taught and engaged with by students. 

Fundamental to the approach of this companion is placing the text at the epicentre of its own cultural afterlife and pop culture status. Beginning with the novel’s inception and influences, Dracula is positioned as a ‘spark’ that ignited the character's enduring popularity and presence across the globe. From here, the familiar topics the novel is understood through will see novel perspectives, accounting not only for new and exciting research, but exploring  how Dracula’s immortality stems from how it can be subjected to new approaches, showcasing the versatility of the book, and its continued capacity to lend itself to readings that speak of topical cultural concerns. 

The final sections prioritise the way the text has been reshaped to suit contemporary audiences, distanced from the ‘original’ novel through adaptation and literary pastiche. Every ‘version’ of Dracula has the potential to be someone’s first encounter with the character, and may be what they think of when hearing the name. By giving this aspect a clear focus it establishes to students and readers alike that ‘Dracula’ is not contained within the novel, but has become a myth recognised across the globe.

We kindly request abstracts of no more than 250 words for either full essay style chapters of 4,500 words or shorter case studies focusing on individual texts of approx 2000 words. We are also open to further ideas, suggestions, and questions. The deadline for abstracts is Monday March 31st 2025. Full contributions are expected to be due at the end of Summer 2025.

Please email abstracts or any other enquiries to madeline.potter@ed.ac.uk & m.crofts@hull.ac.uk

 

Potential topics (but by no means limited to):

  • Theatrical Influences on the novel’s form Historical influences

  • Transylvania as a mosaic (Hungarian and Irish Parallelism)

  • Stoker: a biographical reading

  • Global Dracula Stoker’s own travels

  • Dracula in translation 

  • New perspectives on sexuality: LGBTQA+ readings/drag

  • New scientific & medical readingsNew perspectives on race

  • Romany enslavement

  • Dracula as Sensation fiction/Victorian popular fiction

  • Publishing practices

  • Reception of Dracula

  • Reading Dracula as a werewolf text

  • Neo-Victorian readings

  • Wider cultural understanding of Dracula [Intended as shorter chapters, akin to case studies of texts]

  • Dracula adaptations, appropriations and pastiches

  • Neglected adaptations (eg. The Claes Bang/Gatiss version, The 1977 Louis Jourdan version)

  • Neglected adaptations from non-anglo/American countries

  • Non-Western Draculas 

  • Dracula for children: eg. Hotel Transylvania eg. Count Duckula 

  • Dracula games (computer and table-top)

  • Dracula in New Media & Fandom

Monday, June 3, 2024

CFP “Children of the Night” International Dracula Congress 2024 (8/31/2024; virtual 10/25-26/2024 & Romania 10/31-11/2/2024)

“Children of the Night” International Dracula Congress 2024


Call For Papers

October 25-26 online sessions

October 31-November 2: Brașov sessions



It is our great pleasure to invite you to 2024 double edition of "Children of the Night International Dracula Congress”. This year, participants are invited to join the ONLINE part of the Congress on October 25th and 26th, 2024 (Friday and Saturday) via Zoom.

A few days later, we will gather IN PERSON for further Halloween sessions in Brașov, Romania from October 31st to November 2nd, 2024. We have decided to hold two parts of the Congress separate from one another, so that Brașov participants were able to fully engage in academic discussions, get to know each other and discover the wonders of Transylvania outside the conference venue.

October 31st (Thursday) and November 1st (Friday) will be devoted to academic speeches and discussions, with a walking tour of Brașov and various evening activities. On November 2nd (Saturday), we will set on a one-day trip to Bran Castle, a nearby Dracula related pop-cultural tourist attraction.

Additionally, from October 30th to November 2nd, International Dracula Film Festival is taking place in Brașov and the Congress participants will be able to join chosen festival events.

We invite everyone who is interested in speaking at the 2024 conference to submit an abstract of 150 - max. 250 words plus a meaningful title indicating the planned content of your presentation to dracongress@gmail.com. The official language of the conference is English. The abstracts must be submitted by email and fit the conference main topics (please, have a look at the slider with 8 workshops on our website). Deadline for abstract’s submissions: August 31, 2024. Please, state if you intend to participate online or in person.

Also, remember to dust your Vampire/Dracula/Gothic costume for our annual Costume Contest (in person and online entries welcome!).

Conference fee

50 euro (physical participation in Brasov)

10 euro (online participation).

Listeners join free of charge.



The 2024 COTN International Dracula Congress is organised by:

Transilvania University of Brașov, Romania (Florin Nechita),

Maria Curie-Skłodowska University Lublin, Poland (Magdalena Grabias),

State University of Rio de Janeiro in Brasil (Yuri Garcia).

In collaboration with The Dracula Fan Club, Mexico (Enrique A. Palafox).



More details will be announced soon.

https://dracongress.jimdofree.com/


Thursday, April 18, 2024

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



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

Saturday, February 17, 2024

Journal of Dracula Studies 2023


 The latest volume of the Journal of Dracula Studies has arrived.


Journal of Dracula Studies 25 (2023)

Table of Contents

A Wild(e) Story: Vampiric Disease as Gender Transgression in Victorian England

Sophie Bradley


Bedding Down in the Monster's Den: Reading Domesticity, Masculinity and Homoeroticism within Count Dracula's Castle

Ellese Patterson


Vampiric Sideways Growth at the Fin de Siecle: The Intersection of Youth, Race, and Queerness in Florence Marryat's The Blood of the Vampire

Kelsey Shawgo


Construction of Imperial Otherness in Dracula (1897) and Dracula in Istanbul (1928)

Y. Su Kolsal



Thursday, May 18, 2023

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

Penny Dreadful and Adaptation: Reanimating and Transforming the Monster


Editors: Julie Grossman and Will Scheibel

Palgrave Macmillan, 2023


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


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


Conceptualizes adaptation beyond the traditional dyad of literature and screen media


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


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



About this book

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



Contents


Front Matter

Pages i-xviii



Introduction

Julie Grossman, Will Scheibel

Pages 1-11



Welcome to the Night: Issues of Reading and Media

The Medium Is the Model

Thomas Leitch

Pages 15-30

The Adaptive Marketing of Penny Dreadful: Listening to The Dreadfuls

Christine Becker

Pages 31-47

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

Mike Goode

Pages 49-67



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

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

Joan Hawkins

Pages 71-86

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

Luciana Tamas, Eckart Voigts

Pages 87-104

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

Kendall R. Phillips

Pages 105-120

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

Will Scheibel

Pages 121-137



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

Penny Dreadful and the Stage: Lessons in Horror and Heritage

Shannon Wells-Lassagne

Pages 141-155

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

Ann M. Ryan

Pages 157-176

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

Julie Grossman, Phillip Novak

Pages 177-193



Meanings of Monstrosity: Identity, Difference, and Experience

Penny Dreadful’s Palimpsestuous Bride of Frankenstein

Lissette Lopez Szwydky

Pages 197-215

Predators Far and Near: The Sadean Gothic in Penny Dreadful

Lindsay Hallam

Pages 217-232

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

James Bogdanski

Pages 233-252

Borderland Identities in Penny Dreadful: City of Angels

Seda Öz

Pages 253-267



Back Matter

Pages 269-282



About the editors

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

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

Thursday, March 9, 2023

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

Not sure how I missed this before.


Journal of Dracula Studies


deadline for submissions:
May 1, 2023

full name / name of organization:
Journal of Dracula Studies

contact email:
journalofdraculastudies@kutztown.edu

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


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

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

Please follow MLA style.

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

Send electronic submissions to journalofdraculastudies@kutztown.edu

Contact: Dr. Nicole McClure or Dr. Jonathan Shaw




Last updated January 26, 2023

Thursday, March 2, 2023

Wednesday, July 20, 2022

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

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


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

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

Proposals are due 15 August 2022


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


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


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

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


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

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


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

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


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

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


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

Sunday, April 10, 2022

CFP Recovering the Vampire Conference (6/17/2022; UK/online 11/4-5/2022)

Recovering the Vampire

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

deadline for submissions:
June 17, 2022

full name / name of organization:
Edge Hill University

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




Speakers

Professor Catherine Spooner (Lancaster University)

Dr Xavier Aldana Reyes (Manchester Metropolitan University)

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


How can vampires help us heal?


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

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

We welcome proposals for 15-20-minute papers, and panels. We also welcome practical or industry approaches to reinterpreting the vampire through collaborative, creative, or playful research, as well as contributions to a creative industries panel by publishers, authors, artists, heritage professionals and film-makers who work on the figure of the vampire. Topics can include but are not limited to:
  • Healing, trauma, recovery
  • Gothic tourism / regeneration / international relations / economic growth
  • Vampires and the creative economy
  • Vampires and community: gaming, goth culture, fashion
  • Medical humanities and the vampire
  • Addiction recovery, nutrition, attitudes to feeding
  • Reclaiming the vampire and neurodivergence/-diversity
  • Selfhood, belonging, and ‘the outsider’
  • Spiritual growth and religious experience
  • Race and inclusivity / representation
  • Child vampires / vampires for children
  • Pedagogy and the vampire
  • Laughter, comedy and Catherine Spooner’s ‘Happy Gothic’
  • Adaptation

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

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

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

Deadline: 17 June 2022

Conference dates: 4-5 November 2022




Last updated March 18, 2022



Tuesday, November 9, 2021

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


Monday, August 24, 2020

CFP Children of the Night Conference (9/15/2020; Brasov, Translyvania 10/12-14/2020)

This sounds like a great event if you're in Europe.


The Children of the Night Conference series is a non-profit academic initiative, supported by worldwide renowned Dracula experts.

Our aim is to present groundbreaking research on Bram Stoker, his novel Dracula and related topics on a bi-annual basis.

Participation is open to everyone who has a truly interesting paper to present. Moreover, the conferences will feature artistic contests and will be accompanied by a cultural program.

 

 

CALL FOR PAPERS IS OPEN: PLEASE SEND US YOUR ABSTRACTS!

(Full call at https://dracongress.jimdofree.com/call-for-papers/.)


Call for Papers 2020

We invite all persons who are interested in speaking at the 2020 conference to submit an abstract of 150 - max. 250 words plus a meaningful title indicating the planned content of your presentation. The official language of the conference is English; papers will be accepted, presented and published only in English. The abstracts must be submitted by email and fit the conference main topics.



All speakers are requested to prepare a visual presentation. Accepted formats: Microsoft PowerPoint, Adobe PDF or a folder with .jpg images, ordered by file name. Please bring your presentation on a USB stick (flash drive). Please limit the size of your file to 25 Megabyte maximum.



Registration -- Procedure & Fees


Indication of interest

If you are interested to speak at the conference but have no abstract ready yet, please send us a short email, so that we have you on our radar. The earlier we know who would like to participate in the conference, the better we can plan it. The same applies for potentials participants in the artistic contests.


Abstract deadline

Abstracts and fiction contributions must be submitted before 15 Septeber 2020. Please use the Abstract Submission Form below.


Approval

All submitted abstracts are subject to approval by our Scientific Committee. Review will take place continuously and may take 2-4 weeks.


Registration and payment

After your abstract has been approved, please pay the conference fee to our bank account. Please indicate your name and your country while making the payment. After your fee has been received, you will be automatically be added to our registration list and be admitted to the conference. For payments not made from an Euro, British Pound or US Dollar accounts, we recommend using Transferwise.


Fee schedule

The regular fee for participants is 149,-- Euros. For listeners-only, students without regular income and participants from the East-European countries, there is a reduced fee of 99,-- Euros only.

Day ticket for spontaneous visitors: 33,-- Euros.

Staff and students of Transilvania University of Brasov: Reduced day ticket price of 15,-- Euros.

The costs of hotel, lunch and dinner are not included, but Transilvania University of Brașov will host all participants for a special evening banquet or dinner.



Account Details (see https://dracongress.jimdofree.com/call-for-papers/)




Excursions

A guided walk through the centre of Brașov will be free of charge.

Further excursions: t.b.d.


Flights and Accommodation

Flights and accommodation should be booked by the participants. We recommend using flight searching engines such as Priceline, Cheaptickets or Kayak, and hotel booking platforms such as www.booking.com.

We recommend to book your flight to Bucharest well in advance. From Bucharest, there are several bus and train services to Brașov. Alternatively, you can travel via Sibiu (Hermannstadt).

Prices for food and accommodation in Brașov are moderate, compared to other European countries, especially the UK and Ireland.




Email of the Organising Committee: dracongress@gmail.com


Please send all communication regarding the conferences to this email address only, not to the University or our private email addresses.


Saturday, October 12, 2019

Survey and CFP on MLA's Approaches to Teaching Stoker’s Dracula (11/1/2019)

The MLA is seeking responses to a survey on Teaching Bram Stoker's Dracula. Full details follow as well as the related call for papers.

Contribute to an MLA Approaches Volume on Stoker’s Dracula
Posted 6 September 2019 by Michelle Lanchart
https://news.mla.hcommons.org/2019/09/06/contribute-to-an-mla-approaches-volume-on-stokers-dracula/

The volume Approaches to Teaching Stoker’s Dracula, edited by William Thomas McBride, is now in development in the MLA series Approaches to Teaching World Literature. Instructors who have taught this work are encouraged to contribute to the volume by completing a survey about their experiences. Information about proposing an essay is available at the end of the survey (https://www.surveymonkey.com/r/PQYKN6Z).



12. If you would like to propose an original essay for this volume, please submit an abstract of approximately 250–300 words in which you describe your approach or topic and explain its potential usefulness for students and instructors. The proposed essays should be pedagogically focused.

Note that if you plan to quote from student writing in your essay, you must obtain written permission from the student. Proposed essays should not be previously published.

Abstracts and brief CVs (4-page maximum) should be sent by e-mail to the volume editor, William Thomas McBride, at wmcbrid@ilstu.edu by 1 November 2019. You may also send queries, comments, and supplemental materials such as course descriptions, syllabi, assignments, and bibliographies as attachments (accepted formats are .doc, .docx, .rtf, and .pdf).



Sunday, April 14, 2019

Journal of Dracula Studies 2019 Submissions (papers by 5/1/2019)

Journal of Dracula Studies
https://call-for-papers.sas.upenn.edu/cfp/2019/01/23/journal-of-dracula-studies

deadline for submissions:
May 1, 2019

full name / name of organization:
Anne DeLong/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. Send electronic submissions to journalofdraculastudies@kutztown.edu.

Please follow the updated 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 in order to be considered for that year’s issue.


Last updated January 23, 2019

Sunday, June 24, 2018

CFP Journal of Dracula Studies (expired for 2018 volume)

Sorry to have missed this for the year, but the journal would now be accepting for 2019:

[UPDATE] DEADLINE EXTENDED to June 1, 2018
https://call-for-papers.sas.upenn.edu/cfp/2018/05/02/update-deadline-extended-to-june-1-2018

deadline for submissions:
June 1, 2018

full name / name of organization:
Journal of Dracula Studies

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. Send electronic submissions to journalofdraculastudies@kutztown.edu.

Please follow the updated 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.

Tuesday, April 5, 2016

CFP Journal of Dracula Studies for 2016

Journal of Dracula Studies Call for Papers
http://kutztownenglish.com/journal-of-dracula-studies-call-for-papers/

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. Send electronic submissions to journalofdraculastudies@kutztown.edu.

Please follow the 2009 updated 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, 2016, in order to be considered for the 2016 issue.

Contact: Dr. Curt Herr or Dr. Anne DeLong

Friday, June 19, 2015

CFP Space Horror in Film (collection) (8/25/2015)

This sounds like a great idea:

CFP: Essays on Space Horror in Film, 1950s - 2000s Abstract Submission Deadline: August 25, 2015
Sunday, June 14, 2015
https://networks.h-net.org/node/13784/discussions/72546/cfp-essays-space-horror-film-1950s-2000s-abstract-submission

Call for Papers

Essays on Space Horror in Film, 1950s – 2000s

Abstract Submission Deadline: August 25, 2015

In 1979, the word A L I E N was spelled out across the top of an ominous movie poster, conveying a sense of foreboding of something unknown. An eerie yellow light seeped out of the egg-shaped space pod with the tagline: In space no one hears you scream. Audiences were drawn along with the Nostromo crew as they explored the mysterious abandoned ship on LV-426 and encountered a new and hostile alien species. It was one of the first movies to successfully combine science fiction and horror in an interstellar setting, spawning several inferior imitations in the 1980s while also inspiring standout films that furthered the genre, such as Event Horizon (1997), Pitch Black (2000), Sunshine (2007), and Europa Report (2013). While it may have seemed like space horror was a new genre after the release of Ridley Scott’s film, the genre has a rich history that took hold of movie audience-goers almost thirty years prior with the space horror films that could best be classified as invasion films. With a plethora of films, much has been written about science fiction, horror or on individual films (mostly the Alien franchise), yet surprisingly, little analysis can be found on space horror as its own genre in cinema. Essays for this anthology will seek to deconstruct and analyze the genre via the films from 1950s through the present offerings with the goal of exploring and bridging the gap of critical analysis that currently exists between science fiction and the horror genres. The intended audience is expected to include individuals studying and/or curious to increase their understanding of science fiction, horror and of course, space horror.

There are several themes worth exploring when analyzing space horror, utilizing any number of theoretical framework of your choosing. Here is a brief list of ideas, which is by no means exhaustive:


  • Claustrophobia,  Outer Space fears (Pandorum, Dark Star, Europa Report, The Black Hole)
  • The influence of slasher films (Alien, Event Horizon, Jason X, Sunshine, Leprechaun 4: In Space)
  • Psychological (2001: A Space Odyssey, Solaris, Sunshine, Moon)
  • Body Horror and/or transformation (Supernova, Event Horizon, Hellraiser: Bloodline, Slither)
  • Final girl (Alien, Prometheus, Dead Space: Downfall)
  • Paranormal/Occult (Event Horizon, Hellraiser: Bloodline, Dracula 3000, Ghosts of Mars)
  • Cold War fears (most invasion films of the 1950s – 1970s)
  • Doppelganger (Event Horizon, Invasion of the Body Snatchers, The Thing, Moon)
  • Compare/Contrast maleficent vs. animal “aliens” (Xenomorphs in Alien franchise vs. alien species encountered in Pitch Black, Apollo 18, Europa Report for example)
  • Alien abduction (Communion, Fire In The Sky, Extraterrestrial)
  • Found footage (Europa Report, Apollo 18)
  • Sacrifice of self and/or self-destruct sequence (Alien franchise, Event Horizon, Critters 4, The Last Days on Mars)
  • Role of AI, robotics and/or the concept of “uncanny valley” (Alien franchise, 2001: A Space Odyssey, Prometheus, Dracula 3000)
  • Bram Stoker and Space Vampires (Dracula 3000, Planet of the Vampires, Lifeforce)
  • Exploring Literary roots such as H.P. Lovecraft, H. G. Wells, Jules Verne, Edgar Rice Burroughs, Ray Bradbury, etc. 


I am accepting up to two abstracts in order to assemble the most cohesive arrangement of essays that will provide a well-rounded exploration and representation of this little discussed genre. The deadlines are as follows:


  • August 25, 2015: Abstract of 300-500 words, 1 page CV, preliminary draft bibliography
  • September 1, 2015: Notification of acceptance/rejection (editor will send comprehensive style sheet)
  • January 31, 2016: Essays due of 5,000-8,000 words in length (earlier submissions welcomed and encouraged)
  • February 1 - April 20, 2016: Essays will be edited and returned to the author for review and revision. The final version of the essay, author’s release and a brief contributor’s bio is due to the editor by April 20, 2016
  • June 1, 2016: Manuscript  is received by the publisher


Accepted essays received on or before January 31st will continue through the editing process. The editor will utilize Microsoft Word’s tracking function to record all edits and return the edited version back to the author for final correction.

The final manuscript will be delivered to the publisher June 1, 2016. Contributors will receive a complimentary book copy when published, which is anticipated for late 2016.

Please direct all correspondence to:

Michele Brittany, Editor

Email: SpaceHorrorFilms@gmail.com

Blog: http://spacehorrorfilms.blogspot.com

Website: www.spacehorrorfilms.com

Michele Brittany is an independent popular culture scholar residing in Southern California and is the editor of James Bond and Popular Culture: Essays on the Influence of the Fictional Superspy (2014, McFarland & Company). She is the James Bond, Espionage and Eurospy Area Chair for the Southwest Popular/American Culture Association’s annual conference. She is a West Coast Correspondent for Bleeding Cool and writes daily on all things spy related at her blog, Spy-Fi & Superspies. She annually presents at the SWPACA and has presented at Wondercon Anaheim as part of the Comic Arts Conference series. She is also an academic member of the Horror Writer’s Association in Los Angeles.

Michele Brittany, Editor
Independent Scholar
Email: spacehorrorfilms@gmail.com
Visit the website at http://www.spacehorrorfilms.com

Sunday, October 19, 2014

Playing Dress-Up with Hallmark for Halloween 2014

I've been working intermittently on my NEPCA paper on the re-castings of Frankenstein, and I'm trying to categorize some of the appropriations I see. One common type is when familiar characterize (like Garfield and crew, the Smurfs, the Peanuts gang, the Archie gang, and the Teenage Mutant Ninja Turtles) take upon the appearance of one of the characters of the Frankenstein story (usually inspired by Universal's versions rather than Shelley's original) for humorous or whimsical  purposes. I'm calling this "playing dress-up" and thought I'd share some of the other monster-related examples I've come across this season.

Vampires continue to be popular, and Hallmark has a number of examples of fan-favorite characters in Bela Lugosi-inspired costumes.

The cheapest this season is a Winnie the Pooh card for $3.75 with a vampire Piglet wearing fangs and a cape.



There are also a series of items featuring a vampiric Mickey Mouse. The cutest is part of Hallmarks's itty bittys line sold (in stores only) for $6.95. The product page details that this "Count Mickey" just " 'vants' to be yours this Halloween," in a play on Lugosi's famous accent. He is presented as the most "real", but his deformed appearance lessens the impact of Mickey's transformation and the cuteness of its humor greatly reduces his scariness.


A larger version (at 7" W x 9.25" H x 7" D) of this undead incarnation of Mickey is labelled "Count Mickey Mouse". He sells for $19.95 and is now sold out online. In an attempt to further separate appearance from potential action, his description focuses on the artificiality of his costume, explaining, "Fresh from Transylvania, this elegant vampire is none other than our friend Mickey! But never fear—this plush pushover won't really bite."


Vampire Mickey reappears as part of the Mickey and Minnie Mouse Water Globe collectible, which includes Minnie dressed as a witch (more of this to follow). The water globe (retailing at $39.95) is also now sold out online; like the plush Count Mickey Mouse, it, too, highlights the fake-ness of Mickey and Minnie's monstrous appearances, rather than the potentially more sinister connotations of two creatures of the night gazing at two small, innocent chipmunks.


Notice that this Mickey has been de-fanged, a detail that de-emphasizes any possibility of horror (or even delight) here. The description is likewise brightened, noting "This decoration will add a fun and festive touch to your mantel or party table. Dressed for trick-or-treating, Mickey and Minnie peer into a jack-o'-lantern water globe at a fall scene where two furry friends are frolicking" (and not, we should note, being spied upon as a potential meal).

My final example here presents vampiric versions of Charles Schulz's Snoopy and Woodstock. Titled "Hangin' With Count Snoopy," the item is part of the ongoing Peanuts series of Keepsake Ornaments and sells for $24.95 (though it is now, also, sold out online). The product and its description offers a better blend of horror and play than the larger Mickeys. First, the description reads, "Snoopy's doghouse is all decked out for the season of screams. Press the button on the ornament to hear spooky Halloween music play. Trick or treat—if you dare!" The item presents Snoopy (dressed partly as a vampire and partly as a witch) with arms outstretched and a group of vampiric Woodstocks (bird wings replaced with bat wings) in attendance apparently guarding their vampiric overlord.



Playing the accompanying music clip creates a chilling effect. The sample begins with a excerpt from Bach's Toccata and Fugue in D minor, BWV 565, a theme closely associated with Halloween ever since its use in the opening credits for Dr. Jekyll and Mr. Hyde (1931) (thanks Wikipedia!). Interspersed with the music track is the sound of Snoopy's voice, but it is anything but familiar. Instead, Snoopy seems to relish his new role as the undead and utters a series of menacing laughs better pronounced by megalomaniacal monsters (like Victor Frankenstein or Count Dracula) than lovable old Snoopy. Here is a triumph of Halloween over brand identity.


Saturday, September 20, 2014

Dracula Panel Update

I am pleased to report that our session “Bram Stoker’s Dracula: Contexts and Afterlives” has been accepted for inclusion at “Beyond the Pale: Alienation, Sites of Resistance, and Modern Ireland”: The 2014 Meeting of the New England Region of the American Conference for Irish Studies to be held at Wheaton College in Norton, MA from 21-22 November 2014.

Papers include the following:

Bram Stoker’s Dracula: Contexts and Afterlives
Sponsored by The Science Fiction, Fantasy, Horror, and Legend Area of the Northeast Popular Culture/American Culture Association (NEPCA)
Organizer/Presider: Michael A. Torregrossa, Independent Scholar

“Using Dracula to Explore 19th-Century Reactions to Medical Theories from the Preceding Century”
Nicole Salomone, Independent Scholar

“My Revenge is Just Begun—The Evolution of Superstition and Science from Stoker’s Dracula to NBC’s Primetime Series Dracula
Marijana Stojkovic, East Tennessee State University

“Re-fashioning Dracula: Psychic Vampires in Postwar American Culture”
Kristin Bidoshi, Union College

“A Transylvanian Count in Camelot? Investigating the Draculas of the Modern Matter of Britain”
Michael A. Torregrossa, Independent Scholar