CFP UPDATE “A Day”: 2nd Annual Goth Music and Subculture Conference (7/11/2025; online 4/16/2025)

DEADLINE EXTENDED: “A Day”: 2nd Annual Goth Music and Subculture Conference

deadline for submissions: 

July 11, 2025

full name / name of organization: 

Noah Gallego, California State Polytechnic University, Pomona

contact email: 

noahrgallego@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2025/02/01/deadline-extended-%E2%80%9Ca-day%E2%80%9D-2nd-annual-goth-music-and-subculture-conference

“A Day”: 2nd Annual Goth Music and Subculture Conference

 

NEW Deadline: July 11, 2025 

Conference Date: August 16, 2025 

Format: Online (via Zoom, Pacific)

Abstract: 150 words + 100 word biographical statement + Time Zone

Submit to: Noah Gallego, California State Polytechnic University @ noahrgallego@gmail.com 

Contact: Noah Gallego @noahrgallego@gmail.com

 

The Goth Music and Subculture Conference is coming back from the grave for another round of critical discussion! Due to the success of the inaugural conference last August, this sophomore installment will continue to critically engage the music and other artifacts from the goth music genre and subculture. 

Last year we commemorated the 45th anniversary of the release of the definitive goth single, “Bela Lugosi’s Dead” by the ur-goth band, Bauhaus, as well as the 68th death-day of the Count himself. This year, in 2025, we will commemorate two anniversaries: the 40th anniversary of the release of seminal Dutch darkwave Clan of Xymox’s self-titled debut album (1985) as well as the release of the Northern English goth industrial group The Sisters of Mercy’s debut album, First and Last and Always (1985). 

1985 was a pivotal year in the goth subculture as both of these bands opened new doors to goth music production, with Xymox and the Sisters becoming pioneers in the darkwave and industrial subgenres, respectively. While the primary topics of inquiry for this conference are COX and TSOM, interested parties are welcome to explore other bands and discographies; they are especially encouraged to explore non-canonical as well as contemporary acts. 

Below is a list that is illustrative but certainly not exhaustive of topics that prospective candidates are encouraged to explore:

 

Criticism: 

• Gender, sexuality, queerness
• Disability 
• Monstrosity and Abjection
• Class 
• Race
• Postcolonialism, Decoloniality, (Neo-)Orientalism
• Religion, spirituality, the occult, theology 
• Ecocriticism 
• Nonhuman/Transhuman/Posthuman (Animals, cyborgs, A.I.)
• Feminism 
• Trauma and psychoanalysis 
• Rhetoric  
• Memory, hauntology, and the archive

 

Intersections:

• Goth and literary influences 
• Goth and popular culture (film, television, comics, video games, etc.)
• Goth and/as performance (theatre, drag)
• Goth and Internet culture 
• Goth and fashion 
• Goth and festival culture (concerts, goth nites, graves, dance)
• Goth and musicology
• Goth outside of the West 

 

Please send abstracts of150 words to Noah Gallego @ noahrgallego@gmail.com, along with a short biographical statement (100 words) and time zone in order to best approximate presentation times for speakers. B.N. If certain obligations require you to be slated at a specific time that day, please also include those suggested times in your submission so you may be placed appropriately.

There are no pre-formed panels, but if you would like to submit a proposal for a special topics session, please do! A minimum of 2 papers would be required. Otherwise, you will be placed in a panel at the discretion of the organizer on the basis of theme and cohesion. 

Candidates may expect a notification of acceptance, acceptance with revision, or rejection up to a week following the deadline. Presenters should aim to create papers/presentations of approximately 10-15 minutes in length.

The conference will be held on the 69th death-day of The Count on August 16, 2025. The symposium will be free and held online over Zoom. The estimated time slot is 9:00 am - 5:00 pm Pacific. 

*NOTE ABOUT PUBLISHING PAPERS: There are currently no plans to publish the accepted papers. However, depending on the success of the symposium, I am certainly open to the possibility of (co-)editing a collection or special issue based on the papers presented. If you would like to collaborate on this project, please let me know!

**NOTE ABOUT AUDIO: Because Zoom can sometimes compromise the efficacy of audio, we recommend to refrain from including live play from your presentations. We understand this may sound counterintuitive for a conference primarily about music but because we are working in a virtual environment where things are certain to go awry, we want to preemptively minimize any technical difficulties that may arise. You are welcome to include links to playlists of the tracks or artist(s) you will be discussing, however! We apologize for the inconvenience, but we appreciate your understanding. 

Last updated May 22, 2025

CFP Haunted by Hydrocarbons: Petrogothic and Petrohorror in the Contemporary Imagination (8/31/2025)

 

Edited Collection: Haunted by Hydrocarbons: Petrogothic and Petrohorror in the Contemporary Imagination

deadline for submissions: 

August 31, 2025

full name / name of organization: 

Jennifer Schell (University of Alaska, Fairbanks)

contact email: 

jschell5@alaska.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2025/01/31/edited-collection-haunted-by-hydrocarbons-petrogothic-and-petrohorror-in-the.

Edited Collection: Haunted by Hydrocarbons: Petrogothic and Petrohorror in the Contemporary Imagination

 

Deadline for proposal submission: August 31, 2025

 

Editors: Madalynn L. Madigar (Cherokee Nation, University of Oregon), Jennifer Schell (University of Alaska, Fairbanks)

 

Contact Email: mmadigar@uoregon.edu, jschell5@alaska.edu

 

For this edited collection, we invite proposals for essays that focus on and engage with petrogothic and petrohorror, emerging fields that examine the textual artifacts of hydrocarbon cultures through the lens of gothic and horror studies.

 

Petrogothic and petrohorror scholarship serves to address the anxiety, terror, and disquiet surrounding “petromodernity,” a term coined by scholar Stephanie LeMenager to describe the role of oil in constructing the material and social culture of contemporary globalized society. While the extraction, production, and combustion of hydrocarbons—primarily coal, oil, and natural gas—has enabled a luxurious standard of living in the Global North, it has also caused widespread destruction on almost every scale. Our premise for this collection is that humanities scholars need to examine the ingrained presence of petrocultures in contemporary cultural artifacts—including those invoke anxiety, fear, revulsion, horror, and terror—in order to counter the continued use of polluting fossil fuels and understand the corrosive influences of contemporary energy regimes. We recognize that over the last several years, some scholars have criticized petrogothic and petrohorror texts for their so-called invocations of “gloom and doom.” However, in this collection, we wish to add nuance to this discussion. Rather than treating these texts as monolithic, we propose to examine their intricacies and complexities so as to learn more about what they have to say about contemporary oil cultures. In so doing, we seek to gain greater insight into the feelings, constructions, and structures of fear (as well as other connected affects) that pervade human interactions with hydrocarbons and manifest themselves in collective and individual petrogothic and petrohorrific expressions.

 

To better address the manifestations of petrohorror and petrogothic in the contemporary imagination, we invite proposals for essays that engage with literature, film, graphic novels, comics, theatre, music, art, or any other oily texts. We are particularly interested in proposals for essays that center marginalized perspectives and address environmental justice issues.

 

Chapters might examine (but are not limited to) any of the following themes as a means of approaching petrohorror and the petrogothic:

• Temporality
• Geology and Fossils
• Extinction
• Monstrosity
• Spectrality
• Apocalypse
• Petromaterialisms
• Infrastructure and Technology
• Vehicular Cultures
• Plastics and Petrochemicals
• Pollution and Toxicity
• Waste Streams
• Illness and Disease
• Climate Change
• Environmental Justice
• Indigenous Epistemologies
• Necropolitics
• Capitalism and Colonialism
• Global and Regional Concerns
• More-Than-Human Perspectives

 

Please send a 300-word abstract and a 100-word bio to editors Madalynn Madigar (mmadigar@uoregon.edu)and Jennifer Schell (jschell5@alaska.edu) by August 31, 2025. Full essays of 6,000 to 7,000 words will be tentatively due by June 30, 2026.

Last updated February 28, 2025

CFP “A Day”: 2nd Annual Goth Music and Subculture Conference (5/22/2025; online 8/16/2025)

Sharing on behalf of the organizer.

“A Day”: 2nd Annual Goth Music and Subculture Conference

Deadline: May 22, 2025 

Conference Date: August 16, 2025 

Format: Online (via Zoom, Pacific)

Abstract: 150 words + 100 word biographical statement + Time Zone

Submit to: Noah Gallego, California State Polytechnic University @ noahrgallego@gmail.com 

Contact: Noah Gallego @noahrgallego@gmail.com

The Goth Music and Subculture Conference is coming back from the grave for another round of critical discussion! Due to the success of the inaugural conference last August, this sophomore installment will continue to critically engage the music and other artifacts from the goth music genre and subculture. 

Last year we commemorated the 45th anniversary of the release of the definitive goth single, “Bela Lugosi’s Dead” by the ur-goth band, Bauhaus, as well as the 68th death-day of the Count himself. This year, in 2025, we will commemorate two anniversaries: the 40th anniversary of the release of seminal Dutch darkwave Clan of Xymox’s self-titled debut album (1985) as well as the release of the Northern English goth industrial group The Sisters of Mercy’s debut album, First and Last and Always (1985). 

1985 was a pivotal year in the goth subculture as both of these bands opened new doors to goth music production, with Xymox and the Sisters becoming pioneers in the darkwave and industrial subgenres, respectively. While the primary topics of inquiry for this conference are COX and TSOM, interested parties are welcome to explore other bands and discographies; they are especially encouraged to explore non-canonical as well as contemporary acts. 

Below is a list that is illustrative but certainly not exhaustive of topics that prospective candidates are encouraged to explore:

Criticism: 

• Gender, sexuality, queerness
• Disability 
• Monstrosity and Abjection
• Class 
• Race
• Postcolonialism, Decoloniality, (Neo-)Orientalism
• Religion, spirituality, the occult, theology 
• Ecocriticism 
• Nonhuman/Transhuman/Posthuman (Animals, cyborgs, A.I.)
• Feminism 
• Trauma and psychoanalysis 
• Rhetoric  
• Memory, hauntology, and the archive

Intersections:

• Goth and literary influences 
• Goth and popular culture (film, television, comics, video games, etc.)
• Goth and/as performance (theatre, drag)
• Goth and Internet culture 
• Goth and fashion 
• Goth and festival culture (concerts, goth nites, graves, dance)
• Goth and musicology
• Goth outside of the West 

Please send abstracts of 150 words to Noah Gallego @ noahrgallego@gmail.com, along with a short biographical statement (100 words) and time zone in order to best approximate presentation times for speakers. B.N. If certain obligations require you to be slated at a specific time that day, please also include those suggested times in your submission so you may be placed appropriately.

There are no pre-formed panels, but if you would like to submit a proposal for a special topics session, please do! A minimum of 2 papers would be required. Otherwise, you will be placed in a panel at the discretion of the organizer on the basis of theme and cohesion. 

Candidates may expect a notification of acceptance, acceptance with revision, or rejection up to a week following the deadline. Presenters should aim to create papers/presentations of approximately 10-15 minutes in length.

The conference will be held on the 69th death-day of The Count on August 16, 2025. The symposium will be free and held online over Zoom. The estimated time slot is 9:00 am - 5:00 pm Pacific. 

*NOTE ABOUT PUBLISHING PAPERS: There are currently no plans to publish the accepted papers. However, depending on the success of the symposium, I am certainly open to the possibility of (co-)editing a collection or special issue based on the papers presented. If you would like to collaborate on this project, please let me know!

**NOTE ABOUT AUDIO: Because Zoom can sometimes compromise the efficacy of audio, we recommend to refrain from including live play from your presentations. We understand this may sound counterintuitive for a conference primarily about music but because we are working in a virtual environment where things are certain to go awry, we want to preemptively minimize any technical difficulties that may arise. You are welcome to include links to playlists of the tracks or artist(s) you will be discussing, however! We apologize for the inconvenience, but we appreciate your understanding. 

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

MAPACA: Gothic Studies

deadline for submissions:
June 30, 2023

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

contact email:
wsmcmasters@gmail.com

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



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



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

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



Last updated May 11, 2023

CFP Haunted Hibernia: Conjuring the Contemporary Irish Gothic (5/1/2022; Ireland 10/28-29/2022)

Haunted Hibernia: Conjuring the Contemporary Irish Gothic

source: https://call-for-papers.sas.upenn.edu/cfp/2022/02/20/haunted-hibernia-conjuring-the-contemporary-irish-gothic

deadline for submissions:
May 1, 2022

full name / name of organization:
Carlow College

contact email:
hauntedhibernia@gmail.com

Date of conference: 28th-29th October 2022.

In the period following the collapse of the Celtic Tiger in 2008, Irish society and culture began to take on a distinctly Gothic hue. In popular discourse, the landscapes of recessionary Ireland were figured as uncanny, gothicized spaces, haunted by ‘ghost estates’ and ‘zombie banks’, and preyed upon by vampiric ‘vulture funds’. At the same time, deeply disturbing aspects of Ireland’s history were further exposed in a plethora of government commissions documenting the shocking scale and extent of the abuses committed by the church and state, including: the 2009 Report of the Commission to Inquire into Child Abuse (the ‘Ryan Report’), the 2013 Magdalen Commission Report (the ‘Quirke Report’), and (the more problematic) 2021 Report of the Mother and Baby Homes Commission of Investigation. These profoundly disturbing revelations regarding the country’s past have resonated, in a deeply troubling manner, with more recent societal crises, such as the ongoing issue of homelessness and child poverty, the inhumane treatment of individuals in direct provision, the fight for reproductive autonomy, and the rise of domestic violence in the wake of the ongoing Covid pandemic. Given the psychologically discomfiting and socially unsettling effect of these overlapping contexts and anxieties, it is unsurprising that the Gothic has proved an especially apposite prism for the artistic representation of Ireland’s post-Celtic-Tiger dispensation.

This conference seeks to explore the myriad ways that the Gothic has been deployed to interrogate the social, economic, and political transformations that have occurred in Ireland since the end of the Celtic Tiger, and to exhume the associated historical trauma engendered by these changes. It will also examine how the contemporary scene has generated and precipitated new variations and hybridizations of Gothic literature and media. We welcome papers that engage with the Gothic in a wide variety of forms and media, including fiction, poetry, drama, film, tv, visual art, music, digital media and storytelling, and the broader field of popular culture.



The conference will also host plenary speaker, Dr. Sorcha Ní Fhlainn, Senior Lecturer and founding member of the Manchester Centre for Gothic Studies at Manchester Metropolitan University.



Potential topics include but are not limited to:

• The Gothic and gender/sexuality: The Gothic as a lens through which we engage with the politicised female body and ownership/possession of the female body in 21st century Ireland.
• The use of the Gothic as a mode of progressive social and political protest.
• The Gothic as a vehicle to signify and disclose economic/financial crisis in Post-Celtic Tiger Ireland.
• Gothic tropes and motifs (the monstrous, the spectral, the uncanny, the haunted house) in contemporary Irish artistic culture.
• Contemporary artistic engagement with an older Irish Gothic tradition
• The aesthetic evolution/re-invention of the Gothic in contemporary Irish art and literature
• Eco Gothic and Eco horror in and Irish context
• The Gothic in Contemporary Irish Children’s Literature
• The Covid pandemic and the Gothic.
• Narratives of Gothic imprisonment/entrapment in contemporary Ireland, both literal and structural.
• The Gothic as a response to Ireland’s ongoing mental health crisis.
• Representations of home and homelessness in contemporary Irish Gothic.
• Constructions of domesticity and the domestic space in contemporary Irish Gothic.
• Specters of imperialism in contemporary Ireland.

Proposals (300 words) and a brief biography should be sent to hauntedhibernia@gmail.com by 1st May 2022.



Last updated February 21, 2022

CFP Southern Gothic Area at PCAS/ACAS 2022 (6/1/2022; New Orleans 10/13-15/2022)

CFP: Southern Gothic Area at PCAS/ACAS 2022

Source: https://call-for-papers.sas.upenn.edu/cfp/2022/03/03/cfp-southern-gothic-area-at-pcasacas-2022

deadline for submissions:
June 1, 2022

full name / name of organization:
Popular Culture/ American Culture Association in the South

contact email:
SouthernGothicPCAS@gmail.com

CALL FOR PROPOSALS: THE SOUTHERN GOTHIC AT PCAS/ ACAS 2022

Submission deadline: June 1, 2022; Notification of acceptance by July 1, 2022



Despite the difficulty in defining what exactly the Southern Gothic is, it nevertheless is one of the most prominent ways the South is represented in media and culture. From Flannery O’Connor to The Originals, Truman Capote to True Detective, and William Faulkner to The Walking Dead, whether categorized as a form, a style, or a genre, the Southern Gothic is bound up with regional cultural anxieties regarding shifting discourses of race, class, gender, sexuality, and geographic identity itself. From its most stereotypical depictions to more nuanced, complex interpretations, the Southern Gothic shapes the wider perception of regional identities in ways that invite our contemporary scholarly engagement.

To this end, the Southern Gothic area of the Popular Culture / American Culture Association in the South (PCAS/ ACAS) invites proposals for individual presentations, roundtable discussions, or full panels of 3-4 papers at the 2022 PCAS/ ACAS Annual Conference, to be held October 13 - 15, 2022 in New Orleans, LA.

Topics might include (but are in no way limited to):

• the Southern Gothic in film, TV, and literature
• adaptation(s) of Southern Gothic literature
• the Southern Gothic in new media (games, podcasts, graphic novels, etc.)
• the emergence of “Southern noir” as a subgenre
• race, class, gender, and/ or sexuality in the Southern Gothic
• Southern true crime as a cultural phenomenon
• documentary and the Southern Gothic
• Global elements of/ approaches to the Southern Gothic
• Southern Gothic tourism
• monsters in the Southern Gothic: vampires, zombies, ghosts, etc.
• mental health narratives in the Southern Gothic
• specificity—or generality—in Southern Gothic geographies
• the Southern Gothic in popular music
• pedagogical approaches to/ uses of the Southern Gothic
• the spectre of history in the Southern Gothic
• sites of intersection between the Southern Gothic and other genres/ modes

PCAS/ ACAS is dedicated to working toward equity, diversity, and inclusion both within our organization and in academia at large. As such, we encourage submissions by underrepresented and marginalized scholars based upon race, gender, sexuality, and employment status (e.g., graduate students and non-tenure track or unaffiliated/independent scholars).



To propose a presentation (of 20 minutes or less) or a roundtable discussion for the Southern Gothic Area, please send the following to Area Chair Stephanie Graves at SouthernGothicPCAS@gmail.com by June 1:
Name of presenter(s), institutional affiliation (if any), & email address for each presenter
Type of submission (individual paper, roundtable, or full panel)
Presentation abstract (250 words or fewer)
Indication if you need access to A/V (not all rooms have A/V available)

Submission deadline is June 1, 2022; notifications of acceptance will be sent by July 1, 2022.



NOTE: In order to be considered for the Southern Gothic Area, please follow the instructions above rather than submitting through the PCAS/ ACAS website.

Everyone is invited to submit one academic paper and can, in addition, participate in a round-table discussion or creative session. Only those proposals intended for the Southern Gothic area should be submitted as outlined above; the PCAS/ ACAS website has an online submission form for the General Call.




Last updated March 8, 2022

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

Apologies for the delay in posting this:

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

deadline for submissions:
June 30, 2020


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


contact email:
mbregovi@gmail.com


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

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

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

Possible topics include but are not limited to:

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

— cognitive and affective aspects of the weird

— the weird, supernatural and unheimlich

— New Weird and the Other

— speculative fiction, science fiction, horror and weird fiction

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

— Anthropocene, deep time and the weird

— animal and plant life and the weird

— multispecies ecologies, human-nonhuman entanglements

— anomalies, mutations and hybrids

— inorganic matter in arts and literature

— eerie landscapes and extinction

— weird bodies: trans-corporeality, queer, transhumanism


References:

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

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

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

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



SUBMISSION DEADLINE: 30 June 2020

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

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

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

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

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

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

​


Last updated March 13, 2020

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CFP Tropical Gothic (Spec Issue of eTropic) (12/30/2018)

'Tropical Gothic'
https://call-for-papers.sas.upenn.edu/cfp/2018/07/02/tropical-gothic

deadline for submissions:
December 30, 2018

full name / name of organization:
eTropic journal

contact email:
etropic@jcu.edu.au


CALL FOR PAPERS special issue ‘Tropical Gothic’


Submission Deadline: 30 December 2018



‘TROPICAL GOTHIC’

‘The Gothic’ is undergoing a resurgence in academic and popular cultures. Propelled by fears produced by globalization, the neoliberal order, networked technologies, post-truth and environmental uncertainty – tropes of ‘the gothic’ resonate. The gothic allows us to delve into the unknown. It calls up unspoken truths and secret desires.

Across the tropics, the gothic manifests in specific ways according to spaces and places, and in relation to cultures and their encounters, crossings and interminglings.

Gothic studies that provide particularly interesting arenas of analysis include: culture, ritual, mythology, film, architecture, literature, fashion, art, landscapes, places, nature, spaces, histories and spectral cities. ‘Tropical Gothic’ may include subgenres such as: imperial gothic, orientalism in gothic literature, colonial and postcolonial gothic. In contemporary society neoliberal connections with the tropics and gothic may be investigated. In popular culture, tropical aspects of gothic film, cybergoth, gothic-steampunk, gothic sci-fi, goth graphic novels, and gothic music may be explored.

The eTropic journal is indexed in Scopus, Ulrich's and DOAJ. Publication is in 2019.

Instructions for authors: https://journals.jcu.edu.au/etropic.

Equiries, please contact: etropic@jcu.edu.au.