CFP To Be Loved by Death: Afterlives of Anne Rice's Vampire Chronicles Collection (10/15/2025)

Edited collection - To Be Loved by Death: Afterlives of Anne Rice's Vampire Chronicles

deadline for submissions:
October 15, 2025

full name / name of organization:
Deanna Koretsky

contact email:
dkoretsk@spelman.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2025/07/24/edited-collection-to-be-loved-by-death-afterlives-of-anne-rices-vampire-chronicles

With the recent and highly acclaimed AMC adaptation of Interview with the Vampire and AMC’s broader acquisition of Anne Rice’s literary corpus, The Vampire Chronicles have found renewed cultural relevance. As Season 3 enters production, we invite reexaminations of the legacy and transformation of Rice’s vampiric work across media, genres, and generations.

We are seeking scholarly essays that critically engage the many adaptations, appropriations, and afterlives of Rice’s Vampire Chronicles for an edited volume in Palgrave’s Studies in Monstrosity series. We invite contributions from scholars across disciplines. 

Topics may include, but are certainly not limited to:

• AMC’s Interview with the Vampire (2022- ): approaches to race, queerness, temporality, and trauma; departures from and faithfulness to Rice’s canon; cultural impact as seen in fan engagements, rewatch podcasts, and public writing; place within AMC’s Immortal Universe.

• Of particular interest: in addition to the reimagining of Louis and Claudia as Black and expressly queer characters, we are also keen to see critical work that addresses the reimagining of Armand as Brown, as well as the show’s addition of Dubai as a touchstone setting

• Neil Jordan’s Interview with the Vampire (1994): performance, aesthetics, reception, and the film’s place in gothic cinema.
• Michael Rymer’s Queen of the Damned (2002): casting, music, race, cult status.
• Elton John and Bernie Taupin’s Lestat (2006): Broadway reception, musical form, queer gothic sensibilities, status as commercial and critical failure.
• Adaptations and appropriations in other media: comics/graphic novels, theater, ballet, visual art, body art, etc.
• Comparative interpretations: Rice's vampires (in any iteration) in dialogue with other vampire narratives (e.g., Sinners, Suicide by Sunlight, The Originals, Buffy the Vampire Slayer, Only Lovers Left Alive, Humanist Vampire Seeking Consenting Suicidal Person, A Girl Walks Home Alone At Night, etc.); vampires and authors that inspired Rice (e.g., Blacula, Carmilla, Dracula’s Daughter, Byron, Polidori, Stoker, etc.)
• Tourism and cultural geographies: vampire tours in New Orleans and beyond, the commodification of Rice’s legacy, intersections of fiction, space, and local/global histories.
• Fandom and community: fan fiction, online forums, cosplay cultures, conventions, and the evolving role of fan labor in sustaining Rice’s mythos.
• Vampire Balls and immersive fan events: performance, ritual, identity play, and the gothic carnivalesque.
• Sexuality, gender, race, colonial histories and legacies, queer and trans embodiments, illness and disease, disability, neurodivergence, youth and age/ageing, world religions/religious feeling, and other key thematic preoccupations in Rice’s fiction and/or its adaptations.
• Adaptation as translation, revision, or resistance to Rice’s politics or aesthetics.

Submission Guidelines

• Abstracts of 300 words due: October 15, 2025
• Complete first draft (7,000–9,000 words, MLA style) due: May 30, 2026
• Revised final draft due: October 31, 2026

Submit abstracts to: Deanna Koretsky (dkoretsk@spelman.edu) and Alex Milsom (amilsom@hostos.cuny.edu). Please include a short bio (50–100 words) with your abstract.


Last updated August 1, 2025

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

 

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

deadline for submissions: 

October 1, 2025

full name / name of organization: 

From the European South journal

contact email: 

marilena.parlati@unipd.it

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

CFP From the European South, 19, Fall 2026

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

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

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

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

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

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

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

Reading List/Suggestions

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

 

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

Last updated May 26, 2025

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

Fright Nights: Live Halloween Horror Events

deadline for submissions:
July 24, 2023

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

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

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

Fright Nights: Live Halloween Horror Events

CALL FOR CHAPTERS: EDITED COLLECTION



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



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



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



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



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



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



Topics may include but are not limited to:

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

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



Last updated May 9, 2023

CFP 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