Sexy Beast: Amorous Monsters, Incest, and Bestiality in Medieval Celtic, Anglo-Saxon, and Scandinavian Literature Panel at NeMLA 2018
Announcement published by David Pecan on Wednesday, June 28, 2017
https://networks.h-net.org/node/73374/announcements/184541/sexy-beast-amorous-monsters-incest-and-bestiality-medieval
Type: Call for Papers
Date: April 12, 2018 to April 15, 2018
Location: Pennsylvania, United States
A Call for Papers for the 49th NeMLA Annual Conference, April 12th-15th, 2018, Pittsburgh, PA.
Sexy Beast: Amorous Monsters, Incest, and Bestiality in Medieval Celtic, Anglo-Saxon, and Scandinavian Literature
The realistic and fantastic narratives of the early medieval world contain no shortage of encounters that stretch, challenge, and break accepted social guidelines. The theoretical analysis of non-traditional modes of desire, other-worldly wish fulfilment, and human-animal relations in the literatures of medieval Northern Europe offers opportunities for the provocative consideration of mythopoetic ritual, social syncretism, source study, literary innovation, authorial or cultural fetish, and the iconography or design features of the material culture of early Ireland, Wales, Scotland, England, and Scandinavia. Eco-criticism, psychoanalytic and gender theory, and linguistic and cultural poetics provide a lens for the discussion of sexualized monster combat, romantic encounters with otherworldly or mythic entities, cross-species or magical seduction, angelic ravishments, the sexualized negotiation of clan or family structure, and the totemic representation of monstrous or animalistic couplings.
The deadline for abstract submission is September 30th, 2017. Please submit 200 to 400 word abstracts to this panel via the official NeMLA website and follow the instructions posted there. https://www.cfplist.com/nemla/Home/cfp
This panel is hosted by Professor David Pecan, SUNY Nassau.
Contact Info:
This panel is hosted by Professor David Pecan, SUNY Nassau. It is requested that all abstract submissions be sent through the NeMLA website at https://www.cfplist.com/nemla/Home/cfp
Contact Email:
david.pecan@ncc.edu
Sunday, August 6, 2017
CFP New Approaches to Gothic Literature (9/15/2017; ASECS 2018)
New Approaches to Gothic Literature: Panel at 2018 ASECS Annual Meeting, March 22-25
https://call-for-papers.sas.upenn.edu/cfp/2017/07/14/new-approaches-to-gothic-literature-panel-at-2018-asecs-annual-meeting-march-22-25
deadline for submissions: September 15, 2017
full name / name of organization: Geremy Carnes
contact email: GCarnes@lindenwood.edu
As the bicentennial of the publication of the early Gothic’s masterpiece, Mary Shelley’s Frankenstein, 2018 is an ideal time to reconsider how we understand the aesthetic qualities, ideological underpinnings, historical development, and cultural work of Gothic literature. Derided as juvenile or worse through most of the nineteenth and twentieth centuries, the Gothic has enjoyed a resurgence in interest among scholars in recent decades—and of course, it has never lost the interest of popular audiences. This panel seeks papers from scholars of literature, history, art history, religion, science and technology studies, and other fields which break new ground in the study of the Gothic, a genre that is at once instantly recognizable and yet elusive of easy definition. Papers that seek to bridge the gap—or to thoughtfully chart out the terrain of the gap—between scholarship on early Gothic literature and scholarship on the Gothic in contemporary popular culture are particularly welcome.
Please send abstracts of 350 words to GCarnes@lindenwood.edu by September 15, 2017.
Last updated July 18, 2017
https://call-for-papers.sas.upenn.edu/cfp/2017/07/14/new-approaches-to-gothic-literature-panel-at-2018-asecs-annual-meeting-march-22-25
deadline for submissions: September 15, 2017
full name / name of organization: Geremy Carnes
contact email: GCarnes@lindenwood.edu
As the bicentennial of the publication of the early Gothic’s masterpiece, Mary Shelley’s Frankenstein, 2018 is an ideal time to reconsider how we understand the aesthetic qualities, ideological underpinnings, historical development, and cultural work of Gothic literature. Derided as juvenile or worse through most of the nineteenth and twentieth centuries, the Gothic has enjoyed a resurgence in interest among scholars in recent decades—and of course, it has never lost the interest of popular audiences. This panel seeks papers from scholars of literature, history, art history, religion, science and technology studies, and other fields which break new ground in the study of the Gothic, a genre that is at once instantly recognizable and yet elusive of easy definition. Papers that seek to bridge the gap—or to thoughtfully chart out the terrain of the gap—between scholarship on early Gothic literature and scholarship on the Gothic in contemporary popular culture are particularly welcome.
Please send abstracts of 350 words to GCarnes@lindenwood.edu by September 15, 2017.
Last updated July 18, 2017
CFP Penny Dreadful Collection (expired)
Just came across this today. Sorry to have missed it earlier. I wish the organizers good luck in compiling the collection.
Penny Dreadful; Gothic Reimagining and Neo-Victorianism in Modern Television
https://call-for-papers.sas.upenn.edu/cfp/2017/03/28/penny-dreadful-gothic-reimagining-and-neo-victorianism-in-modern-television
deadline for submissions: May 15, 2017
full name / name of organization: J. Greenaway/ S. Reid
contact email: j.greenaway@mmu.ac.uk
Penny Dreadful (2014-2016) has become one of the most critical well-regarded shows of the post-millennial Gothic television revival, drawing explicitly on classic tropes, texts and characters throughout its three-season run. However, despite the show’s critical success and cult following, a substantive academic examination of the show has yet to be undertaken.
This edited collection seeks to address the current lack within Gothic studies scholarship, and situate Penny Dreadful as a key contemporary Gothic television text. This collection will seek to trace the link between the continued expansion of Gothic television, alongside the popular engagement with Neo-Victorianism. In addition, the collection seeks to examine notions around the aesthetic importance of contemporary Gothic that become particularly prominent against the narrative re-imaginings that occur within Penny Dreadful. This collection explores exactly where Gothic resides within this reflexive, hybridized and intertextual work; in the bodies, the stories, the history, the styling, or somewhere else entirely?
Possible contributions could include, but are no means limited to the following:
What the proposal should include:
An extended abstract of 500 words (for a 6,000-word chapter) including a proposed chapter title, a clear theoretical approach and reference to some relevant sources.
Please also provide your contact information, institutional affiliation, and a short biography.
Abstracts should be sent as a word document attachment to j.greenaway@mmu.ac.uk or stephanie.m.reid@stu.mmu.ac.uk by no later than May 15th 2017 with the subject line, “Penny Dreadful Abstract Submission.”
Last updated March 28, 2017
Penny Dreadful; Gothic Reimagining and Neo-Victorianism in Modern Television
https://call-for-papers.sas.upenn.edu/cfp/2017/03/28/penny-dreadful-gothic-reimagining-and-neo-victorianism-in-modern-television
deadline for submissions: May 15, 2017
full name / name of organization: J. Greenaway/ S. Reid
contact email: j.greenaway@mmu.ac.uk
Penny Dreadful (2014-2016) has become one of the most critical well-regarded shows of the post-millennial Gothic television revival, drawing explicitly on classic tropes, texts and characters throughout its three-season run. However, despite the show’s critical success and cult following, a substantive academic examination of the show has yet to be undertaken.
This edited collection seeks to address the current lack within Gothic studies scholarship, and situate Penny Dreadful as a key contemporary Gothic television text. This collection will seek to trace the link between the continued expansion of Gothic television, alongside the popular engagement with Neo-Victorianism. In addition, the collection seeks to examine notions around the aesthetic importance of contemporary Gothic that become particularly prominent against the narrative re-imaginings that occur within Penny Dreadful. This collection explores exactly where Gothic resides within this reflexive, hybridized and intertextual work; in the bodies, the stories, the history, the styling, or somewhere else entirely?
Possible contributions could include, but are no means limited to the following:
- Gothic adaptation and/or appropriation?
- Pastiche and parody and Gothic aesthetics
- ‘Global Gothic’ in the sense of its commercialisation
- Neo-Victorianism (styling, politics, economics); as well as explorations of the impact of ‘historicizing’ Gothic
- Representation of gender within the text, specifically female monstrosity
- The Post/Colonial context, as well racialized characterisation and presentation
- The reworking/restyling of monsters in contemporary Gothic
- Consideration of a ‘Romance’ aesthetic and how this alters conceptions of ‘Gothic’ texts and the influence of ‘romantic’ themes/styles in contemporary Gothic
What the proposal should include:
An extended abstract of 500 words (for a 6,000-word chapter) including a proposed chapter title, a clear theoretical approach and reference to some relevant sources.
Please also provide your contact information, institutional affiliation, and a short biography.
Abstracts should be sent as a word document attachment to j.greenaway@mmu.ac.uk or stephanie.m.reid@stu.mmu.ac.uk by no later than May 15th 2017 with the subject line, “Penny Dreadful Abstract Submission.”
Last updated March 28, 2017
CFP Silent Horror Panel (8/7/2017; SCMS 2018)
Sorry for posting this so late:
Silent Horror
https://call-for-papers.sas.upenn.edu/cfp/2017/06/22/silent-horror
deadline for submissions: August 7, 2017
full name / name of organization: Murray Leeder/University of Calgary
contact email: murray.leeder@ucalgary.ca
This is a CFP for a panel at the 2018 meeting of the Society for Cinema and Media Studies (SCMS), to be held March 14-18, 2018 at the Sheraton Centre, Toronto, ON, March about which you may read here: http://cmstudies.site-ym.com/?page=conference.
With the term “horror film” not entering widespread use until the early 1930s, “silent horror” is perhaps an inherently anachronistic concept. And yet few would deny that the fundamentals of the horror film were established in the silent era. We are accustomed to thinking of many of the important works of German Expressionism (Das Cabinet des Dr. Caligari/The Cabinet of Dr. Caligari (1920) and Nosferatu (1922), Orlacs Hände/The Hands of Orlac (1924), Der Golem, wie er in die Welt kam/The Golem: How He Came Into The World (1920) and more) as horror films. From the United States, the cycles about deformity (many starring Lon Chaney and directed by Tod Browning) and the largely theatre-derived comic horror film, emblematized by The Bat (1926) and The Cat and the Canary (1927) became part of the emerging paradigm of the horror film. Other parts of the world saw other productions that would come to be claimed as horror, notably Häxan/Witchcraft Through the Ages (1922) and Kurutta Ippēji/A Page of Madness (1926).
This panel seeks a variety of papers on the history, aesthetics and themes of the silent horror film, exploring multiple facets of a fascinating, neglected topic.
Please send 300-word abstract, 200-word biography, and 3-5 citations to Murray Leeder (murray.leeder@ucalgary.ca) by August 7, 2017.
Last updated June 22, 2017
Silent Horror
https://call-for-papers.sas.upenn.edu/cfp/2017/06/22/silent-horror
deadline for submissions: August 7, 2017
full name / name of organization: Murray Leeder/University of Calgary
contact email: murray.leeder@ucalgary.ca
This is a CFP for a panel at the 2018 meeting of the Society for Cinema and Media Studies (SCMS), to be held March 14-18, 2018 at the Sheraton Centre, Toronto, ON, March about which you may read here: http://cmstudies.site-ym.com/?page=conference.
With the term “horror film” not entering widespread use until the early 1930s, “silent horror” is perhaps an inherently anachronistic concept. And yet few would deny that the fundamentals of the horror film were established in the silent era. We are accustomed to thinking of many of the important works of German Expressionism (Das Cabinet des Dr. Caligari/The Cabinet of Dr. Caligari (1920) and Nosferatu (1922), Orlacs Hände/The Hands of Orlac (1924), Der Golem, wie er in die Welt kam/The Golem: How He Came Into The World (1920) and more) as horror films. From the United States, the cycles about deformity (many starring Lon Chaney and directed by Tod Browning) and the largely theatre-derived comic horror film, emblematized by The Bat (1926) and The Cat and the Canary (1927) became part of the emerging paradigm of the horror film. Other parts of the world saw other productions that would come to be claimed as horror, notably Häxan/Witchcraft Through the Ages (1922) and Kurutta Ippēji/A Page of Madness (1926).
This panel seeks a variety of papers on the history, aesthetics and themes of the silent horror film, exploring multiple facets of a fascinating, neglected topic.
- Definitional challenges – when did the horror film begin and how far can this generic label be usefully extended. (for example, can/should certain of early cinema’s trick films be include under the heading “horror film)?
- Different national traditions of silent horror
- The relationship of silent horror to other genres (comedy, melodrama, the Western, fantasy, science fiction, romance, etc.)
- The relationship of screen horror to theatre (especially in the U.S. in the 1920s).
- Griffith and horror (The Avenging Conscience (1914), One Exciting Night (1922))
- Adaptations and cultural respectability (Poe, Shelley, Stevenson, Hugo, etc.)
- Individual monsters and horror themes (vampires, lycanthropes, apes, the Devil, disfigured persons, ghosts, etc.)
- Horror and the avant-garde
- Post-silent era silent horror, and the role of silent era pastiche in later films (Guy Maddin, William Castle’s Shanks (1974), The Call of Cthulhu (2005))
- -- Key figures, both famous (Chaney, Browning, Paul Leni, F.W. Murnau, Fritz Lang, Karl Freund, etc.) and neglected
Please send 300-word abstract, 200-word biography, and 3-5 citations to Murray Leeder (murray.leeder@ucalgary.ca) by August 7, 2017.
Last updated June 22, 2017
CFP The New Urban Gothic (8/30/2017)
The New Urban Gothic, Call for Chapters
Announcement published by Ruth Heholt on Wednesday, July 12, 2017
https://networks.h-net.org/node/73374/announcements/186828/new-urban-gothic-call-chapters
Type: Call for Papers
Date: August 30, 2017
We are seeking abstracts for chapters for an edited collection entitled: The New Urban Gothic. Urban Gothic is a subgenre of Gothic fiction, Gothic crime fiction, and television whose narratives spring from discourse on industrial and post-industrial urban society. Often dystopic, it was pioneered in the mid-19th century in Britain and the United States. Much has been written on 19th century Anglo-centred Urban Gothic fiction and vampiristic, monstrous Urban Gothic, but less has been written on the 21st century reimagining and re-serialisation of the Urban Gothic in mechanised, altered, disabled, and dystopic states of being. Nor has writing on the Urban Gothic departed from the canonical London location or considered the Urban Gothic as the prime progenitor of the genre of Crime Fiction. The intention, therefore, is for The New Urban Gothic to explore the resurgence in serialised and grotesque narratives of degeneration, ecological and economic ruin, dystopia, mechanised future inequality, and crime narrative as evidenced in literature and new forms of media in an international context. Submissions are welcomed that address the historic specificities of urban difference and Gothic traditions, as well as inter-disciplinary studies and contemporary texts that link urban crime fiction and the Gothic.
Topics may include (but are not bound by):
Deadline for final chapters of no more than 7,500 words (including notes and references): 1 May 2018.
Contact Info:
Please send a 300-500 word abstract including keywords, along with 50-100 words of biodata to the editors h.millette@soton.ac.uk and ruth.heholt@falmouth.ac.uk by 30 August, 2017.
Contact Email:
h.millette@soton.ac.uk
Announcement published by Ruth Heholt on Wednesday, July 12, 2017
https://networks.h-net.org/node/73374/announcements/186828/new-urban-gothic-call-chapters
Type: Call for Papers
Date: August 30, 2017
We are seeking abstracts for chapters for an edited collection entitled: The New Urban Gothic. Urban Gothic is a subgenre of Gothic fiction, Gothic crime fiction, and television whose narratives spring from discourse on industrial and post-industrial urban society. Often dystopic, it was pioneered in the mid-19th century in Britain and the United States. Much has been written on 19th century Anglo-centred Urban Gothic fiction and vampiristic, monstrous Urban Gothic, but less has been written on the 21st century reimagining and re-serialisation of the Urban Gothic in mechanised, altered, disabled, and dystopic states of being. Nor has writing on the Urban Gothic departed from the canonical London location or considered the Urban Gothic as the prime progenitor of the genre of Crime Fiction. The intention, therefore, is for The New Urban Gothic to explore the resurgence in serialised and grotesque narratives of degeneration, ecological and economic ruin, dystopia, mechanised future inequality, and crime narrative as evidenced in literature and new forms of media in an international context. Submissions are welcomed that address the historic specificities of urban difference and Gothic traditions, as well as inter-disciplinary studies and contemporary texts that link urban crime fiction and the Gothic.
Topics may include (but are not bound by):
- Industrialization, Mechanisation and future dystopia in the Urban Gothic
- New serializations of the Urban Gothic (Dickens – Netflix, etc.)
- Outsiders (Gender, Race, or the Orient) in the New Urban Gothic
- Identity and Belonging in the New Urban Gothic
- Dark Tourism and the New Urban Gothic
- Political Aesthetics (Grotesque) of the New Urban Gothic
- LGBTQi and the New Urban Gothic
- Disability and Mental Health in the New Urban Gothic
- Sci-Fi and the New Urban Gothic in Space.
- Gaming and the New Urban Gothic (X-Box, PS 3, Wii, PC, etc.)
- Graphic Novels and the New Urban Gothic (Alan Moore, Neil Gaiman, Frank Miller, etc.)
- Regional New Urban Gothic (Sheffield, New Orleans, Ontario, etc.)
- Dockside New Urban Gothic (Limehouse, Hong Kong, Gdansk, Liverpool, Vancouver, etc.)
- Japanese New Urban Gothic (or Korean, Chinese, Indian, Canadian etc)
Deadline for final chapters of no more than 7,500 words (including notes and references): 1 May 2018.
Contact Info:
Please send a 300-500 word abstract including keywords, along with 50-100 words of biodata to the editors h.millette@soton.ac.uk and ruth.heholt@falmouth.ac.uk by 30 August, 2017.
Contact Email:
h.millette@soton.ac.uk
CFP New Approaches in Zombie Studies (9/30/2017; NeMLA 2018)
New Approaches in Zombie Studies
https://call-for-papers.sas.upenn.edu/cfp/2017/08/01/new-approaches-in-zombie-studies
deadline for submissions: September 30, 2017
full name / name of organization: Northeast Modern Language Association (NeMLA)
contact email: derekmcg@buffalo.edu
This session looks at zombies, including as they were defined by Night of the Living Dead, filmed in NeMLA’s host city Pittsburgh by local director George Romero.
While the zombie genre risks growing torpid (so to speak), it also has cemented itself as an area of study with easily discernible approaches and themes: zombies as representative of biological contagions, as commentary on mental lethargy in the social media age, as symbolic of neoliberal economics, and more. This panel will explore the following questions: How have zombies changed in recent years, in their composition, narrative format, and metaphorical status? What new insights can be garnered looking to earlier conceptions of the zombie, and conceptions from Haiti and around the world? How have zombies served as commentary on medicine, social media, anti-intellectualism, economics, and society?
Please submit 300-word abstracts, along with a short bio and any audio-visual requests, online before September 30, 2017, at https://www.cfplist.com/nemla/Home/S/16935. Email questions to Derek McGrath, derekmcg@buffalo.edu.
The 49th Annual Convention of the Northeast Modern Language Association will meet April 12 to 15, 2018, at Pittsburgh’s historic Omni William Penn. More information is available at http://www.nemla.org.
Last updated August 4, 2017
https://call-for-papers.sas.upenn.edu/cfp/2017/08/01/new-approaches-in-zombie-studies
deadline for submissions: September 30, 2017
full name / name of organization: Northeast Modern Language Association (NeMLA)
contact email: derekmcg@buffalo.edu
This session looks at zombies, including as they were defined by Night of the Living Dead, filmed in NeMLA’s host city Pittsburgh by local director George Romero.
While the zombie genre risks growing torpid (so to speak), it also has cemented itself as an area of study with easily discernible approaches and themes: zombies as representative of biological contagions, as commentary on mental lethargy in the social media age, as symbolic of neoliberal economics, and more. This panel will explore the following questions: How have zombies changed in recent years, in their composition, narrative format, and metaphorical status? What new insights can be garnered looking to earlier conceptions of the zombie, and conceptions from Haiti and around the world? How have zombies served as commentary on medicine, social media, anti-intellectualism, economics, and society?
Please submit 300-word abstracts, along with a short bio and any audio-visual requests, online before September 30, 2017, at https://www.cfplist.com/nemla/Home/S/16935. Email questions to Derek McGrath, derekmcg@buffalo.edu.
The 49th Annual Convention of the Northeast Modern Language Association will meet April 12 to 15, 2018, at Pittsburgh’s historic Omni William Penn. More information is available at http://www.nemla.org.
Last updated August 4, 2017
Tuesday, June 27, 2017
CFP Second Annual Ann Radcliffe Academic Conference at StokerCon 2018 (11/27/17; Providence 3/1-4/2018)
2017/06/23
Call for Presentations: The Second Annual Ann Radcliffe
Academic Conference at StokerCon 2018
deadline for submissions: November 27, 2017
full name / name of organization: Horror Writers
Association
contact email: AnnRadCon@gmail.com
Call for Presentations:
The Second Annual Ann Radcliffe Academic Conference at
StokerCon 2018
Conference Dates: March 1 – 4, 2018
Conference Hotel: Biltmore Hotel, Providence, Rhode
Island
Conference Website: http://stokercon2018.org/
The Ann Radcliffe Academic Conference co-chairs invite
all interested scholars and academics to submit presentation abstracts related
to horror studies for consideration to be presented at the Third Annual
StokerCon, March 1 - 4, 2018 held at the historic Biltmore Hotel in Providence,
Rhode Island (see: http://www.providencebiltmore.com/ ).
The inaugural Ann Radcliffe Academic Conference in 2017
was a tremendous success and saw many presentations covering various aspects of
horror studies. It is the goal with the second conference to continue the
dialogue of academic analysis of horror. Hence we are looking for completed
research or work-in-progress projects that can be presented to with the intent
to expand the scholarship on various facets of horror that proliferates in:
- Art
- Cinema
- Comics
- Literature
- Music
- Poetry
- Television
- Video Games
- Etc.
We invite papers that take an interdisciplinary approach
to their subject matter and can apply a variety of lenses and frameworks, such
as, but not limited to:
- Auteur theory
- Close textual analysis
- Comparative analysis
- Cultural and ethnic
- Fandom and fan studies
- Film studies
- Folklore
- Gender/LGBT studies
- Historic analysis
- Interpretations
- Linguistic
- Literature studies
- Media and communications
- Media Sociology
- Modernity/Postmodernity
- Mythological
- Psychological
- Racial studies
- Semiotics
- Theoretical (Adorno, Barthes, Baudrillard, Dyer, Gerbner, etc.)
- Transmedia
Conference Details
Please send a
250 – 300 word abstract on your intended topic, a preliminary bibliography and
your CV to AnnRadCon@gmail.com by November 27, 2017. Responses will be emailed
out during the last week of November/first week of December, 2017.
Presentation
time consideration: 15 minute maximum to allow for a Question and Answer
period. Limit of one presentation at the conference.
There are no
honorariums for presenters; this is an academic conference. There is, however,
a StokerCon2018 award opportunity; see
http://horrorscholarships.com/the-scholarship-from-hell/
The co-chairs
of the Ann Radcliffe Academic Conference are exploring the possibilities of
editing and publishing a volume of conference presentations (along with
selections from the inaugural conference). Presenters will have the opportunity
to edit and expand their presentations into proper chapters if they are
selected for the volume.
Organizing Co-Chairs
Michele Brittany & Nicholas Diak
Email: AnnRadCon@gmail.com
The Ann Radcliffe Academic Conference is part of the
Horror Writers Association’s Outreach Program. Membership to the Horror Writers
Association is not required to submit or present, however registration to
StokerCon 2018 is required to present. StokerCon registration can be obtained
by going to www.stokercon2018.org. There is no additional registration or fees
for the Ann Radcliffe Academic Conference outside StokerCon registration. If
interested in applying to the Horror Writer’s Association as an academic
member, please see www.horror.org/about/ .
StokerCon is the annual convention hosted by the Horror
Writers Association wherein the Bram Stoker Awards for superior achievement in
horror writing are awarded.
Last updated June 26, 2017
Thursday, February 9, 2017
CFP Ray Bradbury And Horror Fiction, Special Issue of The New Ray Bradbury Review (5/1/2017)
Ray Bradbury And Horror Fiction: The New Ray Bradbury Review special issue
https://www.cfplist.com/CFP.aspx?CID=9560
Event: 03/21/2019
Abstract: 05/01/2017
Location: Indianapolis, IN, USA
Organization: Center for Ray Bradbury Studies
Ray Bradbury and Horror Fiction
The problem of genre is especially complicated when it comes to Ray Bradbury. The author of The Martian Chronicles, Dandelion Wine, The Halloween Tree, Something Wicked This Way Comes, The Illustrated Man, Fahrenheit 451, and innumerable poems, comic books, short stories, radio, TV, and movie scripts alchemically combined elements as diverse as rockets and hauntings, uncanny phenomena and freak shows, the Cthulhu mythos and common serial killers. The New Ray Bradbury Review seeks essays for a special issue dedicated to Ray Bradbury’s unique brand of horror fiction.
Bradbury began his writing career with a homemade pulp, Futuria Fantasia, modeled on Farnsworth Wright’s Weird Tales. Many of his early stories were based on Poe, including “The Pendulum” (1939) and “Carnival of Madness” (1950, revised as “Usher II” in The Martian Chronicles). Poe also is at the center of “The Mad Wizards of Mars” (1949, best known as “The Exiles” in The Illustrated Man, 1951), a story that is also populated by many of the horror and dark fantasy writers of the last two hundred years. Lovecraft’s influence is traceable as well: “Luana the Living” (a fanzine piece from 1940) and “The Watchers” (1945), a tale that centers on a Lovecraftian horror of unseen forces bent on destroying anyone who discovers their presence beneath the surface of everyday life. Concurrently, Bradbury explored aspects of the American Gothic (see, for example, his carnie tales in Dark Carnival [1947], The Illustrated Man [1951], and The October Country [1955]). His later career saw a return to gothic fantasy elements, now playfully blended with other genres in such novels as Death is a Lonely Business (1985) and A Graveyard for Lunatics (1990). Some of his early gothic fantasy was revisited in his late career with the novelized story-cycle From the Dust Returned (2001).
The New Ray Bradbury Review, produced since 2008 by the Center for Ray Bradbury Studies at Indiana University and published by Kent State University Press, seeks articles on topics including (but not limited to):
• Bradbury and the pulps
• Bradbury and the American Gothic (including circus and freak show stories)
• Bradbury and mythology
• Bradbury and the problem of genre (ways literary historians have catalogued or miscatalogued his work)
• Bradbury’s literary reputation (and similar problems faced by writers as diverse as Carson McCullers and Stephen King)
• Bradbury and the Lovecraft Circle, including Robert Bloch, August Derleth, and Frank Belknap Long
• Bradbury and the Southern California circle, including Richard Matheson, Charles Beaumont, William F. Nolan, George Clayton Johnson
• Bradbury and related short story writers, such as Roald Dahl, Nigel Kneale, Theodore Sturgeon, Fritz Leiber, Harlan Ellison, Neil Gaiman
• Unproduced works or adaptations, for example Bloch’s Merry-Go-Round for MGM (based on Ray Bradbury's story "Black Ferris”)
• The Halloween Tree (novel, screenplay, and/or animated adaption), Something Wicked This Way Comes (novel, stage play, and/or Disney film), The October Country or the collection Bloch and Bradbury: Whispers from Beyond
• Bradbury and literary agent/comic book editor Julius Schwartz
• Bradbury’s stories for the radio programs such as Dimension X and Suspense, TV series such as The Alfred Hitchcock Hour, or horror tales adapted for EC Comics or other outlets
• Bradbury’s own adaptations for the TV series The Ray Bradbury Theater.
• The art of the animated Halloween Tree and later films such as The Nightmare Before Christmas
Proposals of up to 500 words should be submitted by May 1, 2017, to guest editor Jeffrey Kahan (vortiger@hotmail.com). Authors of selected abstracts will be notified by July 1, 2017. Full drafts (5,000 to 7,000 words) will be due by December 1, 2017. The issue is provisionally scheduled for spring 2019.
Contact Email: vortiger@hotmail.com
Website: http://bradbury.iupui.edu/news/call-papers-new-ray-bradbury-review-special-issue
https://www.cfplist.com/CFP.aspx?CID=9560
Event: 03/21/2019
Abstract: 05/01/2017
Location: Indianapolis, IN, USA
Organization: Center for Ray Bradbury Studies
Ray Bradbury and Horror Fiction
The problem of genre is especially complicated when it comes to Ray Bradbury. The author of The Martian Chronicles, Dandelion Wine, The Halloween Tree, Something Wicked This Way Comes, The Illustrated Man, Fahrenheit 451, and innumerable poems, comic books, short stories, radio, TV, and movie scripts alchemically combined elements as diverse as rockets and hauntings, uncanny phenomena and freak shows, the Cthulhu mythos and common serial killers. The New Ray Bradbury Review seeks essays for a special issue dedicated to Ray Bradbury’s unique brand of horror fiction.
Bradbury began his writing career with a homemade pulp, Futuria Fantasia, modeled on Farnsworth Wright’s Weird Tales. Many of his early stories were based on Poe, including “The Pendulum” (1939) and “Carnival of Madness” (1950, revised as “Usher II” in The Martian Chronicles). Poe also is at the center of “The Mad Wizards of Mars” (1949, best known as “The Exiles” in The Illustrated Man, 1951), a story that is also populated by many of the horror and dark fantasy writers of the last two hundred years. Lovecraft’s influence is traceable as well: “Luana the Living” (a fanzine piece from 1940) and “The Watchers” (1945), a tale that centers on a Lovecraftian horror of unseen forces bent on destroying anyone who discovers their presence beneath the surface of everyday life. Concurrently, Bradbury explored aspects of the American Gothic (see, for example, his carnie tales in Dark Carnival [1947], The Illustrated Man [1951], and The October Country [1955]). His later career saw a return to gothic fantasy elements, now playfully blended with other genres in such novels as Death is a Lonely Business (1985) and A Graveyard for Lunatics (1990). Some of his early gothic fantasy was revisited in his late career with the novelized story-cycle From the Dust Returned (2001).
The New Ray Bradbury Review, produced since 2008 by the Center for Ray Bradbury Studies at Indiana University and published by Kent State University Press, seeks articles on topics including (but not limited to):
• Bradbury and the pulps
• Bradbury and the American Gothic (including circus and freak show stories)
• Bradbury and mythology
• Bradbury and the problem of genre (ways literary historians have catalogued or miscatalogued his work)
• Bradbury’s literary reputation (and similar problems faced by writers as diverse as Carson McCullers and Stephen King)
• Bradbury and the Lovecraft Circle, including Robert Bloch, August Derleth, and Frank Belknap Long
• Bradbury and the Southern California circle, including Richard Matheson, Charles Beaumont, William F. Nolan, George Clayton Johnson
• Bradbury and related short story writers, such as Roald Dahl, Nigel Kneale, Theodore Sturgeon, Fritz Leiber, Harlan Ellison, Neil Gaiman
• Unproduced works or adaptations, for example Bloch’s Merry-Go-Round for MGM (based on Ray Bradbury's story "Black Ferris”)
• The Halloween Tree (novel, screenplay, and/or animated adaption), Something Wicked This Way Comes (novel, stage play, and/or Disney film), The October Country or the collection Bloch and Bradbury: Whispers from Beyond
• Bradbury and literary agent/comic book editor Julius Schwartz
• Bradbury’s stories for the radio programs such as Dimension X and Suspense, TV series such as The Alfred Hitchcock Hour, or horror tales adapted for EC Comics or other outlets
• Bradbury’s own adaptations for the TV series The Ray Bradbury Theater.
• The art of the animated Halloween Tree and later films such as The Nightmare Before Christmas
Proposals of up to 500 words should be submitted by May 1, 2017, to guest editor Jeffrey Kahan (vortiger@hotmail.com). Authors of selected abstracts will be notified by July 1, 2017. Full drafts (5,000 to 7,000 words) will be due by December 1, 2017. The issue is provisionally scheduled for spring 2019.
Contact Email: vortiger@hotmail.com
Website: http://bradbury.iupui.edu/news/call-papers-new-ray-bradbury-review-special-issue
CFP Special Gothic Edition of the Journal of New Zealand Literature (2/3/2017)
An intriguing idea:
Special Gothic Edition of the Journal of New Zealand Literature
https://www.cfplist.com/CFP.aspx?CID=9706
Event: 07/17/2017
Abstract: 02/03/2017
Categories:
Location: New Zealand
Organization: Journal of New Zealand Literature
The Journal of New Zealand LIterature i(JNZL) is the only international, peer-reviewed journal devoted to New Zealand literary studies. In 2017, JNZL will publish a special edition devoted to Gothic and it welcomes the submission of papers (4000-5000 words) on any aspect of the Gothic as it relates to New Zealand literature.
Topics can include, but are not limited to:
The deadline for expressions of interest is 3 February 2017. These should include an abstract of the proposed paper (250 words) and a short bio (100 words).
Completed papers are due 17 July 2017.
Please email expressions of interest and completed papers to the guest edition Dr Erin Mercer at: e.mercer@massey.ac.nz
For more information please email Erin Mercer or visit the JNZL website: http://jnzl.ac.nz
Contact Email: e.mercer@massey.ac.nz
Website: https://jnzl.ac.nz/
Special Gothic Edition of the Journal of New Zealand Literature
https://www.cfplist.com/CFP.aspx?CID=9706
Event: 07/17/2017
Abstract: 02/03/2017
Categories:
Location: New Zealand
Organization: Journal of New Zealand Literature
The Journal of New Zealand LIterature i(JNZL) is the only international, peer-reviewed journal devoted to New Zealand literary studies. In 2017, JNZL will publish a special edition devoted to Gothic and it welcomes the submission of papers (4000-5000 words) on any aspect of the Gothic as it relates to New Zealand literature.
Topics can include, but are not limited to:
- Haunting and spectrality
- Domestic Gothic
- Rural Gothic
- Monsters and the monstrous
- The Uncanny
- Memory and Trauma
- Gothic intertextualities
- Genre and the Gothic
- Regionalities and geographies
- Postcolonial Gothic
- Maori Gothic
The deadline for expressions of interest is 3 February 2017. These should include an abstract of the proposed paper (250 words) and a short bio (100 words).
Completed papers are due 17 July 2017.
Please email expressions of interest and completed papers to the guest edition Dr Erin Mercer at: e.mercer@massey.ac.nz
For more information please email Erin Mercer or visit the JNZL website: http://jnzl.ac.nz
Contact Email: e.mercer@massey.ac.nz
Website: https://jnzl.ac.nz/
CFP At the Mercy of Monsters: Essays on the Rise of Supernatural Procedural Dramas Collection (3/18/2017)
An intriguing idea; I wish them luck with the collection:
At the Mercy of Monsters: Essays on the Rise of Supernatural Procedural Dramas
https://www.cfplist.com/CFP.aspx?CID=9921
Event: 03/18/2017
Abstract: 03/18/2017
Editors Szanter and Richards seek original essays for an edited collection on Supernatural Procedural Dramas on television. While the crime procedural still remains one of the most recognizable genres on television, post-millennial incarnations of the genre often include considerations of the supernatural in tandem with crime solving and justice. Long running shows, such as The X-Files, as well as newer iterations of this phenomena, like Lucifer, present crime solving as an action best done by, or in cooperation with, supernatural beings. This collection aims to explore how this new, evolution of the crime drama reflects potential dismay about the nature of the criminal justice system and/or its on screen interpretations.
Chapters in the proposed collection can focus on one or more of the following categories:
• Explorations of why the criminal procedural genre needed (wanted?) to incorporate supernatural elements? The traditional criminal procedural can clearly stand on its own, so why modify it in this way now? How does supernaturalism impact the crime genre’s conventions?
• Analyze how particular shows incorporate or discuss “isms.” We welcome chapters tackling how specific supernatural crime dramas deal with Feminism, Marxism, Queer studies, and Masculinity studies, among others. Of particular interest to the editors are non-binary gender and sexuality, feminism, race, “passing,” and non-traditional/deconstructed families or relationships
• Do a theoretical analysis on any of the following TV shows: Lucifer, iZombie, Sleepy Hollow, Grimm, Fringe, The X-Files, Twin Peaks, Medium, Warehouse 13, Tru Calling, Forever, The Dresden Files, New Amsterdam, The Gates, Pushing Daisies, Forever Knight, and Special Unit 2.
• Modern monster theory as an important element of pop cultural study and relevance in an era of growing interest in popular depictions of law enforcement and the criminal justice system.
• How have shows like Lucifer and Grimm evolved out of shows like Buffy the Vampire Slayer, Supernatural, Torchwood, and Angel? While not specifically coded as criminal procedurals, these older series combine practices of detection and justice with conceptions of the supernatural as a given in their story worlds.
• How do shows like Sherlock, True Lies, Eureka, and Psych play with the line between supernaturalism and criminal justice? Though not inherently supernatural in nature, these shows present a new interpretation of the criminal procedural as dependent on or modified by a particular individual’s “powers” or talents? How do these shows walk this line without truly being supernatural?
• Attempts to address how superhero narratives fit into this will also be considered. How do shows like Jessica Jones, Luke Cage, or Daredevil fit into this burgeoning supernatural crime drama genre? While often showcasing vigilante justice over and above law enforcement, how do superhero shows present characters who work around the system with their individual “powers”?
• Why do some series, like Sleepy Hollow or Grimm, retain long term public interest whereas other series, such as Moonlight, Forever, New Amsterdam, get canceled after one season? What is the difference in staying power?
• Examinations of the place/function of romance in supernatural crime dramas. Relationships often crop up between supernatural characters and humans. Are these relationships more/less present in supernatural crime than in traditional crime procedurals?
• How is this burgeoning new supernatural procedural genre perhaps just an extension of the Gothic? Does this simply resurrect Gothic tendencies towards supernaturalism and detection? Discuss patterns of detection or Gothic elements in these shows/series. Does the supernatural procedural drama continue in that same tradition?
Abstract Due Dates
Preference will be given to abstracts received before March 18, 2017. Abstracts should be no longer than 350 words and be accompanied by a current CV.
Contact us and send abstracts to Ashley and Jessica at supernaturalprocedurals@gmail.com or visit our website at http://ashleyszanter.wixsite.com/supernaturalprodrama
Contact Email: supernaturalprocedurals@gmail.com
Website: http://ashleyszanter.wixsite.com/supernaturalprodrama
At the Mercy of Monsters: Essays on the Rise of Supernatural Procedural Dramas
https://www.cfplist.com/CFP.aspx?CID=9921
Event: 03/18/2017
Abstract: 03/18/2017
Editors Szanter and Richards seek original essays for an edited collection on Supernatural Procedural Dramas on television. While the crime procedural still remains one of the most recognizable genres on television, post-millennial incarnations of the genre often include considerations of the supernatural in tandem with crime solving and justice. Long running shows, such as The X-Files, as well as newer iterations of this phenomena, like Lucifer, present crime solving as an action best done by, or in cooperation with, supernatural beings. This collection aims to explore how this new, evolution of the crime drama reflects potential dismay about the nature of the criminal justice system and/or its on screen interpretations.
Chapters in the proposed collection can focus on one or more of the following categories:
• Explorations of why the criminal procedural genre needed (wanted?) to incorporate supernatural elements? The traditional criminal procedural can clearly stand on its own, so why modify it in this way now? How does supernaturalism impact the crime genre’s conventions?
• Analyze how particular shows incorporate or discuss “isms.” We welcome chapters tackling how specific supernatural crime dramas deal with Feminism, Marxism, Queer studies, and Masculinity studies, among others. Of particular interest to the editors are non-binary gender and sexuality, feminism, race, “passing,” and non-traditional/deconstructed families or relationships
• Do a theoretical analysis on any of the following TV shows: Lucifer, iZombie, Sleepy Hollow, Grimm, Fringe, The X-Files, Twin Peaks, Medium, Warehouse 13, Tru Calling, Forever, The Dresden Files, New Amsterdam, The Gates, Pushing Daisies, Forever Knight, and Special Unit 2.
• Modern monster theory as an important element of pop cultural study and relevance in an era of growing interest in popular depictions of law enforcement and the criminal justice system.
• How have shows like Lucifer and Grimm evolved out of shows like Buffy the Vampire Slayer, Supernatural, Torchwood, and Angel? While not specifically coded as criminal procedurals, these older series combine practices of detection and justice with conceptions of the supernatural as a given in their story worlds.
• How do shows like Sherlock, True Lies, Eureka, and Psych play with the line between supernaturalism and criminal justice? Though not inherently supernatural in nature, these shows present a new interpretation of the criminal procedural as dependent on or modified by a particular individual’s “powers” or talents? How do these shows walk this line without truly being supernatural?
• Attempts to address how superhero narratives fit into this will also be considered. How do shows like Jessica Jones, Luke Cage, or Daredevil fit into this burgeoning supernatural crime drama genre? While often showcasing vigilante justice over and above law enforcement, how do superhero shows present characters who work around the system with their individual “powers”?
• Why do some series, like Sleepy Hollow or Grimm, retain long term public interest whereas other series, such as Moonlight, Forever, New Amsterdam, get canceled after one season? What is the difference in staying power?
• Examinations of the place/function of romance in supernatural crime dramas. Relationships often crop up between supernatural characters and humans. Are these relationships more/less present in supernatural crime than in traditional crime procedurals?
• How is this burgeoning new supernatural procedural genre perhaps just an extension of the Gothic? Does this simply resurrect Gothic tendencies towards supernaturalism and detection? Discuss patterns of detection or Gothic elements in these shows/series. Does the supernatural procedural drama continue in that same tradition?
Abstract Due Dates
Preference will be given to abstracts received before March 18, 2017. Abstracts should be no longer than 350 words and be accompanied by a current CV.
Contact us and send abstracts to Ashley and Jessica at supernaturalprocedurals@gmail.com or visit our website at http://ashleyszanter.wixsite.com/supernaturalprodrama
Contact Email: supernaturalprocedurals@gmail.com
Website: http://ashleyszanter.wixsite.com/supernaturalprodrama
CFP Found Footage Magazine - Call for Papers Issue #4 (6/1/2017)
Of potential interest:
Found Footage Magazine - Call for Papers Issue #4
https://www.cfplist.com/CFP.aspx?CID=9920
Event: 06/01/2017
Abstract: 06/01/2017
Location: SPAIN
Organization: Found Footage Magazine
Found Footage Magazine is a printed film studies journal. It offers theoretical, analytical and informative content that hinges on the practice of found footage filmmaking including all its eclectic manifestations: recycled cinema, essay film, appropriation cinema, collage film, and compilation film…
Thus, FFM provides an unique forum for the critical thinking, study and dissemination of those practices that part from the re-use of extant images as a methodological strategy addressed to the composition of a new audio-visual discourse.
PAPER SUBMISSION DEADLINE FOR ISSUE #4: JUNE 1st, 2017
For more information please visit: www.foundfootagemagazine.com
Contact Email: submissions@foundfootagemagazine.com
Website: http://www.foundfootagemagazine.com
Found Footage Magazine - Call for Papers Issue #4
https://www.cfplist.com/CFP.aspx?CID=9920
Event: 06/01/2017
Abstract: 06/01/2017
Location: SPAIN
Organization: Found Footage Magazine
Found Footage Magazine is a printed film studies journal. It offers theoretical, analytical and informative content that hinges on the practice of found footage filmmaking including all its eclectic manifestations: recycled cinema, essay film, appropriation cinema, collage film, and compilation film…
Thus, FFM provides an unique forum for the critical thinking, study and dissemination of those practices that part from the re-use of extant images as a methodological strategy addressed to the composition of a new audio-visual discourse.
PAPER SUBMISSION DEADLINE FOR ISSUE #4: JUNE 1st, 2017
For more information please visit: www.foundfootagemagazine.com
Contact Email: submissions@foundfootagemagazine.com
Website: http://www.foundfootagemagazine.com
CFP Comics and Monsters—Monsters and Comics (expired)
Sorry to have missed posting this sooner:
Comics and Monsters—Monsters and Comics (CSSC May 11-12, Toronto)
https://www.cfplist.com/CFP.aspx?CID=10267
Event: 05/11/2017 - 05/12/2017
Abstract: 01/03/2017
Location: Toronto, Canada
Organization: Canadian Society for the Study of Comics
Comics and Monsters—Monsters and Comics
Canadian Society for the Study of Comics (May 11-12, Toronto)
This proposed panel explores the relationship between the monstrous (whether fantastic, gothic, or science fiction) and comics. With the formation of the Comics Code Authority in 1954, the “monstrous” has stood at the centre of aesthetic, historical, critical, and cultural debates around comics and graphic novels. Such efforts to regulate and ban a bestiary of the most fantastic and gothic monsters highlight the complex relationship between content and form that infuses the visual and textual dynamics of the monstrous in comics. Papers may focus on past or present treatments of the monstrous, including specific creatures and monsters, specific artists, or specific comic series.
Send a 200-word abstract and 50-word bio by 3 January 2017 to Chris Koenig-Woodyard, chris.koenig.woodyard@utoronto.ca. The panel will be proposed for the Canadian Society for the Study of Comics conference, 11-12 May 2017, Toronto (hosted in collaboration with the Toronto Comic Arts Festival (http://www.torontocomics.com/whats-happening/canadian-society-for-the-study-of-comics-2017-conference/).
Contact Email: chris.koenig.woodyard@utoronto.ca
Comics and Monsters—Monsters and Comics (CSSC May 11-12, Toronto)
https://www.cfplist.com/CFP.aspx?CID=10267
Event: 05/11/2017 - 05/12/2017
Abstract: 01/03/2017
Location: Toronto, Canada
Organization: Canadian Society for the Study of Comics
Comics and Monsters—Monsters and Comics
Canadian Society for the Study of Comics (May 11-12, Toronto)
This proposed panel explores the relationship between the monstrous (whether fantastic, gothic, or science fiction) and comics. With the formation of the Comics Code Authority in 1954, the “monstrous” has stood at the centre of aesthetic, historical, critical, and cultural debates around comics and graphic novels. Such efforts to regulate and ban a bestiary of the most fantastic and gothic monsters highlight the complex relationship between content and form that infuses the visual and textual dynamics of the monstrous in comics. Papers may focus on past or present treatments of the monstrous, including specific creatures and monsters, specific artists, or specific comic series.
Send a 200-word abstract and 50-word bio by 3 January 2017 to Chris Koenig-Woodyard, chris.koenig.woodyard@utoronto.ca. The panel will be proposed for the Canadian Society for the Study of Comics conference, 11-12 May 2017, Toronto (hosted in collaboration with the Toronto Comic Arts Festival (http://www.torontocomics.com/whats-happening/canadian-society-for-the-study-of-comics-2017-conference/).
Contact Email: chris.koenig.woodyard@utoronto.ca
CFP Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay (1/31/17
Sounds like a great idea; sorry for the late post:
The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies
https://www.cfplist.com/CFP.aspx?CID=10376
Event: 10/31/2017
Abstract: 01/31/2017
Location: Uk & Sweden
Organization: Staffordshire University & University of Gothenburg
The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies
deadline for submissions:
October 31, 2017
full name / name of organization:
steve webley / Staffordshire University UK & Peter Zackariasson/ University of Gothenburg
contact email:
s.j.webley@staffs.ac.uk
The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies
The Playful Undead and Video Games
Critical Analyses of Zombies and Gameplay - abstract due date 31/Jan/2017
please see link below for further details
https://www.academia.edu/30084636/Call_for_chapters_-_The_Playful_Undead...
The zombie has had a glorious evolutionary journey. From its humble beginnings in early cinema, where it was portrayed as a somnambulistic Haitian drone, it has evolved into a diseased cadaverous cannibal that has managed to infect all forms of contemporary media and take centre stage in popular culture. The turbulent decade of the 1960s saw the Haitian zombie reinvented and radically politicized by the independent filmmaker George A. Romero. Over the following decade the zombie became a key component in politicizing the horror genre itself. Once considered as puerile teenage entertainment, horror was to become a serious tool for social commentary. With the growth of consumerism and later Cold War narratives the zombie became an ideological entity in its own right, animating the horror genre as a mythic form of social critique, and creating the ideologically charged post-apocalyptic survival space onto which audiences projected their desires, fantasies, and fears.
Since the early 2000s and the beginnings of the war on terror the zombie has continued to evolve and grow in popularity. Its presence can today be observed across the mediascape, from literature and graphic novels, to film and television series, to art and music, to video games. In fact, it is hard to avoid a video game that somehow includes a zombie. They dominate all gaming markets from app store based mobile and casual games, through indie titles and fan-made mods, to AAA productions. The zombie has become a video game enemy par excellence, appearing in such dedicated franchises as Resident Evil or in hugely popular downloadable content and add-ons to games such as ‘Nazi Zombies mode’ for Call of Duty. Moreover, even games that are not overtly of the zombie apocalypse canon contain both antagonists and protagonists that can effectively be labelled Undead. Titles as diverse as World of Warcraft or the Fallout franchise utilize the zombie and its undead tropes to create deep and meaningful characters and interactive experiences for players to indulge their fantasies.
Building on the cultural fascination with zombies this book will offer different ways to understand the roles of zombies in video games: Johan Huizinga (1938) posited that ‘… All play means something…!’ So we ask what can a focus on play and interactivity bring to the growing corpus of work developed on zombies in film and other media? Why the fascination? What practices have evolved? How and why are zombie based games designed and developed? What are the consequences? What does it mean to participate in an interactive zombie apocalypse? What does it mean to play with, or as, the undead?
This call for chapters will consider contributions from a wide set of academic disciplines, for example: economics, cultural theory, sociological studies, social psychology, psychology, politics, business, design, arts, history, philosophy, literature, and film. Today the study of zombies as a topic within many of these disciplines has become popular, resulting in articles, chapters and books. This book will build on the existing interest that is dispersed into different outputs, exploring this phenomenon in a multidisciplinary Routledge Advances in Game Studies publication.
Format
Please submit one page abstract (500-600 words), plus references. In this abstract it is important that you 1) highlight your focus on zombies and video games, 2) draw out your theoretical framework you plan to apply, and 3) state possible contribution made in the chapter. In addition to the abstract we ask you to submit a short bio, including key publications and academic discipline/school. Expected length of final chapter, 5000-6000 words.
Time plan 2017
January 31 – Deadline abstract
April 30 – Deadline chapter, first draft
May – Workshop (planned for Staffordshire or Gothenburg)
August 30 – Deadline chapter, second draft
October 31 – Deadline, final chapter
Editors
Stephen J. Webley, Staffordshire University, S.J.Webley@staffs.ac.uk
Peter Zackariasson, University of Gothenburg, peter.zackariasson@gu.se
please see link below
https://www.academia.edu/30084636/Call_for_chapters_-_The_Playful_Undead...
Contact Email: s.j.webley@staffs.ac.uk
Website: https://www.academia.edu/30132758/Routledge_Advances_in_Game_Studies_Critical_Analyses_of_Zombies_and_Gameplay
The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies
https://www.cfplist.com/CFP.aspx?CID=10376
Event: 10/31/2017
Abstract: 01/31/2017
Location: Uk & Sweden
Organization: Staffordshire University & University of Gothenburg
The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies
deadline for submissions:
October 31, 2017
full name / name of organization:
steve webley / Staffordshire University UK & Peter Zackariasson/ University of Gothenburg
contact email:
s.j.webley@staffs.ac.uk
The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies
The Playful Undead and Video Games
Critical Analyses of Zombies and Gameplay - abstract due date 31/Jan/2017
please see link below for further details
https://www.academia.edu/30084636/Call_for_chapters_-_The_Playful_Undead...
The zombie has had a glorious evolutionary journey. From its humble beginnings in early cinema, where it was portrayed as a somnambulistic Haitian drone, it has evolved into a diseased cadaverous cannibal that has managed to infect all forms of contemporary media and take centre stage in popular culture. The turbulent decade of the 1960s saw the Haitian zombie reinvented and radically politicized by the independent filmmaker George A. Romero. Over the following decade the zombie became a key component in politicizing the horror genre itself. Once considered as puerile teenage entertainment, horror was to become a serious tool for social commentary. With the growth of consumerism and later Cold War narratives the zombie became an ideological entity in its own right, animating the horror genre as a mythic form of social critique, and creating the ideologically charged post-apocalyptic survival space onto which audiences projected their desires, fantasies, and fears.
Since the early 2000s and the beginnings of the war on terror the zombie has continued to evolve and grow in popularity. Its presence can today be observed across the mediascape, from literature and graphic novels, to film and television series, to art and music, to video games. In fact, it is hard to avoid a video game that somehow includes a zombie. They dominate all gaming markets from app store based mobile and casual games, through indie titles and fan-made mods, to AAA productions. The zombie has become a video game enemy par excellence, appearing in such dedicated franchises as Resident Evil or in hugely popular downloadable content and add-ons to games such as ‘Nazi Zombies mode’ for Call of Duty. Moreover, even games that are not overtly of the zombie apocalypse canon contain both antagonists and protagonists that can effectively be labelled Undead. Titles as diverse as World of Warcraft or the Fallout franchise utilize the zombie and its undead tropes to create deep and meaningful characters and interactive experiences for players to indulge their fantasies.
Building on the cultural fascination with zombies this book will offer different ways to understand the roles of zombies in video games: Johan Huizinga (1938) posited that ‘… All play means something…!’ So we ask what can a focus on play and interactivity bring to the growing corpus of work developed on zombies in film and other media? Why the fascination? What practices have evolved? How and why are zombie based games designed and developed? What are the consequences? What does it mean to participate in an interactive zombie apocalypse? What does it mean to play with, or as, the undead?
This call for chapters will consider contributions from a wide set of academic disciplines, for example: economics, cultural theory, sociological studies, social psychology, psychology, politics, business, design, arts, history, philosophy, literature, and film. Today the study of zombies as a topic within many of these disciplines has become popular, resulting in articles, chapters and books. This book will build on the existing interest that is dispersed into different outputs, exploring this phenomenon in a multidisciplinary Routledge Advances in Game Studies publication.
Format
Please submit one page abstract (500-600 words), plus references. In this abstract it is important that you 1) highlight your focus on zombies and video games, 2) draw out your theoretical framework you plan to apply, and 3) state possible contribution made in the chapter. In addition to the abstract we ask you to submit a short bio, including key publications and academic discipline/school. Expected length of final chapter, 5000-6000 words.
Time plan 2017
January 31 – Deadline abstract
April 30 – Deadline chapter, first draft
May – Workshop (planned for Staffordshire or Gothenburg)
August 30 – Deadline chapter, second draft
October 31 – Deadline, final chapter
Editors
Stephen J. Webley, Staffordshire University, S.J.Webley@staffs.ac.uk
Peter Zackariasson, University of Gothenburg, peter.zackariasson@gu.se
please see link below
https://www.academia.edu/30084636/Call_for_chapters_-_The_Playful_Undead...
Contact Email: s.j.webley@staffs.ac.uk
Website: https://www.academia.edu/30132758/Routledge_Advances_in_Game_Studies_Critical_Analyses_of_Zombies_and_Gameplay
CFP Literature and the Sea Collection (3/1/17)
Note interest in "sea monsters":
CFP: Literature and the Sea (Edited Collection)
https://www.cfplist.com/CFP.aspx?CID=10534
Event: 03/01/2017
Abstract: 03/01/2017
Location: Troy, AL
Organization: Troy University
Call for Papers
Literature and the Sea: Maritime Literary Currents
Abstracts are invited for a proposed collection of essays on literature and the sea, broadly defined. Proposed papers may focus on the literature of any country and any literary period, but please keep in mind that the language for the volume will be English. Cambridge Scholars Publishing has already expressed interest in publishing this collection.
Topics might include (but are not limited to) the following:
• Literature of or about the sea
• Metaphorical seas
• Mexico and the sea
• Mythology and the sea
• Sublimity and the sea
• Transatlantic/transpacific confluences
• Oceania and island culture
• Caribbean authors and the sea
• International trade
• Environmental literature and the sea
• Politics
• Aquatic life and literature
• Seascapes in literature
• Recreation and the sea
• Tourism
• Ships and shipping
• Navigation
• Maps
• War and other conflict
• Visual art
• Travel writing
• Sea monsters
• Shipwrecks and survival
• Piracy
• Storms
• Atlantis
• Utopias/dystopias
• Fantasy and the sea
The editors will choose contributions based on submitted abstracts, which we will then send to the publisher as part of a book proposal. Full-length essays of 5000 to 7000 words will be due a few months thereafter, at which point we will begin the editing phase of the project.
For consideration, please send a 500-word abstract and one-page CV to bprobertson@troy.edu by 1 March 2017. All submissions will receive responses, so if you do not hear from us within a few days of submission, please check with us to make sure we received your material.
Editors ------------------
Ben P. Robertson
Katona D. Weddle
Ekaterina V. Kobeleva
Shannon Thompson
Contact Email: bprobertson@troy.edu
CFP: Literature and the Sea (Edited Collection)
https://www.cfplist.com/CFP.aspx?CID=10534
Event: 03/01/2017
Abstract: 03/01/2017
Location: Troy, AL
Organization: Troy University
Call for Papers
Literature and the Sea: Maritime Literary Currents
Abstracts are invited for a proposed collection of essays on literature and the sea, broadly defined. Proposed papers may focus on the literature of any country and any literary period, but please keep in mind that the language for the volume will be English. Cambridge Scholars Publishing has already expressed interest in publishing this collection.
Topics might include (but are not limited to) the following:
• Literature of or about the sea
• Metaphorical seas
• Mexico and the sea
• Mythology and the sea
• Sublimity and the sea
• Transatlantic/transpacific confluences
• Oceania and island culture
• Caribbean authors and the sea
• International trade
• Environmental literature and the sea
• Politics
• Aquatic life and literature
• Seascapes in literature
• Recreation and the sea
• Tourism
• Ships and shipping
• Navigation
• Maps
• War and other conflict
• Visual art
• Travel writing
• Sea monsters
• Shipwrecks and survival
• Piracy
• Storms
• Atlantis
• Utopias/dystopias
• Fantasy and the sea
The editors will choose contributions based on submitted abstracts, which we will then send to the publisher as part of a book proposal. Full-length essays of 5000 to 7000 words will be due a few months thereafter, at which point we will begin the editing phase of the project.
For consideration, please send a 500-word abstract and one-page CV to bprobertson@troy.edu by 1 March 2017. All submissions will receive responses, so if you do not hear from us within a few days of submission, please check with us to make sure we received your material.
Editors ------------------
Ben P. Robertson
Katona D. Weddle
Ekaterina V. Kobeleva
Shannon Thompson
Contact Email: bprobertson@troy.edu
CFP Found Footage Horror Films Collection (3/1/17)
Essays on Found Footage Horror Films
Event: 09/20/2017
Abstract: 03/01/2017
https://www.cfplist.com/CFP.aspx?CID=10732
From the earliest example of mockumentary horror filmmaking with Cannibal Holocaust, found footage has become a trope du jour in the horror film genre. FF films are found in a variety of mediums: feature length films, shorts, and web series. According to the site FoundFootageCritic.com, the sub genre's narrative structure can be identified into four categories:
First person perspective (a.k.a. point of view) style – filmed/recorded from the perspective of the main character who is experiencing the event while holding the camera
Mockumentary (a.k.a. pseudo-documentary style) – filmed/recorded in the form of interviews and investigative reporting of the event
News Footage style – Footage from a professional news crew investigating the event
Surveillance Footage style – Footage from a stationary camera automatically filming/recording the event
In considering a film “found footage”, the source of the footage must be established to the audience. Other aspects of the subgenre include small cast sizes, limited locations and unknown casting.
Since The Blair Witch Project which used low-budget filming techniques and mass marketing ploys to raise hype of its release, the sub genre had an enormous output of product, the majority created by amateur filmmakers looking to recreate the Blair Witch success. Independent filmmakers and distributors have released effective FF films that use horror and Found Footage tropes in smart ways ([REC], TrollHunter, Creep). The recent sequel of The Blair Witch Project has been noted by critics for its use of improving on a sub genre which was said to be exhaustive, building on the conversation about found footage film as a growing art form. It is noteworthy that the rise of dependence on technology in America has lead to a new self-awareness in the sub genre with films such as Diary of the Dead and Unfriended.
Despite the influx of Found Footage films into the horror circuit and across mediums such as film, youTube, and exclusively on streaming sites, very little has been written about this specific type of horror filmmaking. This proposed edited book focuses on and explicitly includes a variety of perspectives of context of Found Footage Horror Films from The Blair Witch Project to the Present day. The essays in this collection will seek to survey the past 17 years and the way the subgenre has transformed perspectives on horror films and 21st century culture.
This call for chapters will consider contributions from a wide set of academic disciplines with a focus on film studies, for example: cultural theory, sociological studies, social psychology, psychology, politics, arts, history, philosophy, literature, and film.
McFarland Publishing is interested in publishing the collection.
Format
Please submit one page abstract (500-600 words).
In this abstract it is important that you 1) highlight your focus on found footage and horror films, noting its impact on various fields of research, culture, and technique 2) draw out your theoretical framework you plan to apply, and 3) state possible contribution made in the chapter.
In addition to the abstract we ask you to submit a short bio. Expected length of final chapter, 5000-6000 words.
Time plan 2017
March 1 – Deadline abstract
March 30-Notification of Accepted/Rejected Abstract
June 1st – Deadline chapter, first draft
August 15– Deadline chapter, second draft
September 20 – Deadline, final chapter
Contact Email: jackson0cooper@gmail.com
Event: 09/20/2017
Abstract: 03/01/2017
https://www.cfplist.com/CFP.aspx?CID=10732
From the earliest example of mockumentary horror filmmaking with Cannibal Holocaust, found footage has become a trope du jour in the horror film genre. FF films are found in a variety of mediums: feature length films, shorts, and web series. According to the site FoundFootageCritic.com, the sub genre's narrative structure can be identified into four categories:
First person perspective (a.k.a. point of view) style – filmed/recorded from the perspective of the main character who is experiencing the event while holding the camera
Mockumentary (a.k.a. pseudo-documentary style) – filmed/recorded in the form of interviews and investigative reporting of the event
News Footage style – Footage from a professional news crew investigating the event
Surveillance Footage style – Footage from a stationary camera automatically filming/recording the event
In considering a film “found footage”, the source of the footage must be established to the audience. Other aspects of the subgenre include small cast sizes, limited locations and unknown casting.
Since The Blair Witch Project which used low-budget filming techniques and mass marketing ploys to raise hype of its release, the sub genre had an enormous output of product, the majority created by amateur filmmakers looking to recreate the Blair Witch success. Independent filmmakers and distributors have released effective FF films that use horror and Found Footage tropes in smart ways ([REC], TrollHunter, Creep). The recent sequel of The Blair Witch Project has been noted by critics for its use of improving on a sub genre which was said to be exhaustive, building on the conversation about found footage film as a growing art form. It is noteworthy that the rise of dependence on technology in America has lead to a new self-awareness in the sub genre with films such as Diary of the Dead and Unfriended.
Despite the influx of Found Footage films into the horror circuit and across mediums such as film, youTube, and exclusively on streaming sites, very little has been written about this specific type of horror filmmaking. This proposed edited book focuses on and explicitly includes a variety of perspectives of context of Found Footage Horror Films from The Blair Witch Project to the Present day. The essays in this collection will seek to survey the past 17 years and the way the subgenre has transformed perspectives on horror films and 21st century culture.
This call for chapters will consider contributions from a wide set of academic disciplines with a focus on film studies, for example: cultural theory, sociological studies, social psychology, psychology, politics, arts, history, philosophy, literature, and film.
McFarland Publishing is interested in publishing the collection.
Format
Please submit one page abstract (500-600 words).
In this abstract it is important that you 1) highlight your focus on found footage and horror films, noting its impact on various fields of research, culture, and technique 2) draw out your theoretical framework you plan to apply, and 3) state possible contribution made in the chapter.
In addition to the abstract we ask you to submit a short bio. Expected length of final chapter, 5000-6000 words.
Time plan 2017
March 1 – Deadline abstract
March 30-Notification of Accepted/Rejected Abstract
June 1st – Deadline chapter, first draft
August 15– Deadline chapter, second draft
September 20 – Deadline, final chapter
Contact Email: jackson0cooper@gmail.com
Thursday, January 12, 2017
CFP Spaces and Places of Horror (4/15/2017)
The Spaces and Places of Horror
https://networks.h-net.org/node/73374/announcements/159185/spaces-and-places-horror
Announcement published by Francesco Pascuzzi on Wednesday, January 11, 2017
Type: Call for Publications
Date: January 1, 2017 to April 15, 2017
Subject Fields: Cultural History / Studies, Film and Film History, Humanities, Area Studies, Graduate Studies
Hi,
I am seeking essays in English to include in a volume tentatively entitled "The Spaces and Places of Horror," to be published by Vernon Press. I will serve as the editor of the volume.
This volume aims to explore the complex, layered horizon of landscapes in horror film culture to unpack the use that the horror genre makes of settings, locations, spaces, and places, be they physical, imagined, or altogether imaginary. Different theoretical frameworks are welcome, and relevant comparative studies among American, European, and/or non-Western cinema are strongly encouraged.
Please send 500-word abstracts to Francesco Pascuzzi (fpascuzz@ramapo.edu) by April 15, 2017. Notification of acceptance should be expected by late April.
Best,
Francesco Pascuzzi
Ramapo College
Contact Info:
Francesco Pascuzzi
Contact Email:
fpascuzz@ramapo.edu
https://networks.h-net.org/node/73374/announcements/159185/spaces-and-places-horror
Announcement published by Francesco Pascuzzi on Wednesday, January 11, 2017
Type: Call for Publications
Date: January 1, 2017 to April 15, 2017
Subject Fields: Cultural History / Studies, Film and Film History, Humanities, Area Studies, Graduate Studies
Hi,
I am seeking essays in English to include in a volume tentatively entitled "The Spaces and Places of Horror," to be published by Vernon Press. I will serve as the editor of the volume.
This volume aims to explore the complex, layered horizon of landscapes in horror film culture to unpack the use that the horror genre makes of settings, locations, spaces, and places, be they physical, imagined, or altogether imaginary. Different theoretical frameworks are welcome, and relevant comparative studies among American, European, and/or non-Western cinema are strongly encouraged.
Please send 500-word abstracts to Francesco Pascuzzi (fpascuzz@ramapo.edu) by April 15, 2017. Notification of acceptance should be expected by late April.
Best,
Francesco Pascuzzi
Ramapo College
Contact Info:
Francesco Pascuzzi
Contact Email:
fpascuzz@ramapo.edu
Thursday, January 5, 2017
Frankenstein and the Fantastic Blog
The Fantastic (Fantasy, Horror, and Science Fiction) Area is pleased to announce the launch of its new outreach effort, Frankenstein and the Fantastic. The new blog can be accessed at http://frankensteinandthefantastic.blogspot.com/.
I will eventually be migrating the Frankenstein related links from this site to the new one.
Michael Torregrossa
Area Chair
I will eventually be migrating the Frankenstein related links from this site to the new one.
Michael Torregrossa
Area Chair
Wednesday, November 16, 2016
Reading List: Vampires and Zombies: Transcultural Migrations and Transnational Interpretations
Vampires and Zombies: Transcultural Migrations and Transnational Interpretations http://www.upress.state.ms.us/books/1845
Edited by Dorothea Fischer-Hornung and Monika Mueller
240 pages (approx.), 6 x 9 inches, introduction, 9 b&w illustrations, bibliography, index
9781496804747 Printed casebinding $65.00S
Essays that hunt down what happens when the undead go global
Contributions by Katarzyna Ancuta, Daniella Borgia, Timothy R. Fox, Richard J. Hand, Ewan Kirkland, Sabine Metzger, Timothy M. Robinson, Carmen Serrano, Rasmus R. Simonsen, and Johannes Weber
The undead are very much alive in contemporary entertainment and lore. Indeed, vampires and zombies have garnered attention in print media, cinema, and on television. The vampire, with roots in medieval European folklore, and the zombie, with origins in Afro-Caribbean mythology, have both undergone significant transformations in global culture, proliferating as deviant representatives of the zeitgeist.
As this volume demonstrates, distribution of vampires and zombies across time and space has revealed these undead figures to carry multiple meanings. Of all monsters, vampires and zombies seem to be the most trendy--the most regularly incarnate of the undead and the monsters most frequently represented in the media and pop culture. Moreover, both figures have experienced radical reinterpretations. If in the past vampires were evil, blood-sucking exploiters and zombies were brainless victims, they now have metamorphosed into kinder and gentler blood-sucking vampires and crueler, more relentless, flesh-eating zombies. Although the portrayals of both vampires and zombies can be traced back to specific regions and predate mass media, the introduction of mass distribution through film and game technologies has significantly modified their depiction over time and in new environments. Among other topics, contributors discuss zombies in Thai films, vampire novels of Mexico, and undead avatars in horror videogames. This volume--with scholars from different national and cultural backgrounds--explores the transformations that the vampire and zombie figures undergo when they travel globally and through various media and cultures.
Contents (from WorldCat)
pt. 1 MIGRATORY TRANSFORMATIONS --
The Smiling Dead; Or, On The Empirical Impossibility Of Thai Zombies / Katarzyna Ancuta --
"She Loves The Blood Of The Young" The Bloodthirsty Female as Cultural Mediator in Lafcadio Hearn's "The Story of Chugoro" / Sabine Metzger --
Octavia Butler's Vampiric Vision Fledgling as a Transnational Neo-Slave Narrative / Timothy M. Robinson --
pt. 2 NON/NORMATIVE SEXUALITIES --
Appetite For Disruption The Cinematic Zombie and Queer Theory / Rasmus R. Simonsen --
Vampiros Mexicanos Nonnormative Sexualities in Contemporary Vampire Novels of Mexico / Danielle Borgia --
Hybridity Sucks European Vampirism Encounters Haitian Voodoo in The White Witch of Rosehall / Monika Mueller --
pt. 3 CULTURAL ANXIETIES --
Revamping Dracula On The Mexican Silver Screen Fernando Mendez's El vampiro / Carmen Serrano --
The Reanimation Of Yellow-Peril Anxieties In Max Brooks's World War Z / Timothy R. Fox --
pt. 4 CIRCULATING TECHNOLOGIES --
"Doctor! I'm Losing Blood!" "Nonsense! Your Blood Is Right Here" The Vampirism of Carl Theodor Dreyer's Film Vampyr / Johannes Weber --
Disruptive Corpses Tales of the Living Dead in Horror Comics of the 1950s and Beyond / Richard J. Hand --
Undead Avatars The Zombie in Horror Video Games / Ewan Kirkland.
Dorothea Fischer-Hornung, Heidelberg, Germany, is senior lecturer (retired) in the English Department and the Heidelberg Center for American Studies, Heidelberg University. She is the editor of Aesthetic Practices and Politics in Media, Music, and Art: Performing Migration and founding coeditor of the interdisciplinary journal Atlantic Studies Global Currents. Monika Mueller, Bochum, Germany, is senior lecturer of American literature and culture at the University of Bochum, Germany. She is the author of George Eliot U.S.: Transatlantic Literary and Cultural Perspectives.
240 pages (approx.), 6 x 9 inches, introduction, 9 b&w illustrations, bibliography, index
Reading List: Monstrous Progeny
Monstrous Progeny: A History of the Frankenstein Narratives
https://www.rutgersuniversitypress.org/monstrous-progeny/9780813564234
By Lester D. Friedman, Allison B. Kavey
256 pages, 37 photographs, 6 x 9
Paper,August 1, 2016$27.95
978-0-8135-6423-4
Cloth,August 1, 2016$90.00
978-0-8135-6424-1
PDF,August 1, 2016$27.95
978-0-8135-6425-8
EPUB,August 1, 2016$27.95
978-0-8135-7370-0
About This Book
Mary Shelley’s 1818 novel Frankenstein
is its own type of monster mythos that will not die, a corpus whose
parts keep getting harvested to animate new artistic creations. What
makes this tale so adaptable and so resilient that, nearly 200 years
later, it remains vitally relevant in a culture radically different from
the one that spawned its birth?
Monstrous Progeny
takes readers on a fascinating exploration of the Frankenstein family
tree, tracing the literary and intellectual roots of Shelley’s novel
from the sixteenth century and analyzing the evolution of the book’s
figures and themes into modern productions that range from children’s
cartoons to pornography. Along the way, media scholar Lester D. Friedman
and historian Allison B. Kavey examine the adaptation and evolution of
Victor Frankenstein and his monster across different genres and in
different eras. In doing so, they demonstrate how Shelley’s tale and its
characters continue to provide crucial reference points for current
debates about bioethics, artificial intelligence, cyborg lifeforms, and
the limits of scientific progress.
Blending an
extensive historical overview with a detailed analysis of key texts, the
authors reveal how the Frankenstein legacy arose from a series of fluid
intellectual contexts and continues to pulsate through an extraordinary
body of media products. Both thought-provoking and entertaining, Monstrous Progeny offers a lively look at an undying and significant cultural phenomenon.
Table of Contents
Acknowledgments
Introduction: Singing the Body Electric
1 In a Country of Eternal Light: Frankenstein’s Intellectual History
2 The Instruments of Life: Frankenstein’s Medical History
3 A More Horrid Contrast: From the Page to the Stage
4 It’s Still Alive: The Universal and Hammer Movie Cycles
5 The House of Frankenstein: Mary Shelley’s Step Children
6 Fifty Ways to Leave Your Monster
Notes
Select Bibliography
Index
Reading List: Cambridge Companion to Frankenstein
The Cambridge Companion to Frankenstein
http://www.cambridge.org/us/academic/subjects/literature/english-literature-1700-1830/cambridge-companion-frankenstein?format=PB
Part of Cambridge Companions to Literature
Editor: Andrew Smith
Date Published: August 2016
format: Paperback (Also available in hardcover and as an ebook)
isbn: 9781107450608
length: 288 pages
dimensions: 227 x 151 x 15
contains: 10 b/w illus.
The Cambridge Companion to Frankenstein consists of sixteen original essays on Mary Shelley's novel by leading scholars, providing an invaluable introduction to Frankenstein and its various critical contexts. Theoretically informed but accessibly written, this volume relates Frankenstein to various social, literary, scientific and historical contexts, and outlines how critical theories such as ecocriticism, posthumanism, and queer theory generate new and important discussion in illuminating ways. The volume also explores the cultural afterlife of the novel including its adaptations in various media such as drama, film, television, graphic novels, and literature aimed at children and young adults. Written by an international team of leading experts, the essays provide new insights into the novel and the various critical approaches which can be applied to it. The volume is an essential guide to students and academics who are interested in Frankenstein and who wish to know more about its complex literary history.
- Provides a comprehensive and accessible overview of the novel using a number of different approaches by leading scholars
- Explores themes and theories such as gender and identity, the environment, politics and science of the time
- Looks at Frankenstein in popular culture today including adaptations on stage, television, the graphic novel and in children's literature
Table of Contents
Introduction Andrew Smith
Part I. Historical and Literary Contexts:
1. Frankenstein: its composition and publication Charles E. Robinson
2. Contextualising sources Lisa Vargo
3. Romantic contexts Jerrold E. Hogle
4. The context of the novel Catherine Lanone
5. Scientific contexts Andrew Smith
6. Frankenstein's politics Adriana Craciun
Part II. Theories and Forms:
7. The female Gothic Angela Wright
8. What is queer about Frankenstein? George E. Haggerty
9. Race and Frankenstein Patrick Brantlinger
10. Frankenstein and ecocriticism Timothy Morton
11. The posthuman Andy Mousley
Part III. Adaptations:
12. Dramatic adaptations of Frankenstein Diane Long Hoeveler
13. Frankenstein and film Mark Jancovich
14. Literature David Punter
15. Frankenstein in comics and graphic novels Christopher Murray
16. Growing up Frankenstein: adaptations for young readers Karen Coats and Farran Norris Sands
EditorAndrew Smith, University of Sheffield
Andrew Smith is Reader in Nineteenth-Century English Literature at the University of Sheffield. His 18 books include the forthcoming Gothic Death 1740–1914: A Literary History, The Ghost Story 1840–1920: A Cultural History (2010), Gothic Literature (2007, revised edition 2013), Victorian Demons (2004) and Gothic Radicalism (2000). He edits, with Benjamin Fisher, the award-winning series Gothic Literary Studies and Gothic Authors: Critical Revisions. He also edits, with William Hughes, The Edinburgh Companions to the Gothic series. He is a past President of the International Gothic Association.
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