The official site for the game is http://www.stygianthegame.com/.
Tuesday, March 13, 2018
Review of Stygian: Reign of the Old Ones
The local news magazine The Smithfield Times recently included a review of the Lovecraft-inspired game Stygian: Reign of the Old Ones. The review by columnist Ron Scopolleti can be accessed at http://smithfieldtimesri.net/2018/03/game-preview-stygian-reign-of-the-old-ones/.
The official site for the game is http://www.stygianthegame.com/.
The official site for the game is http://www.stygianthegame.com/.
Friday, March 9, 2018
Gothic Nature: New Journal Launch/CFP
A head's up from the IAFA news site:
NEW JOURNAL: Gothic Nature: New Directions in Eco-horror and the EcoGothic
https://www.fantastic-arts.org/2017/cfp-new-journal-gothic-nature-new-directions-in-eco-horror-and-the-ecogothic/
deadline for submissions:
April 15, 2018
full name / name of organization:
Gothic Nature: New Directions in Eco-horror and the EcoGothic
contact email:
gothicnaturejournal@gmail.com
We are seeking submissions for our new Gothic Nature journal, due out in 2018.
Further to the success of the November 2017 conference Gothic Nature: New Directions in Eco-horror and the EcoGothic, we will be producing a peer-reviewed journal devoted to the same themes.
The editorial board so far includes Dr Elizabeth Parker, Emily Bourke, Professor Simon C. Estok, Professor Andrew Smith, Professor Dawn Keetley, Professor Matthew Wynn Sivils, and Dr Stacy Alaimo. The inaugural issue will also feature an opening essay on eco-horror and the ecoGothic from Dr Tom J. Hillard.
‘Horror is becoming the environmental norm.’ —Sara L. Crosby
Gothic and horror fictions have long functioned as vivid reflections of contemporary cultural fears. Wood argues that horror is ‘the struggle for recognition of all that our society represses or oppresses’, and Newman puts forward the idea that it ‘actively eliminates and exorcises our fears by allowing them to be relegated to the imaginary realm of fiction’. Now, more than ever, the environment has become a locus of those fears for many people, and this conference seeks to investigate the wide range of Gothic- and horror-inflected texts that tackle the darker side of nature.
As we inch ever closer toward an anthropogenic ecological crisis, this type of fiction demands our attention. In 2009, Simon C. Estok highlighted the importance of ‘ecophobia’ in representations of nature, emphasising the need for ecocriticism to acknowledge the ‘irrational and groundless hatred of the natural world’ present in contemporary society. Tom J. Hillard responded to Estok’s call ‘to talk about how fear of the natural world is a definable and recognizable discourse’, suggesting that ‘we need look no further than the rich and varied vein of critical approaches used to investigate fear in literature.’ What happens, he asks, ‘when we bring the critical tools associated with Gothic fiction to bear on writing about nature?’
Gothic Nature seeks to address this question, interrogating the place of non-human nature in horror and the Gothic today, and showcasing the most exciting and innovative research currently being conducted in the field. We are especially interested for our inaugural issue in articles which address ecocritical theory and endeavour to define and discern the distinctions between ‘eco-horror’ and ‘ecoGothic’. We welcome academic articles from a variety of different subject backgrounds, as well as interdisciplinary work.
Subjects may include, but are by no means limited to:
1. Eco-horror and the ecoGothic: theory and distinctions
2. Ecocriticism and horror literature/ media
3. Ecocriticism and Gothic literature/ media
4. Gothic nature/ecophobia
5. Global eco-horror/global ecoGothic
6. Environmental activism and horror/ the Gothic
7. Human nature vs. nonhuman nature
8. Rural Gothic
9. Landscapes of fear
10. Legends of haunted nature/Gothic nature and mythology
11. Monsters in nature/natural spectres
12. Climate change and Gothic nature
13. Environmental apocalypse
14. Animal horror
15. Gothic nature in art through the ages
If you are interested in submitting a piece for our inaugural issue, please send an article of 6-8,000 words (Harvard referencing), along with a brief biography to gothicnaturejournal@gmail.com by April 15th, 2018. Please feel free to contact either Elizabeth Parker (parkereh@tcd.ie) or Emily Bourke (bourkee2@tcd.ie) with any informal queries you may have.
Please do get in touch, too, if you are interested in serving on the editorial board or contributing to the work on our website.
NEW JOURNAL: Gothic Nature: New Directions in Eco-horror and the EcoGothic
https://www.fantastic-arts.org/2017/cfp-new-journal-gothic-nature-new-directions-in-eco-horror-and-the-ecogothic/
deadline for submissions:
April 15, 2018
full name / name of organization:
Gothic Nature: New Directions in Eco-horror and the EcoGothic
contact email:
gothicnaturejournal@gmail.com
We are seeking submissions for our new Gothic Nature journal, due out in 2018.
Further to the success of the November 2017 conference Gothic Nature: New Directions in Eco-horror and the EcoGothic, we will be producing a peer-reviewed journal devoted to the same themes.
The editorial board so far includes Dr Elizabeth Parker, Emily Bourke, Professor Simon C. Estok, Professor Andrew Smith, Professor Dawn Keetley, Professor Matthew Wynn Sivils, and Dr Stacy Alaimo. The inaugural issue will also feature an opening essay on eco-horror and the ecoGothic from Dr Tom J. Hillard.
‘Horror is becoming the environmental norm.’ —Sara L. Crosby
Gothic and horror fictions have long functioned as vivid reflections of contemporary cultural fears. Wood argues that horror is ‘the struggle for recognition of all that our society represses or oppresses’, and Newman puts forward the idea that it ‘actively eliminates and exorcises our fears by allowing them to be relegated to the imaginary realm of fiction’. Now, more than ever, the environment has become a locus of those fears for many people, and this conference seeks to investigate the wide range of Gothic- and horror-inflected texts that tackle the darker side of nature.
As we inch ever closer toward an anthropogenic ecological crisis, this type of fiction demands our attention. In 2009, Simon C. Estok highlighted the importance of ‘ecophobia’ in representations of nature, emphasising the need for ecocriticism to acknowledge the ‘irrational and groundless hatred of the natural world’ present in contemporary society. Tom J. Hillard responded to Estok’s call ‘to talk about how fear of the natural world is a definable and recognizable discourse’, suggesting that ‘we need look no further than the rich and varied vein of critical approaches used to investigate fear in literature.’ What happens, he asks, ‘when we bring the critical tools associated with Gothic fiction to bear on writing about nature?’
Gothic Nature seeks to address this question, interrogating the place of non-human nature in horror and the Gothic today, and showcasing the most exciting and innovative research currently being conducted in the field. We are especially interested for our inaugural issue in articles which address ecocritical theory and endeavour to define and discern the distinctions between ‘eco-horror’ and ‘ecoGothic’. We welcome academic articles from a variety of different subject backgrounds, as well as interdisciplinary work.
Subjects may include, but are by no means limited to:
1. Eco-horror and the ecoGothic: theory and distinctions
2. Ecocriticism and horror literature/ media
3. Ecocriticism and Gothic literature/ media
4. Gothic nature/ecophobia
5. Global eco-horror/global ecoGothic
6. Environmental activism and horror/ the Gothic
7. Human nature vs. nonhuman nature
8. Rural Gothic
9. Landscapes of fear
10. Legends of haunted nature/Gothic nature and mythology
11. Monsters in nature/natural spectres
12. Climate change and Gothic nature
13. Environmental apocalypse
14. Animal horror
15. Gothic nature in art through the ages
If you are interested in submitting a piece for our inaugural issue, please send an article of 6-8,000 words (Harvard referencing), along with a brief biography to gothicnaturejournal@gmail.com by April 15th, 2018. Please feel free to contact either Elizabeth Parker (parkereh@tcd.ie) or Emily Bourke (bourkee2@tcd.ie) with any informal queries you may have.
Please do get in touch, too, if you are interested in serving on the editorial board or contributing to the work on our website.
Wednesday, February 28, 2018
CFP Metaphor of the Monster Conference (7/1/2018; Mississipi State U 9/21-22/2018)
From the MEARCSTAPA List:
The Metaphor of the Monster
Friday, September 21 - Saturday, September 22, 2018
Deadline for abstract submission: Tuesday, July 1st, 2018
Mermaids, giants, gorgons, harpies, dragons, cyclopes, hermaphrodites, cannibals, amazons, crackens, were-wolves, barbarians, savages, zombies, vampires, angels, demons… all of them inhabit and represent our deepest fears of attack and hybridization, but also our deepest desires of transgression. Frequently described in antithetical terms, monsters were frequently read in the past as holy inscriptions and proofs of the variety and beauty of the world created by God, or as threats to civilization and order. These opposing views on the monster show the radically different values that have been assigned to monsters since they started to permeate the human imagination in manuscripts, maps, and books.
Their hybridity challenges natural order and escapes taxonomy, thus problematizing our epistemological certainties. Inhabiting the margins of society, monsters also police social laws and show the consequences of transgressions on their own deformed bodies. Moreover, they are pervasive in nature and metamorphose into something else in different historical periods in order to embody the fears of that age, never to disappear from our imagination.
The 2018 Classical & Modern Languages and Literatures Symposium focuses on the concept of monstrosity as a cultural construct in literature, science, and art, and the ways in which the monster has been shaped, used, and interpreted as metaphor by scientists, writers, and artists in order to depict otherness, hybridization, threat to hegemonic order, and transgression.
We accept submissions in English that explore monstrosity from various disciplinary or interdisciplinary angles. Topics might include, but are not limited to:
All proposals are due on July 1st, 2018.
The Metaphor of the Monster
Friday, September 21 - Saturday, September 22, 2018
Deadline for abstract submission: Tuesday, July 1st, 2018
Mermaids, giants, gorgons, harpies, dragons, cyclopes, hermaphrodites, cannibals, amazons, crackens, were-wolves, barbarians, savages, zombies, vampires, angels, demons… all of them inhabit and represent our deepest fears of attack and hybridization, but also our deepest desires of transgression. Frequently described in antithetical terms, monsters were frequently read in the past as holy inscriptions and proofs of the variety and beauty of the world created by God, or as threats to civilization and order. These opposing views on the monster show the radically different values that have been assigned to monsters since they started to permeate the human imagination in manuscripts, maps, and books.
Their hybridity challenges natural order and escapes taxonomy, thus problematizing our epistemological certainties. Inhabiting the margins of society, monsters also police social laws and show the consequences of transgressions on their own deformed bodies. Moreover, they are pervasive in nature and metamorphose into something else in different historical periods in order to embody the fears of that age, never to disappear from our imagination.
The 2018 Classical & Modern Languages and Literatures Symposium focuses on the concept of monstrosity as a cultural construct in literature, science, and art, and the ways in which the monster has been shaped, used, and interpreted as metaphor by scientists, writers, and artists in order to depict otherness, hybridization, threat to hegemonic order, and transgression.
We accept submissions in English that explore monstrosity from various disciplinary or interdisciplinary angles. Topics might include, but are not limited to:
- Representation in literature/art of different forms of monstrosity
- Gendered- or queer-focused studies of monstrosity
- The depiction of the Other as monster, and the depiction of marginalized communities
- Hybridity, miscegenation, and the problem of categorizing
- Cartography, margins of civilization
- Books as monsters
- Transgressive subjects as monsters
- The medicalization of the monster: monstrosity in medical discourse; monsters within: parasites, viruses, and illness
- Ecocritical approaches to the topic: humans as "parasites" and "predators"
- Dystopian depictions of the urban space as a monstrosity
- The monster as spectacle, freak shows
- Deconstructing monstrosity through inclusion
- Teaching monstrosity
All proposals are due on July 1st, 2018.
- Paper title
- Name, institutional affiliation, position or title and contact information of the presenter including e-mail address and phone number.
- Abstract for an individual paper: up to 300 words for a single paper
- Brief (2-4 sentence) scholarly or professional biography of the presenter.
- Indication of any audiovisual needs or special accommodations.
Publication of Peer-Reviewed Selected Proceedings
After the conference, all presenters will be eligible to submit their papers for publication consideration.Registration fees
Early registration by July 1st:- $100.00 U.S. academics (faculty)
- $75.00 foreign academics and U.S. graduate students
- $125.00 U.S. academics (faculty)
- $100.00 foreign academics and U.S. graduate students
Friday, February 2, 2018
CFP Slayage Conference on the Whedonverses Eight (expired) (Alabama, 6/21/-24/2018)
Sorry to have missed posting this much earlier:
CFP: Slayage Conference on the Whedonverses Eight
https://call-for-papers.sas.upenn.edu/cfp/2017/05/10/cfp-slayage-conference-on-the-whedonverses-eight
CFP: Slayage Conference on the Whedonverses Eight
https://call-for-papers.sas.upenn.edu/cfp/2017/05/10/cfp-slayage-conference-on-the-whedonverses-eight
deadline for submissions:
January 8, 2018
full name / name of organization:
Whedon Studies Association
contact email:
Slayage: The Journal of Whedon Studies, the Whedon Studies Association, and conveners Stacey Abbott and Cynthia Burkhead invite proposals for the eighth biennial Slayage Conference
on the Whedonverses (SCW8). Devoted to Joss Whedon’s creative works,
SCW8 will be held on the campus of the University of North Alabama,
Florence, Alabama, June 21-24, 2018. The conference will be organized by
Local Arrangements Chair Cynthia Burkhead, along with Slayage alumns
Anissa Graham, Stephanie Graves, Jennifer Butler Keeton, and Brenna
Wardell
We welcome proposals of 200-300 words (or an abstract of a completed paper) on any aspect of Whedon’s television and web texts (Buffy the Vampire Slayer, Angel, Firefly, Dr. Horrible’s Sing-Along Blog, Dollhouse,Marvel’s Agents of S.H.I.E.L.D.); his films (Serenity, The Cabin in the Woods, Marvel’s The Avengers, Much Ado About Nothing, The Avengers: Age of Ultron, In Your Eyes); his comics (e.g. Fray; Astonishing X-Men; Runaways;Sugarshock!; Buffy the Vampire Slayer Season Eight, Nine, and Ten; Angel: After the Fall; Angel & Faith Season Nine and Ten); or any element of the work of Whedon and his collaborators. Additionally, a proposal may address paratexts, fandoms, or Whedon’s extracurricular—political and activist—activities, such as his involvement with Equality Now or the 2016 US elections. Since Florence, Alabama is one of the four cities making up the Shoals, and the area is rich in music history (the Muscle Shoals Sound, W.C. Handy) as well as Native American History, we look forward to papers addressing these subjects as they relate to the Whedonverses. Multidisciplinary approaches (literature, philosophy, political science, history, communications, film and television studies, women’s studies, religion, linguistics, music, cultural studies, art, and others) are all welcome. A proposal/abstract should demonstrate familiarity with already-published scholarship in the field, which includes dozens of books, hundreds of articles, and over a fifteen years of the blind peer-reviewed journal Slayage. Proposers may wish to consult Whedonology: An Academic Whedon Studies Bibliography, housed with Slayage at www.whedonstudies.tv.
An individual paper is strictly limited to a maximum reading time of 20 minutes, and we encourage, though do not require, self-organized panels of three presenters. Proposals for workshops, roundtables, or other types of sessions are also welcome. Submissions by graduate and undergraduate students are invited; undergraduates should provide the name, email, and phone number of a faculty member willing to consult with them (the faculty member does not need to attend). Proposals should be submitted online through the SCW8 webpage at http://www.whedonstudies.tv/scw8--2018.html and will be reviewed by program chairs Stacey Abbott, Cynthia Burkhead, and Rhonda V. Wilcox. Submissions must be received by Monday, 8 January 2018. Decisions will be made by 5 March 2018. Questions regarding proposals can be directed to Rhonda V. Wilcox at the conference email address: slayage.conference@gmail.com.
We welcome proposals of 200-300 words (or an abstract of a completed paper) on any aspect of Whedon’s television and web texts (Buffy the Vampire Slayer, Angel, Firefly, Dr. Horrible’s Sing-Along Blog, Dollhouse,Marvel’s Agents of S.H.I.E.L.D.); his films (Serenity, The Cabin in the Woods, Marvel’s The Avengers, Much Ado About Nothing, The Avengers: Age of Ultron, In Your Eyes); his comics (e.g. Fray; Astonishing X-Men; Runaways;Sugarshock!; Buffy the Vampire Slayer Season Eight, Nine, and Ten; Angel: After the Fall; Angel & Faith Season Nine and Ten); or any element of the work of Whedon and his collaborators. Additionally, a proposal may address paratexts, fandoms, or Whedon’s extracurricular—political and activist—activities, such as his involvement with Equality Now or the 2016 US elections. Since Florence, Alabama is one of the four cities making up the Shoals, and the area is rich in music history (the Muscle Shoals Sound, W.C. Handy) as well as Native American History, we look forward to papers addressing these subjects as they relate to the Whedonverses. Multidisciplinary approaches (literature, philosophy, political science, history, communications, film and television studies, women’s studies, religion, linguistics, music, cultural studies, art, and others) are all welcome. A proposal/abstract should demonstrate familiarity with already-published scholarship in the field, which includes dozens of books, hundreds of articles, and over a fifteen years of the blind peer-reviewed journal Slayage. Proposers may wish to consult Whedonology: An Academic Whedon Studies Bibliography, housed with Slayage at www.whedonstudies.tv.
An individual paper is strictly limited to a maximum reading time of 20 minutes, and we encourage, though do not require, self-organized panels of three presenters. Proposals for workshops, roundtables, or other types of sessions are also welcome. Submissions by graduate and undergraduate students are invited; undergraduates should provide the name, email, and phone number of a faculty member willing to consult with them (the faculty member does not need to attend). Proposals should be submitted online through the SCW8 webpage at http://www.whedonstudies.tv/scw8--2018.html and will be reviewed by program chairs Stacey Abbott, Cynthia Burkhead, and Rhonda V. Wilcox. Submissions must be received by Monday, 8 January 2018. Decisions will be made by 5 March 2018. Questions regarding proposals can be directed to Rhonda V. Wilcox at the conference email address: slayage.conference@gmail.com.
This CFP has been viewed 1,098 times.
CFP Haunted Heritage: Confronting a Culture of Specters Graduate Conference (2/15/2018; Rutgers 4/14/2018)
CALL FOR PAPERS: "Haunted Heritage: Confronting a Culture of Specters"
https://call-for-papers.sas.upenn.edu/cfp/2017/11/12/call-for-papers-haunted-heritage-confronting-a-culture-of-specters
https://call-for-papers.sas.upenn.edu/cfp/2017/11/12/call-for-papers-haunted-heritage-confronting-a-culture-of-specters
deadline for submissions:
February 15, 2018
full name / name of organization:
Rutgers University, Camden / English Graduate Student Association
contact email:
The
EGSA is pleased to release the call for papers for our fifth annual
graduate conference to be held on Saturday, April 14th 2018. This year's
conference theme is "Haunted Heritage: Confronting a Culture of
Specters."
Haunted Heritage: Confronting a Culture of Specters
Rutgers University, Camden Graduate Conference
We inhabit a haunted culture, surrounded by specters of
every sort. From digital culture, the political mainstreaming of ideas
once thought past, to the domination of popular culture by zombies,
apocalypses, and nostalgia, our cultural moment is consumed by spectral
presences. Everywhere we turn, there is a haunting to comprehend and
confront. Even language, our primary mode for understanding all of these
various specters, is haunted.
Understanding our cultural hauntings, and our haunted
selves, empowers us to begin the struggle of overcoming, living with, or
even appreciating the specters surrounding us. This conference explores
the past, present, and future of our cultural situation and the ways we
learn to live with the knowledge of an other-worldly, forgotten, or
translucent presence. We seek papers and presentations that explore
presences felt but invisible, otherworldly, esoteric, uncanny,
monstrous, and/or mysterious.
The English Graduate Student Association, is pleased to
invite papers from graduate, and exceptional undergraduate, students
within literary studies, literary theory or philosophy, digital studies,
film studies, game studies, creative writing, literacy studies,
linguistics, rhetoric & composition, and childhood studies for our
fifth annual conference on April 14, 2018.
Papers and presentations might include (but are not limited to):
- Histories, of any kind
- Identity
- Materialisms
- Digital Content and Spaces
- Exile and Migration
- Colonialism
- Post/Trans-Humanism, Animal Studies
- Modernity and Post-Modernity
- Mysticisms, Religion
- Hauntologies
- Affect
- Popular Culture
Keynote Speaker: TBD
Submission Deadline: Proposals should be submitted to egsa2018conference@gmail.com by February 15th, 2018.
Submission Guidelines: Please submit a 350 word
abstract proposing an 8-12 page paper. Abstracts should be added to the
email submission as an attachment with no identifying information
present. In the body of the email, please include your name, affiliated
institution, area of study, and contact information.
For questions, email egsa2018conference@gmail.com.
This CFP has been viewed 2,701 times.
CFP Supernatural Studies Conference Spring 2018 (expired; New York 3/23/2018)
Sorry to have missed this:
EXTENDED! Supernatural Studies Conference Spring 2018
EXTENDED! Supernatural Studies Conference Spring 2018
deadline for submissions:
January 9, 2018
full name / name of organization:
Supernatural Studies Association
contact email:
The Supernatural Studies Association (www.supernaturalstudies.com)
invites submissions for the inaugural Supernatural Studies Conference,
to be held at Bronx Community College on Friday, March 23, 2018.
Call for submissions
The Supernatural Studies Association invites submissions for the inaugural Supernatural Studies Conference, to be held at Bronx Community College on Friday, March 23, 2018. Horror scholar and author of a series of zombie novels Dr. Kim Paffenroth of Iona College will deliver the keynote address.
The conference welcomes proposals on representations of the supernatural in any form of text or artifact, such as literature (including speculative fiction), film, television, video games, social media, or music. Submissions regarding pedagogy and supernatural representations will also be considered. There is no restriction regarding time periods or disciplinary and theoretical approaches (examples include literary, historical, and cultural studies approaches).
Abstracts of 300 words maximum should be sent to supernaturalstudies@gmail.com by January 9, 2018, and decisions regarding acceptance will be communicated by January 20, 2018. Faculty, graduate students, and independent scholars are welcome to apply. Please note that, due to location and funding, we do not have an associated conference hotel and cannot offer travel support.
Call for submissions
The Supernatural Studies Association invites submissions for the inaugural Supernatural Studies Conference, to be held at Bronx Community College on Friday, March 23, 2018. Horror scholar and author of a series of zombie novels Dr. Kim Paffenroth of Iona College will deliver the keynote address.
The conference welcomes proposals on representations of the supernatural in any form of text or artifact, such as literature (including speculative fiction), film, television, video games, social media, or music. Submissions regarding pedagogy and supernatural representations will also be considered. There is no restriction regarding time periods or disciplinary and theoretical approaches (examples include literary, historical, and cultural studies approaches).
Abstracts of 300 words maximum should be sent to supernaturalstudies@gmail.com by January 9, 2018, and decisions regarding acceptance will be communicated by January 20, 2018. Faculty, graduate students, and independent scholars are welcome to apply. Please note that, due to location and funding, we do not have an associated conference hotel and cannot offer travel support.
Last updated January 2, 2018
This CFP has been viewed 2,226 times.
CFP From Carmilla to Drusilla: Vampires Across Popular Culture (2/15/2018; Romania 6/7-10/2018)
From Carmilla to Drusilla: Vampires Across Popular Culturehttps://call-for-papers.sas.upenn.edu/cfp/2017/11/08/from-carmilla-to-drusilla-vampires-across-popular-culture
deadline for submissions:
February 15, 2018
full name / name of organization:
Seton Hill University
contact email:
Call For Papers: International Vampire Film and Arts Festival - 7-10 June 2018
The third annual International Vampire Film and Arts
Festival will take place in Sighisoara in Transylvania, Romania, on June
7th-10th, 2018. To celebrate their popular fiction dual degree
collaboration, WRITE TOGETHER--in
which students earn an MA studying at Edinburgh Napier University for
one year, then transition to a low residency program to earn their MFA
from Seton Hill University--faculty from both universities are teaming
up to curate this year’s exciting call for papers.
Keynote Speaker:CHRISTOPHER GOLDEN (bestselling author of
Buffy the Vampire Slayer - The Watcher's Guide, Of Saints and Shadows,
Ararat, Seize the Night, & more)
Sponsoring Faculty: Dr. Michael Arnzen and Nicole Peeler (Seton Hill University)
Mr. David Bishop and Ms. Laura Lam (Edinburgh Napier University)
Conference Theme: From Carmilla to Drusilla: Vampires Across Popular Culture
The IVFAF, in association with Seton Hill University and
Edinburgh Napier University, calls for papers by scholars interested in
presenting their researched essays on vampire literature and film in the
academic symposium that runs alongside the festival in Transylvania.
We will divide this year’s academic symposium into two days of programming:
-
One day will be devoted to situating the vampire as a figure of fascination across popular culture.
-
One day will focus on the vampires of Joss Whedon's Buffy the Vampire Slayer universe, including its many spin-offs and tie-ins and source materials.
The significance of the "Buffyverse” (which in 2017
celebrated its 20th Anniversary since first airing on television) will
be emphasized in this second day. While drawing from an original 1992
horror comedy film, the quirky YA television series developed the
characters and the supernatural world of Sunnydale into a long-running
series (and a popular spin-off, Angel), generating a cult following that
continues to this day in comics, novels, and more.
Both sessions invite papers in genre theory & history,
popular fiction, media culture, television theory, adaptation, comic
studies, the transformative arts and other areas of film, literary and
cultural studies in order to explore and expand the significance of both
the vampire, in general, as well as the "Buffyverse," in popular
culture and around the world.
Proposals for single 20-minute papers or pre-constituted
panels (of 3 x 20-minute papers) on the conference theme are now
welcomed from scholars. Possible topics for the first day may include
(but are not limited to) the following:
+The Impact of Popular Culture or Non‐Gothic Genres on Dracula, Varney, Carmilla and Other Classic Vampire Texts
+Vampire Fiction as Subgenre (Comedies, Romances, YA literature, Graphic Novels)
+The Vampire’s Role in Genre Evolution
+The Vampire as Metaphor
+Vampires as Signs of Cultural Change
+The Popular Vampire in the Literary Mainstream
+The Evolution of Sex and Religion in Vampire Literature
+The Influence of Cinema on Literary Vampires (and vice‐versa)
+Vampiric Tropes in Social Networking, Internet Memes and New Media Culture
+Popular Vampire Fiction/Film in the Non‐Western World
+Pedagogical Applications of Popular Vampire Texts
+Gender and the vampire and/or the vampire hunter
+Vampires and the depiction of alternative sexualities
+Other Cultural Studies Applications of the Vampire Icon
And possible topics for the second day may include (but are not limited) to the following:
+ The Impact of historical vampire literature (Dracula, Varney, Carmilla etc.) on the Buffyverse.
+ Cultural themes in Joss Whedon's work.
+ Buffy's influence on contemporary vampire cinema or YA literature.
+ Gender issues and sexuality in Joss Whedon's Buffyverse.
+ Spike, Angel and vampiric masculinity.
+ Fan Culture and the Buffy series.
+ Buffy in Social Networking, Internet Memes and New Media Culture
+ Teaching with Buffy
+ Generation X and Millennial Audience Receptions of Buffy
+Is Buffy feminist?
A particular desire will be to select papers that examine
the vampire in Young Adult literature and teen dramas, which would offer
a wider context for situating Buffy scholarship or otherwise expanding
our scholarly understanding of the appeal of the vampire in youth
culture. We also want to support undergraduate scholarship: any current
UG students interested in attending IVFAF would be eligible for special,
10-15 minute presentation panels to facilitate their participation in
an international conference at the undergraduate level.
Submit abstracts (500 words maximum) via email only to arnzen@setonhill.edu
no later than February 15th, 2018. If submitting a full panel
proposal, include all three proposals along with a summary statement (50
words maximum) of the panel's title and central topic written by the
moderator. Acceptance of a proposal is a commitment to present a
finished written paper in a talk lasting approximately 20 minutes.
Accepted submitters must confirm their commitment to travel, attend and
present their own original work at the conference in Sighisoara,
Romania. Presenters must register by purchasing an Academic Delegate
ticket.
For more information on conference registration and location, visit http://ivfaf.com
This CFP has been viewed 2,684 times.
CFP In the Shadows: Illuminating Monstrosity in Children's and Young Adult Literature and Culture (2/28/2018; British Columbia 5/11-12/2018)
In the Shadows: Illuminating Monstrosity in Children's and Young Adult Literature and Culture
https://call-for-papers.sas.upenn.edu/cfp/2018/01/29/in-the-shadows-illuminating-monstrosity-in-childrens-and-young-adult-literature-and
https://call-for-papers.sas.upenn.edu/cfp/2018/01/29/in-the-shadows-illuminating-monstrosity-in-childrens-and-young-adult-literature-and
deadline for submissions:
February 28, 2018
full name / name of organization:
University of British Columbia Master of Arts in Children's Literature program
contact email:
In the Shadows:
Illuminating Monstrosity in Children’s and Young Adult Literature and Culture
Call for Paper Proposals
Deadline for submission: February 28th, 2018
A peer-reviewed graduate student conference on children’s literature, media, and culture
University of British Columbia - Friday May 11th - Saturday May 12th, 2018
Topics may include, but are not limited to:
- Literature from the genres of horror, gothic, mystery, or science fiction
- Post-humanism/trans-humanism
- Narratives of physical or emotional trauma, scars, disfigurement, etc.
- Themes of fear, captivity, empathy/apathy
- The uncanny and the sublime
- Narratives focussing on the duality of human nature
- Themes of survival, lost innocence, or childhood innocence
- Experiences of marginalized groups, otherness, and social outcasts
- (Mis)representations of people as “monsters”
- Government atrocities, tragedies, and other perspectives on historical events
- Analyses of monstrosity from critical or theoretical perspectives (e.g. psychoanalysis, post colonialism, feminism, etc.)
- Adaptations, bringing a narrative to life in a new story or medium
- Stories of real-world monsters, such as bullies or personal, inner demons
- Narratives featuring monsters, vampires, werewolves, zombies, ogres etc.
- Villains and beasts from fairy tales, folktales, or mythology
- Friendly monsters or imaginary friends (e.g. Pokémon, The BFG, Monsters Inc.)
- The allure and romanticism of monsters (e.g. Twilight)
- Papers related to Mary Shelley’s Frankenstein, in honour of the 200th anniversary of publication
Academic Paper Proposals
Please send a 250-word abstract that includes the title of your paper, a list of references in MLA format, a 50-word biography, your name, your university affiliation, email address, and phone number to the review committee at submit.ubc.conference@gmail.com. Please include “Conference Proposal Submission” in the subject line of your email.
Creative Writing Proposals
Submissions of creative writing for children and young adults in any genre are welcome, including novel chapters, poetry, picture books, graphic novels, scripts, etc. Please send a piece of work no longer than 12 pages double-spaced. (Anything shorter is welcome-- poetry, for example, might only be a page). The submission should include the title of your piece, a 150-word overview of your piece (describe age group, genre, and links to the conference theme), a list of references in MLA format (if you have any), a 50-word biography, your name, your university affiliation, email address, and phone number. Please send your submission to the review committee at submit.ubc.conference@gmail.com. Please put “Creative Conference Proposal Submission” in the subject line of your email.
Out of Province/Country Submissions
For those who may need extra time to plan their travels please put “Travel” in the email subject line and we will get back to you as soon as possible.
For more info, please contact ubc.conference.2018@gmail.com or visit https://blogs.ubc.ca/intheshadows/. Join our mailing list at http://eepurl.com/dht7_z.
Thank you and we look forward to seeing you this spring!
This CFP has been viewed 252 times.
CFP Monsters and Monstrosity in Nineteenth-Century Anglophone Literature (1/15/2018)
Call for Submissions: Monsters and Monstrosity in Nineteenth-Century Anglophone Literature
https://call-for-papers.sas.upenn.edu/cfp/2017/12/07/call-for-submissions-monsters-and-monstrosity-in-nineteenth-century-anglophone
https://call-for-papers.sas.upenn.edu/cfp/2017/12/07/call-for-submissions-monsters-and-monstrosity-in-nineteenth-century-anglophone
deadline for submissions:
January 15, 2018
full name / name of organization:
Anglistik: International Journal of English Studies
contact email:
Call for Papers
Anglistik: International Journal of English Studies
Special issue on “Monsters and Monstrosity in Nineteenth-Century Anglophone Literature”
Guest editors: Gero Guttzeit and Natalya Bekhta
Anglophone literature in the nineteenth century abounds in monsters that continue to horrify even in the present: vampires, mummies, doppelgangers, ghosts, and zombies as well as Frankenstein’s monster, the Jabberwock, Helen Vaughan, and the Invisible Man. Our aim in this special issue of Anglistik is to remap this monstrous abundance in light of the emerging field of monster studies (Mittman 2016). Monster studies, also termed ‘monster theory’ (Cohen 1996) or ‘teratology’ (Picart and Browning 2012), “use[s] the monsters themselves as theoretical constructs” (Mittman 2016, 9), conceptualizes “monstrousness […] as a mode of cultural discourse” (Cohen 1996, viii), and understands monstrosity as an imposed narrative rather than an intrinsic feature of certain social appearances and behaviours (Wright 2013, 3). Since the nineteenth century has been crucial to the development of monster studies, particularly with regard to the monstrous body (Youngquist 2003), the vampire (Auerbach [1995] 2006) and Frankenstein’s creature (Baldick 1987), a dedicated publication on “Monsters and Monstrosity in Nineteenth-Century Anglophone Literature” will bring together fresh considerations of this historical period and the theory it inspired.
We aim to reconsider monsters and monstrosity within nineteenth-century literary narratives as well as to rethink monstrosity through nineteenth-century literature. Such a project might draw on a variety of influential theoretical approaches connected to the field of monster studies (Kristeva [1982] 2010; Haraway 1992; Carroll 1990; Halberstam 1995; Cohen 1996; McNally 2011; Mittman 2016). We are looking for contributions that revisit but also go beyond the traditional pinnacles of the 1816 Lake Geneva ghost story writing contest and the fin-de-siècle Gothic to ask the interconnected questions as to why the nineteenth century has such a peculiar affinity with monsters and monstrosity and which new impulses it can give monster studies today.
Issues and questions to be discussed include but are not limited to:
Periodization and historicization: Can events such as the “sudden population explosion of monsters” in the Romantic period (Burwick 2015, 176–77) be used to periodize the nineteenth century? Is a chronological structuring in monster studies “messy and inadequate” because a narrative of progress is unsuitable for describing monsters (Cohen 1996, ix) or do monsters have a recurring representational purpose and, like Gothic productions, mark comparable historical moments in the cycles of capitalist accumulation (Shapiro 2008, 30-31)?
Nation and disability: How can we extend and critique contemporary ideas of monstrosity from Britain, the US, and other Anglophone countries such as Emerson’s description of “[t]he state of society [as] one in which the members have suffered amputation from the trunk, and strut about so many walking monsters” (Emerson 1971, 53)? Can genres such as nineteenth-century Gothic sustain a critique of the monstrosity of impaired bodies (Anolik 2010)?
Gender and sexuality: While popular conceptions of monstrosity in early modern England very often took the shape of monstrous female bodies (Brenner 2009, 165), what can the relative marginality of female monsters in the monstrous pantheon of the nineteenth century tell us about redefinitions and readjustments of gender conceptions in the period? Which metaphors other than spectrality (re)define emergent notions of homosexuality (Castle 1993)?
Class and race: What can “capitalist monsterology” (McNally 2011, 2), which focuses on the monstrous forms of the lived experience of capitalism, tell us about the period when the current world-economy established itself? How do monsters such as Frankenstein’s creature and the zombie reinforce or rewrite experiences of slavery and categories of race (as suggested by Young’s (2008) work on black Frankenstein)?
Intertexuality, intermediality, and metaliterary meanings: What can different intermedial versions of monsters, for instance Frankenstein’s creature, tell us about the system of nineteenth-century literature and other media? What is the specificity of nineteenth-century variations of older, mythological monsters such as Alfred Lord Tennyson’s “The Kraken” (1830)? How does monstrosity work as an instrument of the metaphorization of literature and its production, distribution, and reception, as present, for instance, in Henry James’s early twentieth-century dismissal of certain nineteenth-century novels as “large loose baggy monsters” (James 1909, 477)?
‘Monstrous theory’: How can nineteenth-century monsters be used to rethink assumptions in what might be termed today’s “monstrous theory” connected, for instance, to the spectral turn, the posthuman turn, and the animal turn? What are conceptual alternatives to the so-called “anxiety model” of the Gothic as critiqued by Baldick and Mighall (2000)?
Anglistik: International Journal of English Studies (ISSN: 0947-0034) is the journal of the German Association for the Study of English (Anglistenverband). Further information on the journal can be found here: https://angl.winter-verlag.de/ Full contributions of 5,000 to 7,000 words with MLA formatting will be due by October 1, 2018, and the final issue will be published with open access in late 2019.
Please submit a 500-word abstract (excluding bibliography) with a brief biography to the guest editors Gero Guttzeit and Natalya Bekhta at literary.monsters@gmail.com by January 15, 2018.
This CFP has been viewed 2,007 times.
Ann Radcliffe Academic Conference Schedule Online
http://stokercon2018.org/the-convention/ann-radcliffe-academic-conference/
The Second Annual Ann Radcliffe Academic Conference will be presented at the Third Annual StokerCon, March 1 – 4, 2018 held at the historic Biltmore Hotel in Providence, Rhode Island (http://www.providencebiltmore.com/). We are pleased to announce here the full conference program, and we hope to see you in Providence!
StokerCon info and tentative schedule at: http://stokercon2018.org/.
Ann Radcliffe Academic Conference Schedule
Thursday, March 1, 2018
Panel 1: Gender Studies / 10:00 AM – 11:30 AM- Bridget Keown, “The Symptoms of Possession: Gender, Trauma, and the Domestic in Novels of Demonic Possession”
- Elsa Carruthers and Rhonda Joseph, “When We Are the Monsters: Female Monsters and the Subversion of Patriarchy”
- Maya Thornton, “’1, 2 … Freddy’s Coming for You’: Freddy Krueger as Manifestation of Teenage Societal Anxieties”
- Holly Newton, “Coming Out and Coming Home: Reading Silent Hill Homecoming’s Alex Shepherd as Queer”
- Emily Anctil, “‘Not a Bedtime Story’: Investigating Textual Interactions Between the Horror Genre and Children’s Picturebooks”
- Naomi Borwein, “Monster Studies, Monster Anthropology, and Australian Aboriginal Horror Literature”
- Frazer Lee, “Koji Suzuki’s Ring – A World Literary Perspective”
- Amanda Trujillo, “Contagious Curses: Identifying the Characteristics and Origins of a Horror Trope”
- Khara Lukancic, “Ethics in Horror Movies: An Analysis of The Bye Bye Man”
- Nicholas Diak, “Lost Nights and Dangerous Days: Unraveling the Relationship Between Stranger Things and Synthwave”
- Daniel Holmes, “Horror, Terror, and the Homeric Uncanny”
- Caitlin Duffy, “This Mansion of Gloom’: Visualizing Edgar Allan Poe’s Atmospheres of Horror”
- Anthony Gambol, “The Genesis of Myth”
- Mathias Clasen, “Fear for Your Life: Evolution and Horror Fiction”
- Shawn Pendley, “Modal Confusion Meets Moral Insensibility in Fox’s Lucifer
- Michele Brittany, “Mummies in Comics 101”
Friday, March 2, 2018
Panel 1: Gender Studies / 10:00 AM – 11:30 AM- Deirdre Flood, “Under the Mask: Slasher Villains in Pre and Post 9/11 Horror”
- Rocky Colavito, “Trans Fatal(e): Body Horror, Trans(un)fixion, and Walter Hill’s The Assignment”
- Jennifer Loring, “The Dark Heart of Human Nature: The Necessity of Extreme Horror”
- Johnny Murray, “’Gelatinous Green Immensity’: The Sublime – Grotesque in Weird Fiction”
- Danny Rhodes, “’When the Cage Came Up There Was Something Crouched A-Top of It’: The Haunted Tales of LTC Rolt – A Contextual Analysis”
- Michelle Reinstatler, “Western Culture’s Adversarial Relationship with the Revenant: Tragedy and the Haunted in Dead Crossroads”
- Douglas Ford, “Of All Nights in the Year: Walpurgis Night and Young Goodman Brown”
- Erica McCrystal, “Jekyll and Hyde Everywhere: Inconsistency and Disparity in the Real World”
- Renee DeCamillis, “The Power of Sympathetic Villains of Literature and Screen Pulses Through Music”
- Michael Torresgrossa, “Arthurian Monster Mash: The Undead in Camelot from The Awntys off Authure to the Fiction of Today”
- Kevin J. Wetmore, Jr., “Night of the Living Dead, or Endgame: Samuel Beckett and Zombies”
- Kent Pettit, “Medieval and Modern Godfathers of Ghouls: William of Newburgh and George A. Romero as Subversive Sages for Turbulent Times”
- Allison Budaj, “Melancholy and The Walking Dead”
- John Tibbetts, “The Mystery of Marjorie Bowen”
- Adam Crowley, “Roadway to Hell: The Divided Line and the Concept of Evil in H.P. Lovecraft’s The Colour Out of Space”
- Gavin Hurley, “Richard Laymon’s Rhetorical Style: Minimalism, Suspense, and Negative Space”
- James Anderson, “Four Quadrants of Success: The Metalinguistics of Author Protagonists in the Fiction of Stephen King”
Organizing Co-Chairs
Michele Brittany & Nicholas DiakEmail: AnnRadCon@gmail.com
About the Ann Radcliffe Conference and Stokercon
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.
Friday, January 19, 2018
Joshi's Driven to Madness with Fright
Driven to Madness with Fright: Further Notes on Horror Fiction
Paperback – December 1, 2016
by S. T. Joshi (Author)
For more than 30 years, S. T. Joshi has been a pioneering critic of fantasy, horror, and supernatural fiction. This new collection of his essays and reviews covers the entire range of weird fiction, from Romantic poetry to the work of Ambrose Bierce, Ray Bradbury, and Shirley Jackson. Particularly insightful are Joshi's assessments of such contemporary writers as Ramsey Campbell, Caitlin R. Kiernan, Thomas Ligotti, and Reggie Oliver. Joshi, the leading authority on H. P. Lovecraft, also provides pungent analyses of recent works of Lovecraftian fiction by such figures as W. H. Pugmire and Darrell Schweitzer, as well as incisive reviews of recent works of Lovecraft scholarship. All in all, this book will engage, entertain, and inform all devotees of weird fiction.
For purchase at Amazon.com at https://www.amazon.com/Driven-Madness-Fright-Further-Fiction/dp/154077080X/.
CFP Summer 2018 issue of Supernatural Studies (4/1/2018)
Summer 2018 issue of Supernatural Studies seeks submissions
https://call-for-papers.sas.upenn.edu/cfp/2018/01/17/summer-2018-issue-of-supernatural-studies-seeks-submissions
deadline for submissions:
April 1, 2018
full name / name of organization:
Supernatural Studies Association
contact email:
supernaturalstudies@gmail.com
Supernatural Studies
Call for Papers, Spring 2018 Issue
Supernatural Studies is a peer-reviewed journal that promotes rigorous yet accessible scholarship in the growing field of representations of the supernatural, the speculative, the uncanny, and the weird. The breadth of “the supernatural” as a category creates the potential for interplay among otherwise disparate individual studies that will ideally produce not only new work but also increased dialogue and new directions of scholarly inquiry. To that end, the editorial board welcomes submissions employing any theoretical perspective or methodological approach and engaging with any period and representations including but not limited to those in literature, film, television, video games, and other cultural texts and artifacts.
Submissions should be 5,000 to 8,000 words, including notes but excluding Works Cited, and follow the MLA Handbook, 8th ed. (2016); notes should be indicated by superscript Arabic numerals in text and pasted at the end of the article. International submissions should adhere to the conventions of U.S. English spelling, usage, and punctuation. Manuscripts should contain no identifying information, and each submission will undergo blind peer review by at least two readers. Contributors are responsible for obtaining any necessary permissions and ensuring observance of copyright. Submissions should be emailed to supernaturalstudies@gmail.com as an attached Microsoft Word file. The deadline for guaranteed consideration for the Spring 2018 issue is 1 April 2018.
www.supernaturalstudies.com
Last updated January 17, 2018
https://call-for-papers.sas.upenn.edu/cfp/2018/01/17/summer-2018-issue-of-supernatural-studies-seeks-submissions
deadline for submissions:
April 1, 2018
full name / name of organization:
Supernatural Studies Association
contact email:
supernaturalstudies@gmail.com
Supernatural Studies
Call for Papers, Spring 2018 Issue
Supernatural Studies is a peer-reviewed journal that promotes rigorous yet accessible scholarship in the growing field of representations of the supernatural, the speculative, the uncanny, and the weird. The breadth of “the supernatural” as a category creates the potential for interplay among otherwise disparate individual studies that will ideally produce not only new work but also increased dialogue and new directions of scholarly inquiry. To that end, the editorial board welcomes submissions employing any theoretical perspective or methodological approach and engaging with any period and representations including but not limited to those in literature, film, television, video games, and other cultural texts and artifacts.
Submissions should be 5,000 to 8,000 words, including notes but excluding Works Cited, and follow the MLA Handbook, 8th ed. (2016); notes should be indicated by superscript Arabic numerals in text and pasted at the end of the article. International submissions should adhere to the conventions of U.S. English spelling, usage, and punctuation. Manuscripts should contain no identifying information, and each submission will undergo blind peer review by at least two readers. Contributors are responsible for obtaining any necessary permissions and ensuring observance of copyright. Submissions should be emailed to supernaturalstudies@gmail.com as an attached Microsoft Word file. The deadline for guaranteed consideration for the Spring 2018 issue is 1 April 2018.
www.supernaturalstudies.com
Last updated January 17, 2018
Tuesday, September 26, 2017
Playing Dress-Up: Scooby-Doo 2017
More items from Hallmark's Halloween 2017 product line. These feature characters from Scooby-Doo as dressed as monsters, Scooby as a witch and Shaggy as a vampire.
itty bittys® Scooby-Doo Stuffed Animal (https://www.hallmark.com/gifts/stuffed-animals/itty-bittys/itty-bittys-scooby-doo-stuffed-animal-1KID3376.html)
itty bittys® Shaggy Stuffed Animal (https://www.hallmark.com/gifts/stuffed-animals/itty-bittys/itty-bittys-shaggy-stuffed-animal-1KID3375.html)
itty bittys® Scooby-Doo Stuffed Animal (https://www.hallmark.com/gifts/stuffed-animals/itty-bittys/itty-bittys-scooby-doo-stuffed-animal-1KID3376.html)
itty bittys® Shaggy Stuffed Animal (https://www.hallmark.com/gifts/stuffed-animals/itty-bittys/itty-bittys-shaggy-stuffed-animal-1KID3375.html)
Playing Dress-Up: Peanuts 2017
Halloween is a great time to find your favorite characters disguised as monsters, including these products featuring Snoopy from the Peanuts as a vampire. Both items are part of Hallmark's Halloween 2017 product line.
Peanuts® Snoopy and Woodstock Candy Corn Halloween Card (https://www.hallmark.com/cards/greeting-cards/peanuts-snoopy-and-woodstock-candy-corn-halloween-card-299IEH8094.html)
(click link above for image)
Peanuts® Vampire Snoopy Medium Halloween Gift Bag, 9.5" (https://www.hallmark.com/gift-wrap/gift-bags/peanuts-vampire-snoopy-medium-halloween-gift-bag-9.5-199HGB1809.html)
Peanuts® Snoopy and Woodstock Candy Corn Halloween Card (https://www.hallmark.com/cards/greeting-cards/peanuts-snoopy-and-woodstock-candy-corn-halloween-card-299IEH8094.html)
(click link above for image)
Peanuts® Vampire Snoopy Medium Halloween Gift Bag, 9.5" (https://www.hallmark.com/gift-wrap/gift-bags/peanuts-vampire-snoopy-medium-halloween-gift-bag-9.5-199HGB1809.html)
Horrors at Hallmark
Hallmark always has great stuff for Halloween, including the following items for this year.
itty bittys® The Walking Dead Plush, Collectors Set of 4 (https://www.hallmark.com/gifts/stuffed-animals/itty-bittys/itty-bittys-the-walking-dead-plush-collectors-set-of-4-1KDD1306.html)
and
itty bittys® Tim Burton's The Nightmare Before Christmas Jack Skellington and Sally Stuffed Animals, Set of 2 (https://www.hallmark.com/gifts/stuffed-animals/itty-bittys/itty-bittys-tim-burtons-the-nightmare-before-christmas-jack-skellington-and-sally-stuffed-animals-set-of-2-1KDD1366.html)
itty bittys® The Walking Dead Plush, Collectors Set of 4 (https://www.hallmark.com/gifts/stuffed-animals/itty-bittys/itty-bittys-the-walking-dead-plush-collectors-set-of-4-1KDD1306.html)
and
itty bittys® Tim Burton's The Nightmare Before Christmas Jack Skellington and Sally Stuffed Animals, Set of 2 (https://www.hallmark.com/gifts/stuffed-animals/itty-bittys/itty-bittys-tim-burtons-the-nightmare-before-christmas-jack-skellington-and-sally-stuffed-animals-set-of-2-1KDD1366.html)
CFP Breaking out of the Box: Critical Essays on the Cult TV Show Supernatural (10/2/2017)
Sorry to hvave missed this earlier. I wish them well.
UPDATE: CFP Breaking out of the Box: Critical Essays on the Cult TV Show Supernatural
Discussion published by Dominick Grace on Saturday, September 2, 2017
https://networks.h-net.org/node/13784/discussions/193064/update-cfp-breaking-out-box-critical-essays-cult-tv-show
Type: Call for Papers
Date: October 2, 2017
Subject Fields: Cultural History / Studies, Popular Culture Studies, Theatre & Performance History / Studies, Humanities, Film and Film History
Lisa Macklem and Dominick Grace seek proposals for a refereed collection of essays on the CW cult horror show Supernatural, to be published by McFarland.
“What’s in the box?” Dean Winchester asks in “The Magnificent Seven,” episode one of the third season of Supernatural, to the befuddlement of his brother Sam and their avuncular mentor Bobby Singer, but to the delight of fans who revel in the show’s wry meta elements. Dean is of course quoting Detective Mills, Brad Pitt’s character in the thriller Se7en (1995), directed by David Fincher. Throughout its twelve-year run (to date), Supernatural has revelled in breaking out of the limitations usually implied by a television show, breaking out of the box in numerous ways. Acknowledging the popularity of the meta-play in the show, current showrunner Andrew Dabb promised the most meta-finale ever for the season twelve finale. One of the most noteworthy examples of this predilection is the extensively meta elements of the season five apocalypse plotline, which featured the character Carver Edlund (his name derived from series writers Jeremy Carver and Ben Edlund) in several episodes. Edlund is a novelist who has written supposed works of fiction that in fact document Sam and Dean Winchester’s lives, thoroughly breaking the fourth wall. Edlund is the pseudonym of Chuck Shurley—who turns out to be God, making one of his rare mainstream television appearances. However, this meta plot element represents only one of the myriad ways Supernatural has broken out of the box. Season five, episode eight (“Changing Channels”), transports Sam and Dean into the worlds of several television shows, while season six, episode fifteen, “The French Mistake,” carried the conceit further, having Sam and Dean visit the “real” world, in which they are characters in the TV show Supernatural. Season eight and nine feature as main villain the appropriately-named Metatron, the scribe of God trying to write himself into the position of God—in effect plotting in both senses of the word. Season eight also featured, in episode 8 (“Hunteri Heroici”), Warner Brothers style cartoon gimmickry, and the upcoming season thirteen promises an animated crossover episode with Scooby Doo. Season ten’s 200th episode is yet another recursive metanarrative, featuring a highschool student trying to mount a musical adaptation of the Carver Edlund novels. In short, despite its horror trappings, Supernatural has been decidedly postmodern in its liberal use of pastiche, meta, intertextuality, and generic slippage. This collection is interested in exploring the ways Supernatural breaks boundaries. Topics of potential interest include but are not limited to
Proposals of 300-500 words should be submitted to Lisa Macklem (lmacklem1@gmail.com) or Dominick Grace (dgrace2@uwo.ca) by October 1 2017. Completed papers are also welcome. Final papers should be between 5,000 and 7,000 words long and written in conformity with MLA style and will be due by May 1 2018.
Contact Info:
Dominick Grace
1285 Western Rd
London On
N6G 1H2
Contact Email:
dgrace2@uwo.ca
UPDATE: CFP Breaking out of the Box: Critical Essays on the Cult TV Show Supernatural
Discussion published by Dominick Grace on Saturday, September 2, 2017
https://networks.h-net.org/node/13784/discussions/193064/update-cfp-breaking-out-box-critical-essays-cult-tv-show
Type: Call for Papers
Date: October 2, 2017
Subject Fields: Cultural History / Studies, Popular Culture Studies, Theatre & Performance History / Studies, Humanities, Film and Film History
Lisa Macklem and Dominick Grace seek proposals for a refereed collection of essays on the CW cult horror show Supernatural, to be published by McFarland.
“What’s in the box?” Dean Winchester asks in “The Magnificent Seven,” episode one of the third season of Supernatural, to the befuddlement of his brother Sam and their avuncular mentor Bobby Singer, but to the delight of fans who revel in the show’s wry meta elements. Dean is of course quoting Detective Mills, Brad Pitt’s character in the thriller Se7en (1995), directed by David Fincher. Throughout its twelve-year run (to date), Supernatural has revelled in breaking out of the limitations usually implied by a television show, breaking out of the box in numerous ways. Acknowledging the popularity of the meta-play in the show, current showrunner Andrew Dabb promised the most meta-finale ever for the season twelve finale. One of the most noteworthy examples of this predilection is the extensively meta elements of the season five apocalypse plotline, which featured the character Carver Edlund (his name derived from series writers Jeremy Carver and Ben Edlund) in several episodes. Edlund is a novelist who has written supposed works of fiction that in fact document Sam and Dean Winchester’s lives, thoroughly breaking the fourth wall. Edlund is the pseudonym of Chuck Shurley—who turns out to be God, making one of his rare mainstream television appearances. However, this meta plot element represents only one of the myriad ways Supernatural has broken out of the box. Season five, episode eight (“Changing Channels”), transports Sam and Dean into the worlds of several television shows, while season six, episode fifteen, “The French Mistake,” carried the conceit further, having Sam and Dean visit the “real” world, in which they are characters in the TV show Supernatural. Season eight and nine feature as main villain the appropriately-named Metatron, the scribe of God trying to write himself into the position of God—in effect plotting in both senses of the word. Season eight also featured, in episode 8 (“Hunteri Heroici”), Warner Brothers style cartoon gimmickry, and the upcoming season thirteen promises an animated crossover episode with Scooby Doo. Season ten’s 200th episode is yet another recursive metanarrative, featuring a highschool student trying to mount a musical adaptation of the Carver Edlund novels. In short, despite its horror trappings, Supernatural has been decidedly postmodern in its liberal use of pastiche, meta, intertextuality, and generic slippage. This collection is interested in exploring the ways Supernatural breaks boundaries. Topics of potential interest include but are not limited to
- Explicitly meta elements in Supernatural
- Supernatural and fandom: interpenetrations
- God, Metatron, and other Supernatural authors
- Role and role-playing
- Generic slippage (comedy; found footage; the musical episode)
- Allusion and intertext in Supernatural
- Canonicity
- Non-Supernatural (e.g. the episodes with no fantasy elements)
- Supernatural and genre TV
- reality and retcon: how the show has shifted and redefined its own rules
- casting and self-consciousness (e.g. the use of celebrity guest stars such as Linda Blair, Rick Springfield, etc.)
- Importance of music throughout the show
Proposals of 300-500 words should be submitted to Lisa Macklem (lmacklem1@gmail.com) or Dominick Grace (dgrace2@uwo.ca) by October 1 2017. Completed papers are also welcome. Final papers should be between 5,000 and 7,000 words long and written in conformity with MLA style and will be due by May 1 2018.
Contact Info:
Dominick Grace
1285 Western Rd
London On
N6G 1H2
Contact Email:
dgrace2@uwo.ca
Friday, September 8, 2017
CFP Trump-Era Horror Book (Last Call for Abstracts) (9/30/2017)
Trump-Era Horror Book (Last Call for Abstracts)
https://call-for-papers.sas.upenn.edu/cfp/2017/09/07/trump-era-horror-book-last-call-for-abstracts
deadline for submissions: September 30, 2017
contact email: v.mccollum@ulster.ac.uk
Title: Make America Hate Again: Trump-Era Horror & the Politics of Fear
Collection Editor: Dr Victoria McCollum (Ulster University)
Deadline for Abstracts: September 30, 2017
Contact: v.mccollum@ulster.ac.uk
Publisher: Routledge
Summary: Make America Hate Again: Trump-Era Horror and the Politics of Fear explores the intersection of film, politics, and American culture and society through a bold critical analysis of popular horror films/TV produced in the Trump era, such as Green Room (2015); The Witch (2015); Don’t Breathe (2016); The Purge: Election Year (2016); American Gods (2017); American Horror Story (2017); Get Out (2017); and The Handmaid’s Tale (2017). This collection of essays will explore how popular horror scrutinises and unravels the events, anxieties, discourses, dogmas and socio-political conflicts of the Trump years.
Lots of additional information/inspiration can be found here: https://popcultstudies.wordpress.com/
Last updated September 7, 2017
https://call-for-papers.sas.upenn.edu/cfp/2017/09/07/trump-era-horror-book-last-call-for-abstracts
deadline for submissions: September 30, 2017
contact email: v.mccollum@ulster.ac.uk
Title: Make America Hate Again: Trump-Era Horror & the Politics of Fear
Collection Editor: Dr Victoria McCollum (Ulster University)
Deadline for Abstracts: September 30, 2017
Contact: v.mccollum@ulster.ac.uk
Publisher: Routledge
Summary: Make America Hate Again: Trump-Era Horror and the Politics of Fear explores the intersection of film, politics, and American culture and society through a bold critical analysis of popular horror films/TV produced in the Trump era, such as Green Room (2015); The Witch (2015); Don’t Breathe (2016); The Purge: Election Year (2016); American Gods (2017); American Horror Story (2017); Get Out (2017); and The Handmaid’s Tale (2017). This collection of essays will explore how popular horror scrutinises and unravels the events, anxieties, discourses, dogmas and socio-political conflicts of the Trump years.
Lots of additional information/inspiration can be found here: https://popcultstudies.wordpress.com/
Last updated September 7, 2017
CFP Monstrous Monarchs/Royal Monsters (11/1/2017; Las Vegas 4/12-15/2018)
Monstrous Monarchs/Royal Monsters
https://call-for-papers.sas.upenn.edu/cfp/2017/09/03/monstrous-monarchsroyal-monsters
deadline for submissions: November 1, 2017
full name / name of organization: MEARCSTAPA
contact email: tmtomaini@gmail.com
MEARCSTAPA
Call for Papers
Medieval Association of the Pacific
Annual Conference in Las Vegas, NV
“Memory and Remembrance in the Middle Ages and Renaissance”
12-15 April 2018
Monstrous Monarchs/Royal Monsters
Medieval and early modern societies defined monstrosity in a multitude of ways, assigning the term to figures representing the supernatural “other” and to those representing human alterities. Monsters filled the national consciousness of societies throughout the medieval and early modern worlds. Indeed, the monster became an allegory for a society’s relativisms and fears. So, what happens when the monster is the monarch him or herself—or when the monster is a member of the royal family? How might the term be defined differently or specifically for the sake of this unique person? What special circumstances might be attached to the term and its parameters when the monarch and his or her relationship to the State and its people is concerned? Monarchs of the medieval and early modern periods were deeply concerned about their legacies, and prioritized the public memory of their reigns and dynasties very highly. Similarly, literary and artistic representations of royalty and monarchs often showcase the concerns of dynasty, heredity, and reputation. How is public memory affected when the monarch, or a member of a royal dynasty, is remembered as monstrous for posterity? Moreover, how is royal legacy affected when the term “monster” becomes attached to the monarch while he or she is still living?
MEARCSTAPA invites proposals in all disciplines of the humanities and for all nations, regions, language groups, and cultures of the medieval and early modern periods globally. Please send proposals of 250 words maximum to Asa Mittman asmittman@csuchico.edu, Thea Tomaini tmtomaini@gmail.com, and Ilan Mitchell-Smith Ilan.mitchellsmith@csulb.edu by 1 November 2017.
Last updated September 7, 2017
https://call-for-papers.sas.upenn.edu/cfp/2017/09/03/monstrous-monarchsroyal-monsters
deadline for submissions: November 1, 2017
full name / name of organization: MEARCSTAPA
contact email: tmtomaini@gmail.com
MEARCSTAPA
Call for Papers
Medieval Association of the Pacific
Annual Conference in Las Vegas, NV
“Memory and Remembrance in the Middle Ages and Renaissance”
12-15 April 2018
Monstrous Monarchs/Royal Monsters
Medieval and early modern societies defined monstrosity in a multitude of ways, assigning the term to figures representing the supernatural “other” and to those representing human alterities. Monsters filled the national consciousness of societies throughout the medieval and early modern worlds. Indeed, the monster became an allegory for a society’s relativisms and fears. So, what happens when the monster is the monarch him or herself—or when the monster is a member of the royal family? How might the term be defined differently or specifically for the sake of this unique person? What special circumstances might be attached to the term and its parameters when the monarch and his or her relationship to the State and its people is concerned? Monarchs of the medieval and early modern periods were deeply concerned about their legacies, and prioritized the public memory of their reigns and dynasties very highly. Similarly, literary and artistic representations of royalty and monarchs often showcase the concerns of dynasty, heredity, and reputation. How is public memory affected when the monarch, or a member of a royal dynasty, is remembered as monstrous for posterity? Moreover, how is royal legacy affected when the term “monster” becomes attached to the monarch while he or she is still living?
MEARCSTAPA invites proposals in all disciplines of the humanities and for all nations, regions, language groups, and cultures of the medieval and early modern periods globally. Please send proposals of 250 words maximum to Asa Mittman asmittman@csuchico.edu, Thea Tomaini tmtomaini@gmail.com, and Ilan Mitchell-Smith Ilan.mitchellsmith@csulb.edu by 1 November 2017.
Last updated September 7, 2017
CFP Monsters and Monstrosity, A Special Issue of The Popular Culture Studies Journal (12/1/2017)
CfP: Monsters and Monstrosity, A Special Issue of The Popular Culture Studies Journal
Posted on September 5, 2017
https://www.fantastic-arts.org/2017/cfp-monsters-and-monstrosity-a-special-issue-of-the-popular-culture-studies-journal/
Call for Papers: Monsters and Monstrosity A Special Issue of The Popular Culture Studies Journal
Thanks to Norma Jones for supporting special issue. Please consider submitting and share widely.
Call for Papers: Monsters and Monstrosity
A Special Issue of The Popular Culture Studies Journal
Guest Editor: Bernadette Marie Calafell, University of Denver
Scholars, such as W. Scott Poole and Kendall Phillips, have argued that monsters, particularly those in horror, reflect or correspond to the cultural anxieties of a society. These cultural anxieties are often connected to struggles for power around race, class, gender, sexuality, and ability. Thus, historical context and power are central to studies of monstrosity. Given that we are immersed in what may be considered a horror renaissance, both in film and television, increasing violence against people of color in the U.S., and dangerous and toxic performances of white femininity and masculinity, this is a ripe moment to explore the relationship between monstrosity and popular culture, both literally and figuratively. Thus, this special issues solicits manuscripts that take interdisciplinary approaches to explore the theoretical and methodological possibilities of monstrosity. What can employing monstrosity as a theoretical framework or analytical tool contribute to the study of popular culture? Key questions driving this special issue include: What can monstrosity teach us about Otherness? How can it be used resistively? Conversely, how can monstrosity be used as a tool of oppression? In what ways we can be unpack figures, such as Donald Trump, through the lens of monstrosity? What constitutes monstrosity? How might we understand history differently through the construct of monstrosity? What are the necessary future directions for the study of monstrosity and popular culture? Critical rhetorical, critical qualitative (including critical auto-methodologies), and performative approaches to monstrosity are welcomed.
Potential areas of interest include, but are not limited to:
Questions can be directed to Bernadette Calafell at Bernadette.Calafell@du.edu. Please electronically send submissions (three documents, MS WORD, MLA) to Bernadette Calafell via email at Bernadette.Calafell@du.edu by December 1, 2017.
1) Title Page: A single title page must accompany the email, containing complete contact information (address, phone number, e-mail address).
2) Manuscript: On the first page of the manuscript, only include the article’s title, being sure not to include the author’s name. The journal employs a “blind review” process, meaning that a copy of the article will be sent to reviewers without revealing the author’s name. Please include the works cited with your manuscript.
3) Short Bio: On a separate document, please also include a short (100 words) bio. We will include this upon acceptance and publication.
Essays should range between 15-25 pages of double-spaced text in 12 pt. Times New Roman font, including all images, endnotes, and Works Cited pages. Please note that the 15-page minimum should be 15 pages of written article material. Less than 15 pages of written material will be rejected and the author asked to develop the article further. Essays should also be written in clear US English in the active voice and third person, in a style accessible to the broadest possible audience. Authors should be sensitive to the social implications of language and choose wording free of discriminatory overtones.
For documentation, The Popular Culture Studies Journal follows the Modern Language Association style, as articulated by Joseph Gibaldi and Walter S. Achtert in the paperback MLA Handbook for Writers of Research Papers (New York: MLA), and in The MLA Style Manual (New York: MLA). The most current editions of both guides will be the requested editions for use. This style calls for a Works Cited list, with parenthetical author/page references in the text. This approach reduces the number of notes, which provide further references or explanation.
For punctuation, capitalization, hyphenation, and other matters of style, follow the MLA Handbook and the MLA Style Manual, supplemented as necessary by The Chicago Manual of Style (Chicago: University of Chicago Press). The most current edition of the guide will be the requested edition for use.
It is essential for authors to check, correct, and bring manuscripts up to date before final submission. Authors should verify facts, names of people, places, and dates, and double-check all direct quotations and entries in the Works Cited list. Manuscripts not in MLA style will be returned without review.
We are happy to receive digital artwork. Please save line artwork (vector graphics) as Encapsulated PostScript (EPS) and bitmap files (halftones or photographic images) as Tagged Image Format (TIFF), with a resolution of at least 300 dpi at final size. Do not send native file formats. Please contact the editor for discussion of including artwork.
Upon acceptance of a manuscript, authors are required to sign a form transferring the copyright from the author to the publisher. A copy will be sent to authors at the time of acceptance.
Before final submission, the author will be responsible for obtaining letters of permission for illustrations and for quotations that go beyond “fair use,” as defined by current copyright law.
Posted on September 5, 2017
https://www.fantastic-arts.org/2017/cfp-monsters-and-monstrosity-a-special-issue-of-the-popular-culture-studies-journal/
Call for Papers: Monsters and Monstrosity A Special Issue of The Popular Culture Studies Journal
Thanks to Norma Jones for supporting special issue. Please consider submitting and share widely.
Call for Papers: Monsters and Monstrosity
A Special Issue of The Popular Culture Studies Journal
Guest Editor: Bernadette Marie Calafell, University of Denver
Scholars, such as W. Scott Poole and Kendall Phillips, have argued that monsters, particularly those in horror, reflect or correspond to the cultural anxieties of a society. These cultural anxieties are often connected to struggles for power around race, class, gender, sexuality, and ability. Thus, historical context and power are central to studies of monstrosity. Given that we are immersed in what may be considered a horror renaissance, both in film and television, increasing violence against people of color in the U.S., and dangerous and toxic performances of white femininity and masculinity, this is a ripe moment to explore the relationship between monstrosity and popular culture, both literally and figuratively. Thus, this special issues solicits manuscripts that take interdisciplinary approaches to explore the theoretical and methodological possibilities of monstrosity. What can employing monstrosity as a theoretical framework or analytical tool contribute to the study of popular culture? Key questions driving this special issue include: What can monstrosity teach us about Otherness? How can it be used resistively? Conversely, how can monstrosity be used as a tool of oppression? In what ways we can be unpack figures, such as Donald Trump, through the lens of monstrosity? What constitutes monstrosity? How might we understand history differently through the construct of monstrosity? What are the necessary future directions for the study of monstrosity and popular culture? Critical rhetorical, critical qualitative (including critical auto-methodologies), and performative approaches to monstrosity are welcomed.
Potential areas of interest include, but are not limited to:
- Twin Peaks and monstrosity
- Monstrosity and comics
- David Lynch’s uses of monstrosity
- NBC’s Hannibal
- Adult Swim
- Monstrous remakes
- History and monstrosity
- Afrofuturism and monstrosity
- Monstrosity and agency
- Monstrous bodies
- Monstrous consumption
- Monstrosity and adolescence
- Monstrosity, menstruation, or menopause
- Fatness and monstrosity
- Excess and monstrosity
- Chicanxfuturism and monstrosity
- Celebrity culture and monstrosity
- Performance and monstrosity
- Wrestling and monstrosity
- Intersectional approaches to monstrosity
- Feminist possibilities of monstrosity
- American Horror Story
- Queerness and monstrosity
- Monstrosity and sports
- Disability and monstrosity
- Class and monstrosity
- Game of Thrones
- Monstrous politicians and politics
- The 2016 U.S. Presidential election
- Autobiography and monstrosity
- Monstrous methodologies
- Hybridity and monstrosity
- White femininity and monstrosity
- Monstrosity and military culture
- Monstrosity and toxic masculinities
- Monstrosity and white masculinity
- Monstrosity and religion
- Monstrosity and temporality
- Chicana feminism and monstrosity
- Monstrosity and Orientalism
Questions can be directed to Bernadette Calafell at Bernadette.Calafell@du.edu. Please electronically send submissions (three documents, MS WORD, MLA) to Bernadette Calafell via email at Bernadette.Calafell@du.edu by December 1, 2017.
1) Title Page: A single title page must accompany the email, containing complete contact information (address, phone number, e-mail address).
2) Manuscript: On the first page of the manuscript, only include the article’s title, being sure not to include the author’s name. The journal employs a “blind review” process, meaning that a copy of the article will be sent to reviewers without revealing the author’s name. Please include the works cited with your manuscript.
3) Short Bio: On a separate document, please also include a short (100 words) bio. We will include this upon acceptance and publication.
Essays should range between 15-25 pages of double-spaced text in 12 pt. Times New Roman font, including all images, endnotes, and Works Cited pages. Please note that the 15-page minimum should be 15 pages of written article material. Less than 15 pages of written material will be rejected and the author asked to develop the article further. Essays should also be written in clear US English in the active voice and third person, in a style accessible to the broadest possible audience. Authors should be sensitive to the social implications of language and choose wording free of discriminatory overtones.
For documentation, The Popular Culture Studies Journal follows the Modern Language Association style, as articulated by Joseph Gibaldi and Walter S. Achtert in the paperback MLA Handbook for Writers of Research Papers (New York: MLA), and in The MLA Style Manual (New York: MLA). The most current editions of both guides will be the requested editions for use. This style calls for a Works Cited list, with parenthetical author/page references in the text. This approach reduces the number of notes, which provide further references or explanation.
For punctuation, capitalization, hyphenation, and other matters of style, follow the MLA Handbook and the MLA Style Manual, supplemented as necessary by The Chicago Manual of Style (Chicago: University of Chicago Press). The most current edition of the guide will be the requested edition for use.
It is essential for authors to check, correct, and bring manuscripts up to date before final submission. Authors should verify facts, names of people, places, and dates, and double-check all direct quotations and entries in the Works Cited list. Manuscripts not in MLA style will be returned without review.
We are happy to receive digital artwork. Please save line artwork (vector graphics) as Encapsulated PostScript (EPS) and bitmap files (halftones or photographic images) as Tagged Image Format (TIFF), with a resolution of at least 300 dpi at final size. Do not send native file formats. Please contact the editor for discussion of including artwork.
Upon acceptance of a manuscript, authors are required to sign a form transferring the copyright from the author to the publisher. A copy will be sent to authors at the time of acceptance.
Before final submission, the author will be responsible for obtaining letters of permission for illustrations and for quotations that go beyond “fair use,” as defined by current copyright law.
Saturday, September 2, 2017
CFP Horror Area (10/1/2017; PCA 2018)
Horror Area
http://pcaaca.org/horror/
All Proposals & Abstracts Must Be Submitted Through The PCA Conference Submission page
Please submit a proposal to only one area at a time. Exceptions and rules
CALL FOR PAPERS
The Horror Area co-chairs of the Popular Culture Association invite interested scholars to submit proposals for papers or complete panels on any aspect of horror in fiction, cinema, television, gaming, theory, and culture.
Your paper proposal should include:
1) 100- to 250-word abstract, including paper title;
2) a notification of any audio-visual needs.
Your panel or roundtable proposal should include:
1) suggested panel/roundtable title;
2) 100- to 250-word abstract identifying the theoretical framework, or guiding questions and thesis of your panel/roundtable;
3) 100- to 250-word abstracts, including titles, for each of your presenters’ papers;
4) a list of presenters and their affiliations;
5) a notification of any audio-visual needs.
Please note that proposals that are overly general are difficult to review; accordingly, your abstract should outline your main argument or research questions, your thesis and main points, and your projected conclusions.
Submitting the same or various proposals to different subject areas of the PCA is not allowed. Presenters are, however, permitted to submit proposals for both a roundtable discussion and a panel presentation. Acceptance of your paper obligates you to present the paper at the conference. You must also be present at the conference to present your own work—no “readings by proxy” are allowed.
Important: All presenters 1) must be registered members of the PCA or ACA and 2) must register for the conference. Information on how to access membership and registration forms will be sent to you upon acceptance of your presentation. Or, go now to the PCA/ACA website: http://pcaaca.org/national-conference-2/instructions-for-the-submission-database/.
Deadline: Submit your paper proposal/abstract through the PCA/ACA submission page by October 1st, 2017, to be considered for the 2018 PCA/ACA Annual National Conference in Indianapolis, Indiana.
Please send all inquiries to:
Jim Iaccino
The Chicago School of Prof. Psychology
pcahorror@gmail.com
Tiffany A. Bryant
pcahorror@gmail.com
http://pcaaca.org/horror/
All Proposals & Abstracts Must Be Submitted Through The PCA Conference Submission page
Please submit a proposal to only one area at a time. Exceptions and rules
CALL FOR PAPERS
The Horror Area co-chairs of the Popular Culture Association invite interested scholars to submit proposals for papers or complete panels on any aspect of horror in fiction, cinema, television, gaming, theory, and culture.
Your paper proposal should include:
1) 100- to 250-word abstract, including paper title;
2) a notification of any audio-visual needs.
Your panel or roundtable proposal should include:
1) suggested panel/roundtable title;
2) 100- to 250-word abstract identifying the theoretical framework, or guiding questions and thesis of your panel/roundtable;
3) 100- to 250-word abstracts, including titles, for each of your presenters’ papers;
4) a list of presenters and their affiliations;
5) a notification of any audio-visual needs.
Please note that proposals that are overly general are difficult to review; accordingly, your abstract should outline your main argument or research questions, your thesis and main points, and your projected conclusions.
Submitting the same or various proposals to different subject areas of the PCA is not allowed. Presenters are, however, permitted to submit proposals for both a roundtable discussion and a panel presentation. Acceptance of your paper obligates you to present the paper at the conference. You must also be present at the conference to present your own work—no “readings by proxy” are allowed.
Important: All presenters 1) must be registered members of the PCA or ACA and 2) must register for the conference. Information on how to access membership and registration forms will be sent to you upon acceptance of your presentation. Or, go now to the PCA/ACA website: http://pcaaca.org/national-conference-2/instructions-for-the-submission-database/.
Deadline: Submit your paper proposal/abstract through the PCA/ACA submission page by October 1st, 2017, to be considered for the 2018 PCA/ACA Annual National Conference in Indianapolis, Indiana.
Please send all inquiries to:
Jim Iaccino
The Chicago School of Prof. Psychology
pcahorror@gmail.com
Tiffany A. Bryant
pcahorror@gmail.com
Subscribe to:
Posts (Atom)