Monday, June 2, 2025

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

 

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

deadline for submissions: 
October 1, 2025
full name / name of organization: 
From the European South journal

CFP From the European South, 19, Fall 2026

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

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

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

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

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

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

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

Reading List/Suggestions

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

 

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

Last updated May 26, 2025

CFP Blood and Bile: Perspectives from the humanities, art and gaming culture on Blasphemous (7/16/2025)

 

CFP Blood and Bile: Perspectives from the humanities, art and gaming culture on Blasphemous

deadline for submissions: 
July 16, 2025
full name / name of organization: 
Jonas Müller-Laackman; Victoria Mummelthei / c:hum

In the fictional world of ‘Cvstodia’, a nameless ‘penitent’ traverses a world in which the ‘miracle’ - a divine entity - is worshipped through physical torment and suffering in a gloomy body horror style. In doing so, ‘Blasphemous’ transforms the established conventions of the ‘souls-like’ genre: the difficulty typical of the genre and the cyclical approach to failure are theologically charged. The progress made by defeating boss enemies is enhanced by sacred weapons and rituals, while the level design is recontextualised as a spiritual pilgrimage. These elements are embedded in an elaborate ecclesiastical infrastructure and open up multiple levels of analysis, e.g:

    • Theological: Guilt, atonement and redemption as a cyclical game system
    • Cultural-historical: appropriation of Andalusian religiosity
    • Aesthetic: Transformation of Christian iconography into pixel art
    • Narrative: Hagiographic narrative traditions as a game world
    • Ludic: Integration of religious practices in game mechanics
    • Psychological: Religious guilt induction as a game experience

With our planned diamon open access collective volume, we not only want to explore these levels of analysis, but also challenge the academic publishing tradition itself. The aim is not to collect isolated individual analyses, but to develop a conversation about the cultural significance and transformative power of games using the example of the Blasphemous games.

Instead of a collection of classic long papers, we would like to try out new approaches with you and take so-called ‘interdisciplinarity’ to the extreme. This call explicitly addresses interested parties from all academic disciplines (whether institutional or independent), from the gaming industry and gaming culture as well as creative professionals. If in doubt, please get in touch with your ideas and suggestions.

Conditions for participation in the anthology

    • Willingness to work collaboratively and to transcend academic publishing conventions
    • Willingness to work with and on unconventional contributions

Possible formats (summarised length approx. 4500 words, can be discussed)

    • Thematic tandems (joint long paper)
    • Annotated analyses (analysis and additional commentary by another person) 
    • Documented discussions (for AV: transcription is printed)
    • Thesis-answer (thesis is formulated, justified and answered by another person)
    • Discussion of video essays
    • Video essays (transcription/script is printed)
    • Performances/artistic discussion (scripts, concept, concept sketches, etc. are printed)
    • Long paper (if absolutely necessary, supplemented by a short answer)
    • Other (feel free to be creative)

Please send your proposals (German or English) to jonas.mueller-laackman@sub.uni-hamburg.de AND victoria.mummelthei@fu-berlin.de by July 16, 2025.

Tentative schedule

July 16, 2025: Deadline for the submission of proposals or expressions of interest (max. 150 words) and short self-introduction (max. 4 sentences, no CV) in a PDF. All interested parties will receive read-only access to all submitted proposals and ideas.
July 21, 2025, 10:00 CEST: Meeting (online) to consolidate, find and assign topics.
August 18, 2025: Deadline for abstracts (max. 1 page). All contributors will again have access to the abstracts.
September 15, 2025: Deadline review phase abstracts
October 6, 2025, 10:00 CEST: Meeting (online) to present the topics
January 31, 2026: Deadline writing phase
March 15, 2026: Deadline review phase Contributions. These reviews and responses will appear in the anthology

Planned publication: Q3-2026

Please note that participation in the anthology requires participation in the online sessions.

Publisher: Berlin Universities Publishing
Editors: Jonas Müller-Laackman (Staats- und Universitätsbibliothek Hamburg) ; Victoria Mummelthei (Freie Universität Berlin)

Also see the record here: Müller-Laackman, J., & Mummelthei, V. (2025). [Call for Participation] Blut und Galle: Perspektiven aus Wissenschaft, Kunst und Gaming-Kultur auf die Blasphemous-Spiele. Zenodo. https://doi.org/10.5281/zenodo.15462758


Last updated May 26, 2025

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


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

deadline for submissions: 
July 11, 2025
full name / name of organization: 
Noah Gallego, California State Polytechnic University, Pomona

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

 

NEW Deadline: July 11, 2025 

Conference Date: August 16, 2025 

Format: Online (via Zoom, Pacific)

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

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

Contact: Noah Gallego @noahrgallego@gmail.com

 

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

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

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

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

 

Criticism: 

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

 

Intersections:

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

 

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

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

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

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

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

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

Last updated May 22, 2025


Thursday, May 8, 2025

CFP Sponsored Session - Silly Old Bear? Adaptations, Appropriations, and Transformations of Winnie-the-Pooh (7/15/2025; NEPCA online 10/9-11/2025)

Silly Old Bear? Adaptations, Appropriations, and Transformations of Winnie-the-Pooh

Co-sponsored by the Monsters & the Monstrous Area and Disney Studies Area

Call for Papers for 2025 Virtual Conference of the Northeast Popular Culture Association (NEPCA)

Thursday, 9 October, to Saturday, 11 October, 2025

Submissions are open until Tuesday, 15 July by 5 PM EDT


A. A. Milne’s Winnie-the-Pooh has always been a bit of a shapeshifter manifesting under various names and appearances since the start of his now over one-hundred-year career as a transmedia figure. Over the past century, Pooh and his associates from the Hundred Acre Wood have been adapted and appropriated to feature in artwork, cards, clothing, collectibles, comics, cookbooks, fiction, films, games, illustrations, memes, musical theater, original videos, philosophical treatises, plays, poems, radio broadcasts, self-help manuals, stuffed animals, songs, streaming video, television programs, theatrical productions, theme park attractions, and translations as well as critical commentaries and works of scholarship. These stories tell of their adventures across time and space, and each text offers a unique approach to the characters. Notably, Pooh and his band have often undergone radical transformations through various parodies and pastiches, with many more innovative approaches appearing since their move into the public domain beginning in 2022. 


In this session, we seek to catalog and critique some of these various takes on Winnie-the-Pooh and his companions. We ask you to explore how these adaptations, appropriations, and transformations of these familiar figures connect to and/or diverge from the Poohian tradition established by Milne and illustrator E. H. Shepard. We want you to uncover what these works might say about the gang from the Hundred Acre Wood, the creators of these new works, and, ultimately, ourselves as the receivers of these texts. We encourage you to make use of the resource guide provided at https://tinyurl.com/SillyOldBearRG in formulating your approach. 


To submit a proposal, please review the requirements and procedure from NEPCA’s main conference page at https://www.northeastpca.org/conference. Proposals should be approximately 250 words; an academic biographical statement (75 words or less) is also requested. Payment of registration and membership fees will be required to present. More details on exact costs will be forthcoming. 


Direct submissions to the Monsters & the Monstrous Area can be made at https://cfp.sched.com/speaker/sTP9T9X3cW/event. Address any questions or concerns to the area chair at popular.preternaturaliana@gmail.com


Further information on the Monsters & the Monstrous Area can be accessed on our blog Popular Preternaturaliana: Studying the Monstrous in Popular Culture at https://popularpreternaturaliana.blogspot.com/.  

Further information on the Northeast Popular Culture Association (NEPCA) can be accessed from our new website at https://www.northeastpca.org/




Wednesday, May 7, 2025

CFP Sponsored Session - We Live Again! Disney's Gargoyles as an Evolving Transmedia Text (7/15/2025; NEPCA online 10/9-11/2025)

We Live Again! Disney's Gargoyles as an Evolving Transmedia Text

Co-sponsored by the Monsters & the Monstrous Area and Disney Studies Area

Call for Papers for 2025 Virtual Conference of the Northeast Popular Culture Association (NEPCA)

Thursday, 9 October, to Saturday, 11 October, 2025

Submissions are open until Tuesday, 15 July by 5 PM EDT


Conceived by creator Greg Weisman, Disney’s Gargoyles began as a television series in the 1990s and has been expanded over the decades through action figures, books, clothing, collectibles, comics, conventions, fan art, fanfiction, games, puzzles, and recurrent rumors of a live-action reboot. Although now over thirty years old, Gargoyles has remained incredibly popular since its initial debut, yet, while other aspects of Disney Studies are flourishing, scholars have mostly neglected the series. Therefore, we seek in this session to offer some critical attention to Gargoyles and its various adaptations and continuations. 

Proposals should display some knowledge of the history and scope of the series, its adaptation history, and its ongoing evolution. We encourage you to make use of the resource guide provided at https://tinyurl.com/WeLiveAgainRG in formulating your approach. 




To submit a proposal, please review the requirements and procedure from NEPCA’s main conference page at https://www.northeastpca.org/conference. Proposals should be approximately 250 words; an academic biographical statement (75 words or less) is also requested. Payment of registration and membership fees will be required to present. More details on exact costs will be forthcoming. 


Direct submissions to the Monsters & the Monstrous Area can be made at https://cfp.sched.com/speaker/sTP9T9X3cW/event. Address any questions or concerns to the area chair at popular.preternaturaliana@gmail.com


Further information on the Monsters & the Monstrous Area can be accessed on our blog Popular Preternaturaliana: Studying the Monstrous in Popular Culture at https://popularpreternaturaliana.blogspot.com/.  

Further information on the Northeast Popular Culture Association (NEPCA) can be accessed from our new website at https://www.northeastpca.org/




Monday, May 5, 2025

CFP Monster Fest 2025 (8/31/2025; Halifax, Nova Scotia 10/28-31/2025)

This cfp was shared with me as a PDF. 


Call for Papers 

Monster Fest 2025 

Saint Mary’s University  

Halifax, Nova Scotia, Canada 

October 28-31, 2025 


The Department of the Study of Religion and the Women and Gender Studies Programs at Saint Mary’s University are holding their first Monster Fest! We invite proposals for 20-minute papers/presentations addressing any aspect of monsters and monstrosity, with a particular focus on religion and monstrosity; gender, sexuality, and monstrosity; monster theory; monstrous bodies, and analyses of contemporary horror. Papers from all disciplines and lenses are welcome.    

Our festival is inspired by and in partnership with the Center for Monster Studies’ Festival at the University of California Santa Cruz. In response to the political climate in the United States, faculty and students intending to present at the Festival of Monsters are foregoing travel and working to create our own festival here in Halifax, Nova Scotia, Canada.  

Monster Fest will include many monstrous events, such as film screenings, an academic conference, a “grotesque” themed art installation, and a monster building workshop. It culminates in a horrific monster (costume) ball.  

Presentation proposals up to 250 words and a biography of 50 words can be submitted through our submission link. As we are responding to events in real time, we understand that our call for papers comes late in the season. We will accept proposals until August 31, 2025. 

Queries about the conference can be directed to the organizing committee: michele.byers@smu.ca; ashley.mackinnon@smu.ca, and / or lindsay.macumber@smu.ca.

 

Saturday, May 3, 2025

CFP PAMLA 2025 Panel: Gothic (5/15/2025; PAMLA San Francisco 11/20-23/2025)

 

PAMLA 2025 Panel: Gothic

deadline for submissions: 
May 15, 2025
full name / name of organization: 
Melanie A. Marotta, College of W&M / Pacific & Ancient Modern Language Association (PAMLA 2025 Conference)

Gothic writers embrace the genre for its inclusive and representational nature. The genre is, in effect, a palimpsest as it prominently features both the past and memory. The creators in the genre continue to create plots that center on women, queer, transgender, and racialized characters and create stories that address societal inequalities. The environment (the Ecogothic) also continues to be a prominent character in the genre.

This in-person panel welcomes submissions about all aspects of the gothic as seen in a variety of media forms (literature, film, television, gaming, etc.). Feel free to submit an abstract about the gothic and the conference theme (the non-binding conference theme is “Palimpsests”) or about the gothic without reference to the conference theme.

Please contact me if you have any questions.

The PAMLA 2025 conference is in person in San Francisco, CA, on November 20-23, 2025.

Please see the PAMLA site for more information about the conference and the theme: https://www.pamla.org/conference/2025-conference-theme/

Please submit your abstract via the PAMLA submission portal: https://pamla.ballastacademic.com/Home/CFP

*AI Statement: Authors should refrain my using generative AI in the writing of both abstracts and presentations.*


Last updated April 30, 2025

CFP Horror Studies Special Issue: Women and Horror (8/1/2025)

 

Horror Studies Special Issue: Women and Horror

deadline for submissions: 
August 1, 2025
full name / name of organization: 
contact email: 

This special issue of Horror Studies aims to address female empowerment (cis- and transgender women) in literary and cinematic horror from 2010 to the present. The issue will showcase horror media (literature, films, television, and gaming) created by women. An intersectional approach should be applied to analyses, stressing categories of race, gender, sexuality, class and/or age in submissions. While we are interested in submissions focused on various forms of horror media, we are eager to receive submissions that foreground literary texts.

The recent proliferation of horror media created by (and often for) women suggests that horror is being enacted as a space of transformative justice. In effect, the reconfiguration of the monstrous-feminine, a concept developed by scholar Barbara Creed, and new understandings of the abject, alongside a notable repositioning of the viewer’s/voyeur’s gaze, signify a shift in both the production and consumption of horror literature and film and a decentering of white heteronormative patriarchal constructions of women.

In Teen Film (2011), Catherine Driscoll considers the character categorization with regard to adolescent female characters in horror cinema. Poignantly, Driscoll identifies that in many male created horror cinema contributions the leads are often adolescent young women. She furthers her critique of adolescent-led horror by asserting that “Teen horror is particularly useful for thinking about how recognition, familiarity and identification work in teen film because horror must operate on the border between what we know and what we don’t or, in fact, what can never be known” (83). Highlighting that children’s and Young Adult literary contributions incorporate “motifs, characters, themes, and tropes” originating in adult-directed works, Jessica R. McCort’s introduction to her collection, Reading in the Dark: Horror in Children’s Literature and Culture (2018), centers on the emotional reactions to be felt by young readers, namely fear and enjoyment.

In theoretical examinations often the body takes center stage. In Searching for Sycorax: Black Women’s Hauntings of Contemporary Horror, Kinitra D. Brooks takes on the theme of consumption and race in both literary and cinematic media. Robin R. Means Coleman and Mark H. Harris in The Black Guy Dies First (2023) identify character tropes about Black women frequently found in horror including those originating from American enslavement (for example, the Seductress is connected to the Jezebel). Cayden Mark Gardner and Willow Catelyn Maclay (Corpses, Fools, Monsters: The History and Future of Transness in Cinema; 2024) enact the May Test for trans cinema as much of what has been released about the gender non-conforming body causes anguish for transgender viewers. Recent scholarship concerned with embodiment, such as Erin Harrington’s Women, Monstrosity and Horror Film: Gynaehorror (2016) and Sunny Hawkins’ Deleuze and the Gynesis of Horror: From Monstrous Births to the Birth of the Monster (2022), employs diverse theories of corporeality to explore cinematic representations of the reproductive body. Indeed, Barbara Creed herself, revisiting the topic in her follow-up study, Return of the Monstrous-Feminine: Feminist New Wave Cinema (2022), has argued that in recent feminist cinema, the monstrous-feminine is “in revolt against male violence and corrosive patriarchal values including misogyny, racism, homophobia, and anthropocentrism” (2).

Drawing on this profusion of exciting scholarship, the special issue will center women who create horror across various media formats, with a particular emphasis on literature, in order to explore how the genre is being deconstructed and reconfigured to challenge ingrained ideas about gender, sex, race, desire, and the body.

In the realm of literature, impactful horror fiction by and about cis- and transgender women has included The Devourers (Indra Das, 2015), Her Bodies and Other Parties (Carmen Maria Machado, 2017), Our Share of Night (Mariana Enríquez, 2019), Tender is the Flesh (Agustina Bazterrica, 2020), Mexican Gothic (Silvia Moreno-Garcia, 2020), Five Little Indians (Michelle Good, 2020), Tell Me I’m Worthless (Alison Rumfitt, 2021), Manhunt (Gretchen Felker-Martin, 2022), The Reformatory (Tananarive Due, 2023), She is a Haunting (Trang Thanh Tran, 2023), Our Wives Under The Sea (Julia Armfield, 2023), Bad Cree (Jessica Johns, 2023), and The Lamb (Lucy Rose, 2025).

Since the early 2010s, there has been a surge in horror cinema written and/or directed by women. Notable examples include Jennifer’s Body (written by Diablo Cody and directed by Karyn Kusama, 2009), American Mary (the Soska Sisters, 2014), The Babadook (Jennifer Kent, 2014), A Girl Walks Home Alone at Night (Ana Lily Amirpour, 2014), The Lure (Agnieszka Smoczyńska, 2015), Raw (Julia Ducournau, 2016), Saint Maud (Rose Glass, 2019), Candyman (Nia DaCosta, 2021), Pearl (co-written by lead performer Mia Goth, 2022). In 2024 alone, new releases included women-led horror films like The Substance (Coralie Fargeat), Lisa Frankenstein (directed by Zelda Williams and written by Diablo Cody), and I Saw the TV Glow (Jane Schoenbrun).

Possible topics may include but are not limited to:

● Madness, trauma, ‘hysteria’, or mental illness
● Corporeality, embodiment, body horror, or the body as a site of resistance
● Female or feminised monsters, i.e., witches, vampires, mermaids, sirens, etc.
● The environment (EcoHorror), nature, and anthropocentrism
● Cinematography, the female gaze, and bodies on screen
● Ageism and the ageing body
● Fatphobia and fat bodies
● Consumption and the grotesque
● Mothers, motherhood, pregnancy, and the maternal
● Adolescence and transformation
● Gynehorror and menstruation
● Religion and the supernatural
● Sexual violence, exploitation, (rape) revenge
● Indigenous horror and MMIW (Missing and Murdered Indigenous Women)
● Colonialism and neocolonialism
● The Black body and racism intersectionality
● Female social justice movements (including #MeToo and the Pussyhat protests)
● Classism, precarity, the neoliberal economy, and capitalism
● Transgender identities and bodies, body dysphoria, transphobia
● Sex, desire, transgression and “monster fucking”
● Sex work
● Social justice and activism
● Slasher films and the Final Girl characterization

Please send abstracts of 500 words and a brief CV to: mamarotta@wm.edu and miranda.corcoran@ucc.ie by August 1, 2025.

Once abstracts have been accepted, completed submissions of 5,000-6,000 words (including notes and references) are due by December 1, 2025.

The Horror Studies journal is double-blind peer-reviewed.

For further information, please see Intellect’s Information for Journal Editors and Contributors. Contributors are required to use the Intellect Style Guide for referencing.

Please direct inquiries to mamarotta@wm.edu and miranda.corcoran@ucc.ie

AI Statement: Authors should refrain my using generative AI in the writing of both abstracts and articles. If AI is used for other purposes (i.e., compiling graphs and charts), this should be stated at the end of the submission or in the footnotes. 

About the editors:

Melanie A. Marotta is a Visiting Assistant Teaching Professor in English and Gender, Sexuality, and Women’s Studies at the College of William & Mary. Her monograph, African American Adolescent Female Heroes: The Twenty-First-Century Young Adult Neo-Slave Narrative, was published by the University Press of Mississippi and part of the Children’s Literature Association Series (2023). Recently, she has had publications in The Lion and the Unicorn, College Literature, and The Routledge Handbook for Transgender Literature.

Miranda Corcoran is a lecturer in twenty-first-century literature at University College Cork. She is the author of Witchcraft and Adolescence in American Popular Culture: Teen Witches, published in 2022 by the University of Wales Press. She currently the Chair of the Irish Association for American Studies and a co-editor of the journal Shirley Jackson Studies.


Last updated April 30, 2025

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

 

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

deadline for submissions: 
August 31, 2025
full name / name of organization: 
Jennifer Schell (University of Alaska, Fairbanks)

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

 

Deadline for proposal submission: August 31, 2025

 

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

 

Contact Email: mmadigar@uoregon.edujschell5@alaska.edu

 

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

 

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

 

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

 

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

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

 

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


Last updated February 28, 2025

CFP Fungal Horror and Popular Culture (6/1/2025)

 

Fungal Horror and Popular Culture

deadline for submissions: 
June 1, 2025
full name / name of organization: 
Berit Åström, Umeå University

As editors of the planned Palgrave Handbook on Fungal Horror in Popular Culture, which has 33 commissioned chapters, Dr Katarina Gregersdotter and Dr Berit Åström, Umeå University, Sweden seek approximately 10 additional original essays. 

We are primarily looking for chapters on fungal horror in non-Anglophone material, but also welcome studies of less mainstream Anglophone texts. 

Fungi are entangled in our lives, as food, as medicine or drugs, but also as parasites and agents of destruction, such as black mould, dry rot and cordyceps, the zombie fungus. This entanglement carries over into popular culture, where fungi are used to carry out different kinds of work, articulating deep seated fears and desires, functioning as a threat to, but perhaps also a saviour of, an embattled humanity on the brink of possible extinction.   

This edited volume will be the first full-length scholarly study of fungal horror in popular culture such as, but not limited to, literature, film, television, comics/graphic novels, computer games, art and memes. We invite contributors to approach the topic broadly, both in terms of material analysed and in the themes explored. 

 The chapters should be c. 7 000 words, including endnotes and bibliography.  

Send your abstract, of no more than 300 words, together with a brief biography to Berit Åström berit.astrom@umu.se and Katarina Gregersdotter katarina.gregersdotter@umu.se by 1 June, 2025. Notification of acceptance will be given no later than June 27, 2025.  

Deadline for submission of completed manuscripts is 15 January, 2026.


Last updated April 10, 2025

Wednesday, April 30, 2025

NEPCA Updates 4/30/2025

The NEPCA website has a new address and design as of today. 

Access the site at https://www.northeastpca.org/

Hopefully we can start accepting proposals for the 2025 conference soon. 

The event will be fully online this fall.



Friday, April 4, 2025

CFP Gothic Literature: Creative Activity, Research, and Pedagogy (9/1/2025; Special Issue of Interdisciplinary Humanities)

Gothic Literature: Creative Activity, Research, and Pedagogy

deadline for submissions: 
September 1, 2025
full name / name of organization: 
Interdisciplinary Humanities
contact email: 

Call for Papers

Interdisciplinary Humanities

Special Double Issue

Gothic Literature: Creative Activity, Research, and Pedagogy

 

Interdisciplinary Humanities announces a special double issue dedicated to exploring Gothic literature's rich and diverse world. This special issue will feature creative works, scholarly research, and pedagogy with a particular focus on the New England Gothic context, although submissions on alternate Gothic traditions are encouraged for specific areas of focus outlined below. We invite papers that investigate the New England Gothic genre's literary, cultural, and historical dimensions as well as creative works that engage with, draw inspiration from, and/or reinterpret Gothic traditions for contemporary audiences.

 

Research Topics

We welcome submissions that engage with topics such as the following:

  • Critical analysis of Gothic texts, particularly focused on those rooted in the New England Gothic tradition.
  • The evolution of New England Gothic literature’s themes and motifs, including the supernatural, horror, isolation, and decay.  Of particular interest are the ways in which these phenomena integrate with conversations about Indigenous peoples, the Puritans, religious and cultural superstitions and stereotypes, clashes of diverse cultures in these contexts, etc.
  • The intersection of Gothic literature with other literary genres such as horror, fantasy, science fiction, and media such as film, video games, and digital texts.  This topic is open to submissions rooted across a more holistic Gothic literature and art field.
  • Comparative studies of New England Gothic with other regional Gothic traditions, such as Southern Gothic or Transatlantic Gothic.
  • Exploration of how New England Gothic literature reflects and shapes cultural anxieties related to gender, race, class, or historical trauma.
  • Environmental and eco-Gothic themes, particularly in relation to the landscapes of New England.
  • The role of art, architecture, geography, and space in Gothic narratives.  This topic is open to submissions investigating a broad field of Gothic traditions.
  • The relationship between Gothic literature and cultural theory and analysis, including religious or philosophical traditions.

Creative Works

We also invite creative submissions inspired by Gothic traditions. These may include but are not limited to:

  • Short stories, flash fiction, or novel excerpts that are drawn specifically from New England Gothic themes and/or contexts.
  • Poetry that evokes the New England Gothic tradition's atmosphere, tone, or imagery.
  • Experimental or hybrid forms that push the boundaries of New England Gothic literature.
  • Creative non-fiction or memoirs that reflect on personal encounters with New England Gothic themes, narratives, or landscapes.

Pedagogy

  • Innovative teaching methods for the Gothic.
  • Curriculum design and assessment strategies.
  • Interdisciplinary approaches to teaching Gothic texts.
  • Digital humanities and Gothic literature /culture education.

 

Editors

Volume 1: Gothic Literature: Creative Activity and Research

  • Jay Burkette (Embry-Riddle Aeronautical University)
  • Wendy Galgan (Saint Joseph’s College of Maine)
  • Megan Gannon (Ripon College)
  • Darian Wharton (University of New Mexico)

 

Volume 2: Gothic Literature / Culture and Pedagogy

  • Debra Bourdeau (Missouri University of Science and Technology)
  • Clint Jones (Capital University)
  • Mary Powell (Desert Vista High School and Grand Canyon University)
  • Elissa Pugh (Concord University)

 

Important Dates

  • Submission Deadline: October 1, 2025
  • Notification of Acceptance: November 1, 2025

 

Review Process

All submissions will undergo a double-blind peer review process. Manuscripts will be evaluated based on originality, relevance, methodological rigor, and contribution to the field.

 

Contact Information

 Last updated March 31, 2025