CfP: Fantasy and Myth in the Anthropocene International Conference, October 3-5, 2018, Czech Republic

Fantasy and Myth in the Anthropocene International Conference October 3-5, 2018

Masaryk University in Brno, Czech Republic

“The relationship between myth and fantasy is a particularly convoluted one. … [B]oth words have so many meanings and applications that they can be synonyms or direct contraries.”
(Brian Attebery, Stories about Stories)

“The Anthropocene is a belief that humanity has already changed the living world beyond repair … [and that] the destiny of the planet is to be completely overtaken and ruled by humanity. … Like most mistaken philosophies, the Anthropocene worldview is largely a product of well-intentioned ignorance.”
(Edward O. Wilson, Half-Earth: Our Planet’s Fight for Life)

Myth and fantasy have always been forms of collective dreaming. They offer metaphorical grounding in existing reality but inspire imagination to conceive of a world that is different. Humanity has used myth and fantasy as vehicles for exploring the notions of heroism, group identity, power and destiny; for asking questions about the meaning of life, ethics, and happiness; for expressing social criticism and speculating about the supernatural. What do these questions mean at a time when human activity has been altering the planet in game-changing ways? How can myth and fantasy be used for hopeful dreaming that is not escapist? Can they point a way to restoring the connection with the natural rather than the supernatural? Can they articulate a vision of non-anthropocentric life, in which humans are part of rather than rulers of the biosphere?

This conference aims to explore the challenges and opportunities for myth and fantasy that have arisen out of highly contested debates over climate change, pollution, habitat extinction, mass pauperization and migrations, and other effects of global capitalism’s assault on the natural and human world—an assault otherwise known as “growth and development.” If myth and fantasy remain relevant vehicles for hopeful dreaming, how do they operate in the Anthropocene? Do they accept, ignore, or challenge the Anthropocene’s assumptions? Whose visions of change do they express or sanction and whose visions do they exclude? Most of all, can fantasy and myth help us rethink what it means to be human at the time Amitav Gosh has dubbed “The Great Derangement”?

We invite scholars, graduate students, artists and independent researchers from all fields across the humanities, education, and social sciences. We also welcome submissions from undergraduate students. Proposals may range, but are not limited to, comparative literary studies, linguistics, film and game studies, cognitive science, art, religious studies, philosophy, education, popular culture, music, material culture, and related fields. Across this broad spectrum, we invite participants to examine, interpret and explore the various aspects of fantasy and myth in the Anthropocene. Presentations on the theme are encouraged but not required.

Relevant topics may include:

• The Anthropocene as represented in fantasy, including fantasy art
• How fantasy engages with, or avoids the Anthropocene’s moral, ethical, and political challenges
• Anthropocene as a myth or myths for the Anthropocene
• Myth and fantasy on stories about humanity’s ultimate triumph or inevitable end
• Magical beliefs about the Anthropocene
• Science and Fake News about the Anthropocene as part of the fantasy spectrum
• Indigenous and global fantasy vs the Anthropocene
• Fantasy, myth, and new humanism (or posthumanism)
• Fantasy as a modern form of mythmaking
• Fantasy, ecopoetics, and the ethos of “greenness”
• Films, cartoons, video games, picturebooks, comics, graphic novels and other (multimodal) formats as representing the new(?) relationship between humans and nature
• Ecocritical and/or Anthropocene readings of myth and fantasy
• Fantasy, myth, and the apocalypse
• Fantasy of survival or resetting of the current civilization
• Work of Ursula K Le Guin, N. K. Jemisin, and other writers dealing with the Anthropocene

Presentations need not be limited to the above topics or one mode of delivery. We encourage prospective participants to submit proposals for papers, panels, forums, workshops, multimedia events or propose new presentation formats. If unsure, direct questions to Tereza Dědinová []

Confirmed keynote speakers:
Brian Attebery, Idaho State University
Marek Oziewicz, University of Minnesota

Conference website:

Proposals may be submitted in English, Czech or Slovak. Send an abstract of no more than 500 words accompanied by a short biographical note to The deadline for proposal submissions is February 28, 2018. Authors will be notified of acceptance by March 15. Except for the keynotes, all conference presentations will have to be delivered in 20 minutes. Conference Registration fee, payable by April 30, is €65. Authors of selected presentations may be invited to submit their essays for a peer-reviewed collection.

On behalf of the organizers,
Dr. Tereza Dědinová

Department of Czech Literature and Library Studies
Faculty of Arts Masaryk University
Údolní 53 602 00 Brno
Czech Republic

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CfP: Transgression and Contemporary Gothic

The Dark Arts Journal is pleased to announce the call for papers of issue 4.1, for the topic of “Transgression and Contemporary Gothic” We invite innovative, challenging and original submissions on any aspect of Gothic studies and the notion of transgression, with particular emphasis on contemporary Gothic and/or contemporary issues read in a Gothic context.


Transgression, ‘so pure and so complicated’ (Foucault: 1977, p.35) is a contentious issue, with many critics to-date strongly questioning the effect of the oversaturation of violence and misdemeanor in contemporary subjective, cultural and political life, and the extent to which transgression is now exhausted. The critical engagement with transgression has thrived in past few decades with numerous critical studies emerging. To a certain extent, the contemporary engagement began with Stallybrass and White (1986) who revised transgression as a politically charged gesture that challenges the social and political classification of high/low culture. For some, transgression is an antagonistic and cynical response to contemporary discontent, corresponding to a fatalistic inability to engage with contemporary culture/society except in terms of nihilistic or discordant inertia or refusal. Others have argued that transgression is an aesthetic mode of subversion, potently questioning of artistic, political and moral boundaries. In this way, transgression not only articulates limits but goes excessively beyond them, forcing the transgressor to reassess their moral/ethical coordinates.

If transgression stages the crossing and/or annihilation of limits then the Gothic, which undermines unstable distinctions between reality and unreality, as well as laws/prohibitions and limits, is a productive frame against which to read and critique transgression. As critics of contemporary Gothic, we are attuned to questions regarding a similar fascination with Gothic terror, horror and monstrous, and the extent to which they are increasingly co-opted as commodities and “exhausted” as some detractors would profess, corresponding in a decline of the mode’s effectiveness. Re-engaging with transgression, its forms and the philosophies that inform it, through the Gothic lens seems a natural and productive enterprise in order to readdress the validity and strength of both concerns in the contemporary era.


This journal welcomes all submissions with an emphasis on transgression and the contemporary Gothic, in all its forms.

Possible topics may cover, but are in no way limited to the following:

*Gothic studies and philosophy or literary studies

*New and contemporary approaches to the Gothic canon

*Contemporary Gothic Film, TV, Literature, Music, Art, Culture, etc.

*Contemporary Horror

*Gothic and Transgression

– Violence

– Nihilism

– The Grotesque

– The Carnivalesque

– Psychopathology

– Suicide

– Terror(ism)

– Resistance

– Post-capitalism / Neoliberalism

– Contemporary Philosophy

All Submissions should be emailed to for the attention of the editor with the subject line “Dark Arts 4.1 Submission.” Papers should be between 4,000—5,000 words and use MHRA style guide for referencing and footnotes. As always, we welcome contributions from scholars at any stage of their careers and particularly from postgraduates and early career researchers.

Deadline for submission is February 28th, 2018

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CfP: In Search of New Harmonies

Deadline: January 8, 2018

New Harmony was the name given to the utopian community established in Indiana by the socialist thinker Robert Owen (1771-1858). Harmony is a term which was originally applied to the ‘languages’ of music according to specific rules and was pleasant to the ear. It can also possess a therapeutic quality which can ease suffering. Outside music, harmony is peace, peace with the world and with oneself. Etymologically, the term has its origin in Greek harmos meaning a ‘joining together’ or coordination and agreement between different cultures, individuals or groups. Harmony can also be defined by what it is not. It is neither dissonance nor discord; it is not fear or hostility. In short, harmony is the area of the utopian and an absence of the dystopian.

Robert Owen was not alone in his search for social harmony. Born in Wales, moving to Scotland and then to North America, he shared the ‘new’ ideas of other pioneers in the improvement of social education, working conditions, and women’s rights. His well-known slogan: “eight hours labour, eight hours recreation, eight hours rest” was eventually adopted in the United States and subsequently in other countries around the world. In New Lanark, Scotland, Owen managed to put his utopian ideas into practice when he took over the management of the New Lanark cotton mills. By 1799, the living conditions of around two thousand people had improved greatly and this success led him to Indiana where he set up New Harmony with one thousand ‘utopians’. Unfortunately, the utopian community flopped after a period of two years because – as Owen’s son said – its inhabitants consisted of “a heterogeneous collection of radicals, enthusiastic devotees to principle, honest latitudinarians, and lazy theorists, with a sprinkling of unprincipled sharpers thrown in”.[1]

This call for papers especially welcomes the unconventional, free-spirited, unorthodox and even eccentric ventures into new harmonies: past, present and future. This may seem like a contradiction in terms – but revolutions and change are born from the best and the worst of times. The fact that New Harmonies are still unachievable is proof that our present-day world is closer to dystopia than to utopia. The question is: will our future generations be able to renegotiate utopia and maintain the utopian spirit or will dystopia become inevitable?
Papers which focus on social, political and cultural aspects of the term ‘harmony’ are particularly welcome, although contributions which deal with any other aspect of the utopian field will also be considered.

We welcome proposals for Panel Sessions and Individual 20-minute Papers:

a) For individual 20-minute papers, please send an abstract (max. 300 words) with
1. a title
2. your name
3. affiliation
4. email address and phone number
5. three keywords relating to your topic to help us organise the papers into relevant sessions.

b) For Panel Sessions (Coordinator + or 2 or 3 members), the Panel coordinator should please send
1. a title and abstract (max. 400 words) of the topic
2. the names, affiliations and email addresses of the other members
c) The deadline for submissions will be January 8th, 2018
d) Confirmation of acceptance will be sent by January 31st , 2018
e) Please note that the language of the conference is English. Exceptionally, papers in another language may be accepted and will be grouped in a separate panel.

Please send your proposals to both Liz Russell liz.russell@urv.catand Pere Gallardo

Please also visit the conference website for basic information:

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CfP: Worlding SF, December 6-8, 2018, University Of Graz, Austria

Worlding SF
December 6-8, 2018
University Of Graz, Austria

Call For Papers

Everything is (in) a world.

“To be a work [of art] means: to set up a world,” Martin Heidegger remarked in his 1950 essay “The Origin of the Work of Art” (2002, 22). Tellingly, some four decades later, Carl Malmgren suggested that “the generic distinctiveness of sf lies not in its story but in its world” (1991, 7). Both Malmgren and Heidegger have a point—fiction, and more specifically science fiction, is generally more interested in creating plausible worlds than telling convincing stories. In response to the effects and challenges of transmedia convergence, Istvan Csicsery-Ronay has more recently remarked that world-building “determine[s] the relationships in the narrative, even when the action is full of dramatic movement” (2008, 82). Accordingly, everything is (happening) in a world; a (more or less) coherent and cohesive world.

Following Heidegger’s elaborations in Being and Time (1927), one may argue that entering such a fantastic world means being thrown into it, as the reader/viewer/player must learn to navigate the fictional world and to understand its underlying rules. This “thrownness” defines the subject and its relation to the world (2010, 169–73). As such, Heidegger’s approach opens up ways to begin to understand the ways in which we become immersed in—and engaged with—sf universes.

In the aforementioned essay “The Origin of the Work of Art,” Heidegger stresses that “[w]orld is not a mere collection of the things […] that are present at hand. Neither is world a merely imaginary framework.” “Worlds world,” he concludes, meaning that we are subject to worlding “as long as the paths of birth and death […] keep us transported into being” (2002, 23; italics in original). Similar to the ways in which the previous paragraph condenses Heidegger’s concepts, Gayatri Spivak has “vulgariz[ed …]” (1985, 260) Heidegger’s notion of “worlding,” suggesting that the “worlding” of any text carries ideological baggage—political messages that simultaneously naturalize specific concepts and always-already seek to erase themselves. Heidegger himself, for example, denied nonhuman agents the capability of worlding, stating that “plants and animals have no world; they belong […] to the […] environment into which they have been put” (2002, 23). As a result, building worlds seems to necessitate creating hierarchies, which lead to processes of oppression and marginalization—from the colonial subtexts of canonical texts Spivak uncovered and the feminist sf of Ursula K. Le Guin, Joanna Russ, and Octavia Butler to afrofuturism and visions of the future in which Earth liberates itself from human dominance.

The conference “Worlding SF: Building, Inhabiting, and Understanding Science Fiction Universes” seeks to explore these three thematic clusters—(a) world-building, (b) processes and practices of being in fictional worlds (both from the characters’ and readers’/viewers’/players’/fans’ points of view), and (c) the seemingly naturalized subtextual messages these fantastic visions communicate (or sometimes even self-consciously address). Accordingly, we would like to invite interested scholars to submit panel proposals and/or abstracts for individual papers on topics that may include, but are by no means limited to:

* (transmedia) storytelling and world-building (establishing coherence, explaining contradictions, embracing contradictions, world-building beyond storytelling, etc.),
* the (im)mutability of sf worlds (retconning the operating principles of established universes),
* world-building and philosophy,
* human and nonhuman agents’ being-in-the-(fictional) world,
* worlds as characters in their own right,
* engaging with sf storyworlds/universes (e.g. fan culture, but also popular culture representations of specific sf worlds and their fans),
* movement (and/or the lack thereof) in/of sf worlds,
* (overcoming) marginalization/cultural hierarchies in sf worlds (race, class, gender, sexuality, species),
* non-western conceptualizations of sf worlds (e.g. indigenous cosmologies), and
* sf worlds and the “real” world.

We have two separate deadlines for panel and paper proposals. For the first deadline, please submit only your panel proposals (i.e., 300–500-word pitches for your panels). You may, of course, already recruit scholars for your panels and include a tentative list of speakers; however, individual paper abstracts (no matter whether submitted for the open track or for a specific panel/track) will be due at a later point.

panel proposals: January 31, 2018

acceptance of panel proposals: February 16, 2018
paper abstracts: April 15, 2018

Submission Procedure:
Panel proposals should be emailed to; for individual paper abstracts, please use the submission form, which will be online from February 20 to April 15 at

Additional Information:
Limited funding for independent scholars and graduate students may be available. In order to create a more inclusive environment for international scholars who may have funding, scheduling, and/or travel issues, the conference will feature a Skype track. We expect papers to be presented live (and not to be pre-recorded), however.

A volume based on selected conference papers will be published with the University of Wales Press’ New Dimensions in Science Fiction series, edited by Paweł Frelik and Patrick B. Sharp. (FYI: UWP is distributed by the University of Chicago Press in North America.)

If you have any questions, please drop us an email at

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Electric Athenaeum is Open for Submissions

Electric Athenaeum is a Science Fiction and Fantasy magazine publishing short fiction, articles, poetry, and interviews. Each issue features an accompanying theme, and is available for free to readers.

This issue’s theme: For Future Generations

We are currently OPEN for submissions! We plan on remaining open to submissions through 15 February 2018.

Fiction Guidelines

Word Limit: 3,000 words minimum, 10,000 words maximum

Pay Rate: 50GBP per story

Genre: We are open to any genre of speculative fiction, so long as the story contains a strong imaginative thread.

Theme: For Future Generations (more detail below)

Language: English (translations are welcome, as are submissions from authors worldwide)

Rights: We purchase first world electronic text rights.

For Future Generations (theme): Generation starships establishing new colonies. The Svalbard Global Seed Vault. Driving back the dark to protect your children. For this issue of Electric Athenaeum, we are seeking genre stories that focus on the issues surounding planning for future generations. We are particularly interested in stories featuring new visions/interpretations of generation starships, the care of fragile ecosystems, and dramatic explorations of balancing the rights of future generations versus the needs of the present.

Submissions Process: Please submit stories to us at, using the Subject Line: Fiction: [Insert Story Title Here]. Please include a cover letter clearly listing your name, email address, story title, genre, and word count. The cover letter should also include publishing history (as applicable) and any other relevant information (for example, if you write interstellar fiction and also are a literal rocket scientist). Please use standard manuscript format and attach stories to the email as a .RTF, .DOC, or .DOCX file. No simultaneous submissions, please.

Queries and Response Times: We aim to respond to all submissions within two weeks. Please do not query us before that time.

Nonfiction Guidelines

What We’re Looking For: Articulate, well-written articles on a variety of subjects of interest to the SFF community that fit with out current theme. We are particularly interested in articles that explore the intersections between current science and fiction (be that hard science or social), examinations of genre history (for example, how different authors used/approached the trope of the generation ship), and essays on the writing or reading experience.

What We’re Not Interested In: At this time, we are not looking for reviews, interviews, or reprints of articles published elsewhere (particularly online). While we may print reviews or interviews, they will be handled in-house or directly commissioned to fit the theme of each issue. In addition, we have no interest in clickbait, pieces designed just to elicit an anger response or to denigrate a given work or group, or listicles.

Word Limit: 3,000 word maximum

Pay Rate: 50GBP per article

Submissions Process: Please Query First! Email queries to us at using the Subject Line: Nonfiction: [Insert Proposed Article Title Here]. Please include a paragraph outlining the proposed article, and a list of your relevant qualifications or experience. If the article proposed seems a good fit, we will ask to see a full version. Please bear in mind that our request to see a full version of the article is not a guarantee of publication.

Poetry Guidelines

What We’re Looking For: Poetry of all forms, structures, and kinds that fits with our current theme. We are currently open to a wide variety of lengths, but it’s probably best to stick to no more than one page per poem.

Pay Rate: 10GBP per poem

Submission Process: Email submissions to us at using the Subject Line: Poetry Submission. Please include a cover letter clearly listing your name, email address, poem title(s), and genres. The cover letter should also include publishing history (as applicable) and any other relevant information. Please use standard manuscript format and attach poems in a single document to the email as a .RTF, .DOC, or .DOCX file.

Visual Art Guidelines

What We’re Looking For: We are currently looking for artwork for the cover image of our first issue. We’re looking for science fiction or fantasy artwork that fits with the theme of For Future Generations, (see description above). We are open to all experience levels, and original or reprint artwork.

Pay Rate: 75GBP for cover art

Submission Process: Please Query! Email queries to us at using the Subject Line: Artwork Query. Please include a link to a gallery of your work or the proposed piece specifically (if reprint), and a list of your relevant qualifications or experience.

Thank you to everyone considering submitting to Electric Athenaeum!

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CfP: A Celebration of Slashers, DePaul University, Chicago

Call for Discussion Topics and Panel Proposals:
A Celebration of Slashers

DePaul University

Now accepting submissions and ideas for the sixth annual Pop Culture Colloquium at DePaul University in Chicago! DePaul University’s College of Communication is hosting a one-day celebratory colloquium in honor of the Slasher genre on Saturday, April 28, from 9am-6pm.

This event will feature roundtable discussions from scholars and fans of slasher films, including the Friday the 13th, Halloween, Nightmare on Elm Street, and other franchises, films, television series, video games, graphic novels, or et al. Our keynote speaker is Rachel Talalay, director of Nightmare on Elm Street 5 as well as multiple television series (Doctor Who, Sherlock, Riverdale, Flash, Supernatural, Reign…the list goes on.)

Participants may propose panels and topics about a broad array of ideas related to the genre and its cultural impact. The Pop Culture Conference does not feature formal paper presentations, but speakers are invited to have roundtable discussions themed around these topics. The audience for this event is both graduate and undergraduate students, both fans and scholars.

If you’re interested in speaking on a roundtable, or want to propose a panel with 3-5 people, or have ideas for other events/lectures, please send a 300 word abstract that proposes a significant topic of discussion and a CV/resume to Pop Culture Conference ( by Jan 15, 2018. Please aim your abstracts for a more general audience and for a discussion rather than traditional scholarly paper presentation. We will also have the opportunity to publish a longer version of your talk in an update to our Time Lords and Tribbles book.

Potential topics include (but are not limited to):

– Slashers and gender

– Slashers and race

– Narrative and genre theories of slashers

– Changes in the horror genre

– Slasher/horror fandom

– The impact of particular directors, writers, or actors on the genre

– Teaching horror/slashers

– Adaptation within the slasher canon

– Case studies of slasher films

– What counts as a slasher?

For more information, please check out, and sign up for updates on Facebook (search “A Celebration of Slashers”). We hope that you will be able to join in the discussion and celebration!

Please send a 300 word abstract that proposes a significant topic of discussion and a CV/resume to Pop Culture Conference ( by Jan 15, 2018.

A Celebration of Slashers


(DePaul University, April 28, 2018)

Please click here for more information.

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CfP: Women, video games, and modding

Women, video games, and modding

deadline for submissions:
December 1, 2017

full name / name of organization:
Bridget Whelan / McFarland Books

contact email:


This is a call for article-length scholarly contributions for inclusion in a proposed collection of essays (to be published by McFarland) broadly focused around the topic of women and video game “modding.”

Potential topics may include:

Romance mods, including the politics of modding race and sexuality, NPC (“non-player character”) availability, NPC appearance, and creating or extending canonical romantic scenes
Modding the body: what sort of mods are women creating and using on their own characters? Can mods express dissatisfaction with base game character creation options?
Modding communities: how have online spaces like Tumblr fostered modding communities for women? The importance of crediting modders, the policing of gamers on how to use and credit use of mods, collaborative modding communities versus “lone wolf” modders, the backlash against websites like Nexus
Essays focused on particular games, such a Dragon Age, The Sims, or Skyrim
The relationship between female modders and developers: do developers ever respond to modder creations? Is base game content ever altered to appease modder interests? Do developers ever express disagreement or lack of support for modders?
Using modding and game creation in girls’ education.
This list is far from expansive; any proposed essay addressing some aspect of female gamers and modding will be considered.

Please email a 500-word abstract to by Dec 1, 2017. Completed first drafts will be expected sometime around Jun 1, 2018. Please also include a short bio with your abstract submission.

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CfP: Gothic, Ghastly, Corporeal and Creaturely: Tim Burton’s Curious Bodies, University of Wolverhampton

Gothic, Ghastly, Corporeal and Creaturely: Tim Burton’s Curious Bodies

deadline for submissions:
December 8, 2017

full name / name of organization:
Fran Pheasant-Kelly/University of Wolverhampton

contact email:

Call for Papers

The First International Conference on Twenty-First Century Film Directors

University of Wolverhampton in collaboration with Light House Media Centre, Wolverhampton and Redeemer University College, Ontario presents

Gothic, Ghastly, Corporeal and Creaturely: Tim Burton’s Curious Bodies

Thursday 15th February 2018 at Light House Media Centre*, Wolverhampton

Keynote: Professor Adam Barkman, Redeemer University College, Ontario

Film director Tim Burton has acquired an international reputation and critical acclaim for fantasy horror films that variously encompass alternative worlds inhabited by ghosts, animated corpses, grotesque and horrible bodies, or otherwise, ‘different’ beings. So too do creaturely apparitions feature regularly in his productions. While his work often centres on animated characters, he collaborates with a number of specific star personae such as Johnny Depp, Helena Bonham-Carter, Christopher Lee, Winona Ryder, Vincent Price, Christopher Walken, Danny de Vito, Michael Keaton, and Jack Nicholson. Burton also frequently uses composer, Danny Elfman, as well as certain crew members and technical staff to work on his films. This one-day conference seeks to draw together scholarship on the theme of ‘bodies’ in Burton’s films and invites proposals accordingly. We particularly welcome contributions focusing on:

§ Collaborative bodies – stars, actors, composers, and crew members/technical staff

§ Grotesque and vile bodies

§ Gothic bodies

§ Animated bodies

§ Compromised and anomalous bodies, and ‘freak-show’ aesthetics

§ Creaturely bodies

§ Abject and corporeal beings

§ Bodies between worlds

§ Spectacular bodies

Please send a 300-word abstract along with a 100 word bio by Friday 8th December 2017 to: Fran Pheasant-Kelly, University of Wolverhampton . A final listing of accepted presentations will be released on 15th December 2017.

Delegate fees for Burton’s Curious Bodies are £50 and £20 for students/concessions to include lunch, refreshments, and evening wine reception and screening of Miss Peregrine’s Home for Peculiar Children (2016).

* Light House Media Centre is the Black Country’s only independent cinema, housing two screens, galleries and a café bar within the iconic Victorian architecture of The Chubb Buildings.

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CfP: Edited Collection: Excessive Reflections: Doubles and Other Transmutations in Latin American Gothic

Edited Collection: Excessive Reflections: Doubles and Other Transmutations in Latin American Gothic

deadline for submissions:
November 30, 2017

full name / name of organization:
Edited Collection: Excessive Reflections:

contact email:


The collection Excessive Reflections focuses on a recurrent motif that is fundamental in the Gothic—the double. Dating back to ancient times and civilizations, the double acquires modern relevance when Otto Rank examines it in his essay published in 1914, and is later quoted by Sigmund Freud in “The Uncanny” (1919). This volume is interested in exploring how this ancient notion acquires tremendous force in a region, Latin America, which is itself defined by duplicity (indigenous/European, autochthonous religions/Catholic). Despite this duplicity and at the same time because of it, this region has also generated “mestizaje”, or forms resulting from racial mixing and hybridity. Special attention will be paid to the eruption of the indigenous through the figure of the nahual (also nawal or nagual), the guardian spirit or alter-ego embodied in animal form, as well as to other doubles and numerous transformations present in Latin American Gothic constructions.


In recent years, much attention has been paid to national manifestations of the Gothic, as well as to what Glennis Byron termed “Globalgothic,” “the emergence of cultural and transnational gothics” (Globalgothic 1). Thus, several collections have aimed to examine manifestations of this mode in the Anglophone realm (Scottish, Canadian, American, Australian, etc.), while others have chosen to examine other regions of the world that had been previously overlooked by the Gothic Studies lens, such as Asian Gothic and Latin American Gothic.


This collection, then, aims to contribute to the current discussion about the Gothic in Latin America by looking at the doubles and hybrid forms that result from the violent yet culturally fertile process of colonization that took place in the area. This will be done by acknowledging the literary and artistic richness that has been shaped and fueled by a legacy of conquest, as well as the violent encounters and the oppression of indigenous people resulting from the consequent establishment of European hegemony during colonization, but in equal measure by powerful forms of resistance and cultural hybrids that have emerged from this intense phenomenon.

Excessive Reflections aims to answer questions such as:

How central is the presence of doubles, split personalities and hybrid bodies in the discussion around Latin American Gothic?

Is there a connection between the tradition of Magic Realism, a genre native to this region and closely associated to ghostly presences, and the Gothic?

Is there a link between the historical and geographical identity of the region and the presence of doubles in the literature, film and art produced in it?

What is the connection between the presence of hybrid bodies in the present and the pre-Columbian heritage in the area?

Submission process and deadlines (also questions):

Those interested are asked to send a 300 word abstract, plus a 50 word bio note to:




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CfP: Post-cinema – VR and AR: a Postcinematic Modernity II

Call for Papers – Post-cinema – VR and AR: a Postcinematic Modernity II

Film Forum – XVI Magis International Film Studies Spring School
Gorizia, Università degli studi di Udine-Italy

March 3rd-7th 2018

Deadline November 30th, 2017

Address questions and proposals to: (goriziafilmforum /at/ ) )
​​Virtual Reality (VR) and Augmented Reality (AR), as well as establishing new identities and expanding the perceptions of existing users and the technologies they use, also represent two cardinal points in the (re)definition of participative and political practices in current media landscape. In this sense the Postcinema section would like to explore the “community/knowledge/power” relationship and the “community/history/truth” relationship in the production and diffusion of certain “media products”, in particular the VR and AR ones. The 2018 Post Cinema section of the Magis Spring School takes into considerations proposals in the following fields:

– Literacy and socio-economic accessibility linked to VR and AR in the new media (eg, the difficult access to the interfaces of VR gaming or the rapport with the casual gaming)
– The creation of social communities linked to the collective use of products specially created for their use through VR and AR devices.
– The user’s bodily, spatial and temporal perception during the pragmatic use of VR and AR. For example, the user’s camouflage with technology and constant development of dedicated peripherals (war games guns, footrests to allow the use of the feet currently not supported, introduction of wireless devices for the viewer …) impact;
– The relationship between truth and post-cinematics products (such as documentaries or interactive films, video games, and other digital products). In these products whose story is being told? Who is telling it? For whom? Whose truth? Who circulates in the market of whom?
– The current use and the future potential of VR and AR as tools for interpreting and re-reading a social-political setting.
– The use of “politics” in digital video games and interactive products (in the form of satire, parody, narration: eg “Trump Simulator”, “Job Simulator”). The analysis of the VR development policies adopted by different communities or countries, and the investigation of the system of power that they configure or contest.

We invite you to send us proposals for papers or panels. The deadline for their submission is November, 30th 2017. Proposals should not exceed one page in length. Please make sure to attach a short CV (10 lines max). A registration fee (€ 150) will be applied. For more information, please contact us at (goriziafilmforum /at/

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