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Monthly Archives: May 2016

Into the Bush: Australasian Fairy Tales
A Special Issue of TEXT
Editors: Dr Nike Sulway, Dr Rebecca Anne Do Rozario,
Dr Belinda Calderone

The fairy tale has a long tradition in both oral and literary forms. Indeed, recently Sara da Silva and Jamshid Tehrani have argued, using a phylogenetic analysis of tales in the Aarne Thompson Uther (ATU) index, that some of the tales still told today ‘can be securely traced back to … between 2500 and 6000 years ago’ (8). Such an ancient tradition has left its mark across a range of literary traditions, including those of Australasia. While old and gnarled, the fairy tale is also alive and well, informing contemporary literary practice across a range of forms and genres, in works written for both children and adults.

This Special issue of TEXT, developed in association with the Australian Fairy Tale Society, responds to the challenge of honouring the long-lived traditions of the fairy tale in the Australasian context, of exploring and expanding our understanding of fairy tales and their tellers in a postcolonial context.

This issue seeks to reflect on Australasia’s unique creative and scholarly contributions to this long-lived genre, and seeks submissions that address the growing interest in fairy tale narratives across a range of platforms, particularly those stories set in and around Australasia.

Submissions may address, but are not limited to, the following:
• Writing about fairy tales and their tellers
• Fairy tales in the Australasian landscape/context
• Fairy tales in the colonial and postcolonial context
• Appropriations and adaptations
• Gender, sexuality and the fairy tale
• Teaching and learning about fairy tales
• Tale types and tropes: critical discussions of the ATU and Propp models, of Dundes’s motifemes or similar schemas
• Other relevant topics and issues

Scholarly papers should be no more than 6000 words in length. Creative works will usually be up to 3,500 words in length, or as agreed by editors.

Creative work must be accompanied by an ERA research statement that clearly explains the submission’s relevance as a research outcome. Peruse any of TEXT journal’s Creative Writing as Research special issues to familiarise yourself with research statements.

Please also contact us with ideas for book reviews.

Please include a brief biography (200 words max, in TEXT style) and ensure that you include your email address for reply. Submissions MUST be in TEXT style and formatting. Please see for submission guidelines.

Deadline for initial submission: July 29, 2016
Final revised submissions will be due: September 15, 2016
Publication date: April, 2017
Email:,, or

Compared to film, TV and the novel, science fiction theatre is not a widely discussed topic. But, whilst there is only one book from the 1990s that lists the history of sf plays, there is a long legacy of staging the fantastical, including the importance of Karel Čapek’s R.U.R. (1920) in coining the term ‘robot’. With contemporary mainstream plays such as Constellations, The Nether, Mr Burns and X, sf theatre may be experiencing something of a revival. There are an increasing number of sf theatre companies worldwide as well as a new anthology in sf plays.

Foundation seeks articles for a special issue on science fiction and theatre, to be published in winter 2017. Why is sf not analysed as often in theatre than other media? What is lost and what is gained when a text is adapted for the stage? Are there any genre tropes that cannot be staged effectively in theatre? What tropes work particularly well for the stage? All topics and methodologies are welcome including (but not limited to) stage depictions of the future, constructions and representations of sf tropes, performing the non- and post-human, space-time on stage, and adaptations of sf films and novels.

Please send submissions of up to 6000 words by 5th February 2017 to, attaching the file in either .rtf or .doc format. For questions about formatting, please see the style guide at; for all other enquiries, please contact Susan Gray at

Foundation Essay Prize 2017

November 7, 2016
full name / name of organization:
Foundation: The International Review of Science Fiction

We are pleased to announce our next essay-writing competition. The award is open to all post-graduate research students and to all early career researchers (up to five years after the completion of your PhD) who have yet to find a full-time or tenured position. The prize is guaranteed publication in the next summer issue of Foundation (August 2017).

To be considered for the competition, please submit a 6000 word article on any topic, period, theme, author, film or other media within the field of science fiction and its academic study. All submitted articles should comply with the guidelines to contributors as set out on the SF Foundation website. Only one article per contributor is allowed to be submitted.

The deadline for submission is 7th November 2016. All competition entries, with a short (50 word) biography, should be sent to the regular email address: The entries will be judged by the editorial team and the winner will be announced in the spring 2017 issue of Foundation.


Proposals related to the podcast Welcome to Night Vale are solicited for chapter contributions to an edited scholarly collection to be published by Palgrave.

The editor seeks to include a range of approaches focusing on both form and content. Topics may include but are not limited to:

*      internal themes and allusions

*      genre and influences

*      performance, music, and effects

*      politics and historical contextualization

*      podcast production, distribution, and consumption

*      reception and fandom

*      paratexts, marketing, and merchandise

250-word proposals and abbreviated CV indicating academic position and publications due by June 15th, 2016.

5000-word chapters due by February 15th, 2017.

Inquires and proposals to Jeffrey Andrew Weinstock at Jeffrey.Weinstock[at]

Call for Papers
June 20, 2016
New Jersey, United States
Subject Fields:
Film and Film History, Popular Culture Studies, Literature, Journalism and Media Studies, Cultural History / Studies

Film and media adaptations have frequently projected an alternate cinematic world on screen that re-imagines the past and future. Movies (Blade Runner, The Quiet American), TV shows (Sherlock, Agent Carter), and digital ‘new media’ series—increasingly streamed and ‘binge watched’ on Netflix (House of Cards) and Amazon (The Man in the High Castle)—have been inspired by a variety of fiction novels, short stories, plays, comics, graphic novels, and historical works of nonfiction, memoirs (Bridge of Spies) or documentary (Jazz on a Summer’s Day) cine-essays that mediate and reframe history to portray an alternate worldview which re-imagines the past and anticipates a vision of future events. Digital video streaming and binge watching of films and media also creates an alternate world transforming the cinematic or televisual viewing reception experience. What does this cinematic adapting, re-imagining of the past (or future), and projection of an alternate world on screen tell us about the cultural moment we find ourselves in? Submit 300-500 word proposals in ALL AREAS of film and media studies on the LFA Online Submission Page by June 20, 2016.  Keynote speakers: Thomas Doherty (Brandeis Univ), Nate Chinen (NYT/JazzTimes), Frank Spotnitz (Man in the High Castle)

The 2016 Literature/Film Association (LFA) conference explores the theme of “Alternate Worlds.” Every work of film, media and fiction in every medium presents a world distinct from our own. Adaptations in particular can be defined in terms of their worlds, which provide alternatives to both the world of their audience and the world of their source texts. And some works of fiction invite us to think more speculatively and precisely about what it means to present or encounter an alternate world. Proposals relating to the conference theme outlined above are especially encouraged, but also of significant interest are submissions on adaptation studies, film and history, national cinemas, film genres and stars, auteur studies, film and technology, television and new media, and cultural or political issues connected to the moving image—including any presentations concerning the alternate worlds adaptations theme and other works of imaginative fiction create in a broader context across film, literature, and media.

Proposal abstracts in ALL AREAS of film and media studies should be 300-500 words in length and are due by June 20, 2016.
Please submit your proposal electronically by entering your abstract on the LFA Conference Submission Form:

The conference’s keynote speakers will be:

Frank Spotnitz, Chief Executive of Big Light Productions and writer-producer of the Amazon television series The Man in the High Castle (and The X-Files) who will discuss adapting Philip K. Dick;

Nate Chinen, award-winning New York Times and JazzTimes critic (co-author of Myself Among Others: A Life in Music with George Wein) will discuss adapting jazz to film in the Newport documentary Jazz on a Summer’s Day;

Thomas Doherty, Professor and Chair of American Studies at Brandeis University, an Academy Film Scholar, Fulbright Scholar, associate editor for Cineaste, film review editor for the Journal of American History, and cultural historian with a special interest in Hollywood cinema. Doherty’s books include Hollywood and Hitler, 1933-1939 (Columbia UP); Hollywood’s Censor: Joseph I. Breen and the Production Code Administration (Columbia UP); Cold War, Cool Medium: Television, McCarthyism, and American Culture (Columbia UP); Pre-Code Hollywood: Sex, Immorality and Insurrection in American Cinema, 1930-1934 (Columbia UP); Projections of War: Hollywood, American Culture, and World War II (Columbia UP); and Teenagers & Teenpics: The Juvenilization of American Movies in the 1950’s (Unwin Hyman).

The conference will take place at Rowan University, located in Glassboro, in South New Jersey. It is within easy driving distance of Philadelphia, Baltimore, Washington, D.C., and about 100 miles south of New York City, and is served by the nearby Philadelphia (PHL) airport. The official conference hotel is the Courtyard Marriott Glassboro-Rowan University, located adjacent to the Rowan University campus, where a special rate of $119/night is available to attendees who book rooms before September 15, 2016. Reservations can be made by calling 1-888-236-2427 or online at…
The hotel is right next to campus.

The Literature/Film Association will make available two travel awards of $500 each for graduate student or junior faculty attendees who demonstrate a need for financial assistance. A special prize of $250 will also be awarded for the best graduate student paper delivered at the conference.

The conference registration fee is $150 before September 15, 2016 and $175 thereafter. All conference attendees must also be current members of the Literature/Film Association. Annual dues are $20. To register for the conference and pay dues, visit the Literature/Film Association website at and use our PayPal feature. More information on the conference at:

Presenters will be invited to submit their work to Literature/Film Quarterly for potential publication. For details on the journal’s submission requirements, visit

Please contact the Literature/Film Association at with any questions.

Contact Info:

Sheri Chinen Biesen

Secretary, Literature/Film Association

Contact Email:

The recent rise of the interdisciplinary subfield of “Energy Humanities” as a prominent critical endeavor has seen an efflorescence of academic and cultural production from around the world focusing on the crucial topic of energy resources. A major spur for this work is, of course, the pervasive anxiety of late environmentalism in the face of anthropogenic climate change, a phenomenon in which energy use plays a central role: as both cause and possible solution. A variety of critical thinking around past, present, and future energy scenarios is motivated by what has been called the contemporary “energy trilemma”: how to balance energy security, equality, and sustainability on a world – and indeed planetary – scale? This question starkly confronts humans as we seek to configure a means to a less environmentally precarious future. The trilemma is further stressed by the contradiction between a seemingly inexorable rise in global demand and the fact that the world-system remains stubbornly beholden to a toxic carbon economy. As post-oil culture either mourns or celebrates the passing of cheap and easy oil it speculates on the elevation of its potential alternatives. Despite the unprecedented degree of consensus over the findings and pronouncements of climate science and despite an abundance of technological innovations, engineering skill and infrastructural promise, we still find ourselves at somewhat of a general impasse preventing transition to another, “cleaner” energy regime.

So what chance cultural production? What role does Humanities scholarship play, in breaking what has been called the techno-social-lock-in of oil-driven modernity? How preposterous is it to ask how cultural work can “save the future”? In fact Humanities scholars have been contributing in novel ways to the issues and concerns around energy for some time. An insistence on energy forms and their related infrastructures as social phenomena has sparked new research exploring the long – and sometimes unconscious or under-determined – inter-relation between energy and culture, registering in literature, visual art, film and media, philosophy, performance, design and many other fields. As well as asking fundamental questions of the Humanities’ responsibility and relation to crisis-ridden issues of power, politics, and the environment, this work is also asking fundamental questions of critical practice, genre, form and periodization.

The genres of science fiction (SF) and the fantastic have considerable salience here. Given the future-orientation of energic concerns as a significant strand in the Energy Humanities’ trajectory, we should expect work in the speculative mode to feature strongly. Novel systems and radical visions proliferate in SF/F, offering futures of resource scarcity and eco-apocalypse or, alternatively, of “free” and “abundant” energy forms; alternative and even “inconceivable” fuel supplies. Fantastic, desirable and “impossible” forms of mobility are presented in countless examples of “alien” infrastructures or post-human, after-earth scenarios of dwelling, moving, producing and consuming. Questions and opportunities proliferate throughout SF/F as to how we might envisage an alternative energy world; model a post-oil scenario; employ a utopian or dystopian vision of the future to orient and overcome the present lock-in. Yet they remain somewhat embedded within critical outlooks that still tend to regard energy and power resources as background features at best. Work already begun in this evolving area has insisted that sf is the cultural genre best placed to realize, communicate, and extrapolate the issues and concerns of the Energy Humanities in innovative and exciting ways. An alternative energy imaginary – involving both “powered-up” and “powered-down” visions – is prolific across the histories and genres of SF/F. It only awaits critical extraction and empowerment. This call for papers seeks essays that will deepen and heighten this engagement.

Topics for submission may include, but are not limited to:

  • SF/F and petroculture: visions of enduring petroworlds, peak and post-oil imaginaries in literature, television, cinema, and art
  • Energy Utopias / Dystopias
  • Theoretical readings of SF/F as an energy-bound genre
  • Past and present energy resources as SF/Fantasy (fossil fictions of surplus and/or “magic” sources and solutions / electro-SF/F / thermodynamics / magnetism)
  • Narrating / Narratives of “Low-Carbon” living and/or “Sustainability” in SF/F
  • SF and “Renewables”: solar/wind/hydro/bio/geothermal readings
  • SF and extractivism
  • History of fuel / power / energy in SF/F’s historical registrations of energy use / forms / infrastructures / machines
  • Political / ecocritical theories/readings of SF/F as a means to system change/ model climate change scenarios
  • Nuclear SF/F
  • ‘Monstrous’ and/or alien and/or “magic” energy systems
  • SF and alternative dwelling / design
  • Post-autopia? Mobilities of the far future – transport infrastructures / travel / imagining new affective “energic” embodiments
  • Energy Retrofutures and Counterfactuals
  • SF media / digital paradigms related to the energy crisis.
  • Science / Technologies of Energy in SF

Research articles should be approximately 8000 words in length, including references and a short bibliography. Submissions in languages other than English are welcome. Submissions should comprise of:

•    Abstract (250 words)
•    Full-length article (8000 words)
•    Author information (short biographical statement of 200 words)

The deadline for submission is 1st July 2016.

The special collection, edited by Dr Graeme Macdonald and Dr Caroline Edwards is to be published in the Open Library of Humanities (ISSN 2056-6700). The OLH is an Andrew W. Mellon Foundation-funded open-access journal with a strong emphasis on quality peer review and a prestigious academic steering board. Unlike some open-access publications, the OLH has no author-facing charges and is instead financially supported by an international consortium of libraries.

Submissions should be made online at: in accordance with the author guidelines and clearly marking the entry as [“POWERING THE FUTURE,” SPECIAL COLLECTION]. Submissions will then undergo a double-blind peer-review process. Authors will be notified of the outcome as soon as reports are received.

Beginning August 1st, Amanda Rudd will serve as Student Caucus Representative, and Sarah Fish will serve as Student Caucus Vice-Representative. Congratulations, Amanda and Sarah!

47th Annual Mythopoeic Conference

Omni Colonnade – San Antonio, Texas

August 5-8, 2016

Faces of Mythology: Ancient, Medieval, and Modern

Author Guest of Honor: Midori Snyder
Midori Snyder is an American writer of fantasy, mythic fiction, and nonfiction on myth and folklore. She has published eight novels for children and adults, winning the 2001 Mythopoeic Fantasy Award for The Innamorati (2000), a novel inspired by early Roman myth and the Italian “Commedia dell’Arte” tradition. Snyder’s first novel, Soulstring (1987), is a fairytale fantasy loosely inspired by the Scottish legend of Tam Lin. This was followed by an imaginary world trilogy: New Moon, Sadar’s Keep, and Beldan’s Fire (1989–1993). The Flight of Michael McBride (1994) is a work of mythic fiction set in the old American West, drawing upon Irish-American, Mexican, and indigenous folklore. Hatchling (1995) is a children’s book set in the world of Dinotopia. Hannah’s Garden (2004) is a contemporary fantasy for young adult readers about fairies, folk music, and family dynamics, set in rural Wisconsin. With Jane Yolen, Snyder co-authored the novel Except the Queen (2010), a contemporary urban fantasy featuring two fey who are banished to the World as elderly women, where they find themselves embroiled in a much larger struggle for power. Her short stories have appeared “The Year’s Best Fantasy and Horror,” as well as numerous adult and young adult anthologies. Her nonfiction essays on fairy tale and folklore have appeared in folklore anthologies, magazines, and the Journal of Mythic Arts online. In addition to writing, she co-directs the World Fantasy award winning Endicott Studio for Mythic Arts with Terri Winding.

Scholar Guest of Honor: Andrew Lazo
Andrew Lazo co-edited Mere Christians: Inspiring Stories of Encounters with C.S. Lewis and has contributed articles and reviews on C.S. Lewis and other Inklings to several books and journals, including Mythlore. More recently, he transcribed and edited the landmark “Early Prose Joy,” which has definitively corrected the accepted dating of Lewis’s conversion to Theism. Lazo regularly speaks in Houston and around the country and has taught Lewis in both Oxford and Cambridge. He also teaches English and a course on Lewis at Houston Christian High School and is currently researching and writing a book on Till We Have Faces. This is his first appearance at Mythcon.

Faces of Mythology: Ancient, Medieval, and Modern

Inspired by the 60th anniversary of C.S. Lewis’s Till We Have Faces and The Last Battle, this year’s theme focuses on the mythology that has shaped and “given faces” to so many of our beloved characters, ranging from the myths of the Ancient Greeks to the legends of the Middle Ages and even to the modern mythology of the American Southwest. Similarly, this mythological influence is also evident in the works of many of our favorite mythopoeic authors, from J.R.R. Tolkien to J.K. Rowling, from Ursula K. Le Guin to Alan Garner, and many, many more.

Papers dealing with the conference theme are especially encouraged. We also welcome papers focusing on the work and interests of the Inklings (especially J.R.R. Tolkien, C.S. Lewis, and Charles Williams), of our Guests of Honor, and other fantasy authors and themes. Papers from a variety of critical perspectives and disciplines are welcome. Papers from graduate and undergraduate students are encouraged; we offer an award for “Best Student Paper.” See details here.

Each paper is generally given a one-hour slot to allow time for questions, but individual papers should be timed for oral presentation in 40 minutes maximum. Participants are encouraged to submit papers chosen for presentation at the conference to Mythlore, the refereed journal of the Mythopoeic Society. Paper abstracts of no more than 300 words, along with contact information, should be sent to the Papers Coordinator at the address below (e-mail preferred) by May 15, 2016 (a further extension to May 30 may be possible; please contact Papers Coordinator Jason Fisher). Please include your A/V requirements and the projected time needed for your presentation. You will be notified if your paper is accepted after that date.

Participants are encouraged to submit papers chosen for presentation at the conference to Mythlore, the refereed journal of the Mythopoeic Society. All papers should conform to the MLA Style Manual.

All paper presenters must register for the conference; please see the Mythcon 47 web page for information and rates.

Jason Fisher
Mythcon 47 Papers Coordinator

The Mythopoeic Society is an international literary and educational organization devoted to the study, discussion, and enjoyment of the works of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and mythopoeic literature. We believe the study of these writers can lead to greater understanding and appreciation of the literary, philosophical, and spiritual traditions which underlie their works, and can engender an interest in the study of myth, legend, and the genre of fantasy. Find out about the Society’s activities at:


The Colloquium is devoted to the history of fish, aquatic monsters and mammals in the northern seas (the English Channel, North Sea, Baltic Sea, Norwegian Sea, the North Atlantic), from antiquity to 1600. The colloquium is based on three themes:

  1. Knowledge and the Transmission of Knowledge : Medical Knowledge, Zoological Knowledge, Descriptions, Identifications
  2. Savoir-faire and Exploitation: aquatic farming, fishing, cooking, medicine
  3. Explorations – real and imaginary

Read the detailed Call for papers:

Submit a paper

The event is organised by the Centre for Research in Archaeology, Ancient History and the Middle Ages (CRAHAM, University of Caen Normandy, UMR6273) as part of the research programme ICHTYA and that of the International Research Group, GDRI Zoomathia. It belongs to the cycle of colloquia on Medieval Normandy, organised by the Office Universitaire d’Etudes Normandes in partnership with the Centre Culturel International of Cerisy la Salle

Scientific comitee


Utopia at the Border

The fourth symposium of the Imaginaries of the Future Research Network
University of Regensburg, 20-22 September 2016

‘There was a wall. It did not look important…’ – Ursula Le Guin, The Dispossessed

‘[We seek]…a world without borders, where no one is prevented from moving because of where you were born, or because of race, class or economic resources…’ – No Borders UK

‘We resolve…to strengthen control over our territories and to not permit the entry of any government functionary nor of a single transnational corporation.’ – The Confederation of Indigenous Nationalities of Ecuador

Borders are a key feature of our present. Whether national, regional, physical, electronic, cognitive, performative, or cultural, they unevenly regulate the movement of bodies, ideas, objects, capital and bytes. Geopolitical borders are frequently sites of domination, but they may also provide solace for oppressed groups, some of whom actively call for or construct borders so they might protect their ways of living and advance their struggles. Conceptual borders allow us to grasp a complex world, but may inhibit understanding, communication and change. Temporal borders, meanwhile, seek to fix history into discrete categories of past, present and future.

Yet borders are not permanent. They remain a key site of contestation and struggle; and must continually be remade through technology, performance and often violence. And border crossings transform subjects, the space-times they leave, and the space-times they enter; as well as borders themselves. This means that utopianism – praxis that seeks to transform space and time – has much to offer contemporary ways of relating to borders. It can educate our desire for alternatives, and by showing us these alternatives – in fiction, theory or practice – estrange us from borders as they currently exist. The need for utopian rethinking and contestation of borders strikes us as particularly urgent given the current refugee crisis in Europe, and the continued role of borders in neocolonial dispossession around the world. Yet whilst a utopian lens may have much to offer the thinking and practice of borders this does not mean that the utopian is without borders of its own. Indeed, despite a turn to ‘the horizon’ and process in recent utopian theory, borders play a key role in many fictional utopias and dystopias; in ‘real world’ utopian communities; and in definitions of utopia itself.

Utopia at the Border aims to consider the relationship between borders and the utopian. Borders are to be critically examined even as participants question their own relationships to borders through their work and travel. We would also like to think through what is gained and lost by extending the notion of borders beyond the geopolitical. We welcome papers of up to 20 minutes and are open to artistic or activist contributions; as well as to interventions that fall between or go beyond such boundaries. Please contact us if you would like to discuss this informally before submitting a proposal, or if you would like to take up more than 20 minutes. A special issue of the Open Library of the Humanities journal will be produced drawing on presentations from the symposium. This will form part of the Imaginaries of the Future publication series.

Papers may engage with one or more of the following aspects of borders, although this is by no means an exhaustive list:

The borders of utopia and dystopia

Borders in utopian and dystopian texts
The borders of utopian communities
Anti-borders utopianism in theory, fiction and practice
Colonialism, Indigeneity and borders

Colonial border construction and praxis
Indigenous borders
New and future borders: Antarctica, under the sea, extraterrestrial?
(Anti-)border technologies and practices

Walls, fences, barricades
Raids, detention and deportation
Metrics and biometrics
Anti-borders activism
(Refusing) temporal borders

The division of time into past, present and future
Spatial borders as temporal borders
Spatial history
The ‘not-yet’, the immanent, the prefigurative
Borders, identity and the body

Borders, race and racialization
Non-conforming bodies at the border
Affect at the border
Mestiza and cross-border identities
Public space, the commons and enclosure

Borders and the commons
Gated communities
Border technologies in urban space
Vertical borders
Cross border (non-) communication

Online borders
Disciplinary and conceptual borders
Censorship and gate-keeping
Communication technologies and border activism
More-than-human/non-human borders

Non-humans at the border
Finance, goods and trade
Wilderness, nature and ecology
Chemical, biological and physical borders/boundaries
Art of the border; art at the border; art against the border

The architecture and aesthetics of (former) border crossings
Artistic performance and representation of/at borders, their crossings and their refusals
Passport design
Beyond borders

Non-state space; the state of exception
Necropolitics and the border
Exile and statelessness
International waters
Struggles with and against borders

Fortress Europe and the migrant crisis
Border struggles and crossings in history, religion and myth
Borders and labour

Freedom of movement and ‘the career’
Borders and divisions of labour
University staff as border agents
The Network
Questions about the future are usually either goal-oriented, presupposing specific outcomes; or presume that the future is impenetrable, rendering thinking about it as irrelevant or fanciful. Confronted with these modes of thinking, the Leverhulme Trust funded Imaginaries of the Future Network investigates questions about the nature of futural knowledge; and seeks to understand how different disciplines conceptualise the future in order to enact change. Organised around a succession of international transdisciplinary encounters between leading and emerging scholars, artists, activists and others, the Network intervenes in current disciplinary methods and approaches to questions about the future.

Cost & Bursaries
There is no fee to attend the symposium. Lunches and refreshments will be provided during the conference. Five bursaries – two of up to £1000, and three of up to £350 – will be awarded through open competition to individuals who wish to contribute to the symposium. These can be used to cover food, travel and accommodation costs, but can only be reclaimed after the symposium upon production of receipts. The larger bursaries are intended for applicants traveling a significant distance to attend the symposium. We welcome submissions from all academic career stages, as well as from non academics. Bursary recipients will be expected to contribute a piece of writing and/or embedded media to the Network blog.


Please send proposals (up to 300 words) to, and Please indicate in your email if you would be interested in contributing to the special journal issue, which would have a deadline in spring 2017. The deadline for proposals is midnight (BST) on Sunday June 12.

If you have any questions about this call please email