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Monthly Archives: July 2016

The Man in the High Castle and Philosophy

deadline for submissions:
September 1, 2016

full name / name of organization:
Bruce Krajewski / U of Texas at Arlington

contact email:

The Man in the High Castle and Philosophy, edited by Bruce Krajewski and Joshua Heter, will be a book in Open Court Publishing Company’s Popular Culture and Philosophy series: Saturn Award-nominated Amazon Production entitled “The Man in the High Castle” is based on the Philip K. Dick novel of the same name. The series explores a counter-factual history for a post-World War II USA, an answer to the question: What if the United States had lost WWII and been divided between Germany’s National Socialists and the Japanese? This takeover of the United States in connection to fascist power seems unfortunately relevant to the present, in which the United States, like parts of Europe, finds itself struggling with a rise in white supremacist groups, fears of colonization, and with capitalism in desperation, which is a working definition for fascism. As Amazon’s most-streamed original series, “The Man in the High Castle” has been booked for a second season, and is poised to become a cultural phenomenon.

Submit abstracts of no more than 300 words to:
Abstracts due: September 1st, 2016, but you can send them in sooner.

Notification of accepted abstracts: September 15, 2016
First draft of papers due: November 1st, 2016

3,000 to 3,500-word philosophy papers are written in a conversational style for a lay audience. Papers must frequently refer to ideas, arguments, characters, events, and circumstances in the Amazon series “The Man in the High Castle” or to the series’ source material. A detailed call for proposals can be found here:

CFP: Celebrating Star Trek’s 50th Anniversary

deadline for submissions:
August 12, 2016

full name / name of organization:

When Star Trek debuted on NBC on September 8, 1966, there was little indication that its longevity across multiple platforms (films, series, books) would rival that of series such as Doctor Who, or that the series (and its fans) would become fixtures of popular culture, objects of academic study, and an outsized influence on science fiction.


This year marks the 50th anniversary of the hit franchise, and celebrations of its cultural impact have been as varied as the show’s own incarnations.


To celebrate this momentous anniversary, PopMatters seeks submissions aboutStar Trek, including: the television series, from The Original Series (TOS) to the highly anticipated 2017 new installment; the films, both the originals and the J.J. Abrams reboot; and ancillary materials such as novelizations, comic books, videogames, etc.


We welcome any approach to the franchise, though possible topics may include:


Identity: How has Star Trek’s representation of gender, race, and/or sexuality changed over time? In what ways has the franchise been progressive/regressive in matters of representation? Is it possible to read Star Trek queerly?


Technology: What role has Star Trek played in spurring technological innovation, especially regarding mid-century space exploration? Has the franchise changed the relationship between pop culture and science?


Culture: What role have alien languages (such as Klingon) played in the show and its wider cultural impact? How has Star Trek impacted fashion over the years? How has meme culture, or any other subcultures, appropriated Star Trek?


Fandom: What role does the Star Trek fandom play in the production of ancillary content like comics, novelizations, and video games? How do the disputes between the ‘original’ fans and the ‘reboot’ fans affect the Star Trek franchise? What role does unofficial material play in Star Trek ownership?


Remakes, Reboots and Continuity: What responsibility, if any, do the reboots have to the original franchise’s fan base? What role do original cast cameos play in maintaining continuity between the early films and the later ones? Does the idea of “canon” or “canonicity” hold any sway given Star Trek’s multiple iterations? How do initial critical reactions compare with modern expectations and experiences?


Influence: How has Star Trek influenced science fiction film and television more generally? Does the series have descendants, responses, opposites? What have been the show’s own influences? Are there novels or mythologies that have contributed to the franchise’s main themes?


Politics: In what ways does the franchise invite comparisons between its fictional content and potential real-world analogues? Is Star Trek inherently political? Does it encourage a rethinking of the division between political art and entertainment media?


Other areas of interest may include: Disability, age, special effects, and comparable productions (Roddenberry and Andromeda, Abrams and Star Wars, for example).


Deadline for Features pitches: August 12th, 2016


Deadline for final, polished articles: September 9th, 2016


For television, please submit your pitches and features to PopMatters’ editor Erin Giannini; for film, please submit your pitches and features to Carl Wilson and Desirae Embree using the PopMatters / Submittable interface:

Science Fiction Film and Television is seeking articles for a special issue on Women & Science Fiction Media, intended to mark the 200th year anniversary of the publication of Mary Shelley’s Frankenstein.


Although sf was once stereotyped as a male genre, more recently women’s contributions as authors, fans, editors, and more have become more widely acknowledged. Central to this new understanding of women’s contributions to sf has been the realization that women have always been a part of the genre, resisting another stereotype that links women’s emergence in the field to the feminist fiction of the 1960s and 1970s. In recognition of the bicentenary of the publication of Frankenstein (1818) by Mary Shelley, arguably the first sf novel, we seek essays that recognize, interrogate, respond to and celebrate women’s contributions to media sf. We are interested in reviewing any work that explores this topic, but we are particularly interested in contributions on the following topics:


  • Female directors of sf film and television
  • Female sf showrunners
  • Female scriptwriters in sf
  • Gender and Mary Shelley’s legacy in sf’s imagination of created beings
  • Frankenstein remakes, adaptations, reboots and reinventions
  • Gender and casting, and character arc in media sf
  • Gender in sf fandom and criticism


Articles should be 7000 to 9000 words in length, including footnotes and bibliography. Submissions (in word or rtf, following MLA style) should be made via our website at


Any queries should be directed to the editors, Mark Bould (,  Gerry Canavan ( and Sherryl Vint  (


The deadline for submissions for this special issue is March 15, 2017.

Call for Submissions for an anthology volume: Fantastic Fan Cultures and the Sacred


They ways in which people pursue religion has changed in America and the West. Traditional, institutional religions are in decline, and even among those who claim “None” as their identity, an individualized spirituality of seeking is growing in popularity. As a part of this quest, the sacred often comes in seemingly nonreligious forms. Gary Laderman, a scholar of religion asks in light of this situation:

“So what if the sacred is not only, or even primarily, tied to theology or religious identity labels like more, less, and not religious? We might see how religious practices and commitments emanate from unlikely sources today…”

One of those unlike sources of the sacred is fantastic fan cultures. Science fiction, fantasy, and horror genres are incredibly popular and have become multimillion dollar facets of the entertainment industry. But there is more here than meets the eye. Fantastic fandom has also spawned subcultures that include sacred aspects.

Fantastic Fan Cultures and the Sacred will be an edited anthology that explores the sacred aspects of fantastic fandom.  Its content will be academically informed, but accessible to average readers so that it appeals not only to scholars wanting to learn more about pop culture and religion, but also to average fans who will expand their understanding of their fandom and culture.

Possible topics for this volume include but are not limited to:

  • Buffyverse fandom and other genre “cult fandoms”
  • Collecting and sacred relics – Of special interest is Guillermo del Toro’s and Bleak House, and his connection of this to his unique form of primal spirituality:  “I’m not a collector. I’m a religious man.”
  • Convention participation as religious pilgrimage
  • Cosplay as immersion in sacred narrative and identity
  • Fantasy and science fiction conventions as Transformational Festivals (akin to Burning Man Festival)
  • Horror conventions as worlds “of gods and monsters”
  • Pop culture phrases as sacred wisdom teachings
  • Science fiction, fantasy, and horror as sacred narratives and mythology
  • Star Trek fandom as secular civil religion/spirituality

This volume will be edited by John Morehead. Morehead is the proprietor of He has contributed to various online and print publications including Cinefantastique Online, the Journal of the Fantastic in the Arts, andExtrapolation. In addition, he is the co-editor of The Undead and Theology, Joss Whedon and Religion, and the editor of The Supernatural Cinema of Guillermo del Toro.

Those interested in being a part of this volume are encouraged to send a 300 word proposal and your curriculum vitae by email. Both should be in MSWord or PDF format. The deadline for submission is September 2, 2016. Materials and questions should be sent to John Morehead at

Science Fiction and Fantasy Writers of America (SFWA) will admit game writers as of August 1, 2016. “Games in any medium may be used for qualification so long as the game has a narrative element, is in English, and in the science fiction, fantasy, horror or related genres.” Read the full announcement, including income qualifications, here.

CfP: International Conference for the Fantastic in the Arts 38, “Fantastic Epics”

Please join us for ICFA 38, March 22-26, 2017, when our theme will be “Fantastic Epics.” We welcome papers on the work of: Guest of Honor Steven Erikson (World Fantasy and Locus Award nominee), Guest of Honor N.K. Jemisin (Hugo, Nebula, and World Fantasy Award nominee, Locus Award winner), and Guest Scholar Edward James (Pilgrim, Hugo, British Science Fiction Association, and Eaton Award winner). The hero(ine)’s tale is as old as storytelling itself. We trace our way from Gilgamesh to current practitioners of the art through routes that lead to – and beyond – other kingdoms, including those of Malazan and the cities of Gujaareh, Sky, and Shadow. Papers may tread the paths of Thomas the Unbeliever, Bren Cameron, Sundiata Keita, and Boudica, or follow a dark road through Gondor, Camelot, or any valley of shadow. We can find the Epic in the hall of Heorot and in the rooms of Schaherazade. Examinations of modern epics might include the American west, the Marvel Universe, or the world of Miyazaki. A journey, a quest, an awakening – all these and more are part of Fantastic Epics. We also welcome proposals for individual papers and for academic sessions and panels on any aspect of the fantastic in any media. The deadline for proposals is October 31, 2016. We encourage work from institutionally affiliated scholars, independent scholars, international scholars who work in languages other than English, and graduate students.

For more information on the IAFA and its conference, the ICFA, or to download a PDF version of this CfP, see To submit a proposal, go to

The submission portal opens on September 1st and closes on October 31st.

To contact the Division Heads for help with submissions, go to

Gothic Traditions and Departures

Universidad de las Américas Puebla (UDLAP), Cholula, Mexico

18 – 21 July 2017


Where does Gothic begin and where does it end? Can we recognise a Gothic tradition or has Gothic always stood at the margins of the critical tradition? Over the past decades, we have witnessed a rekindled awareness of the popularity of Gothic in literature, media, and culture. Gothic has also become widely acknowledged around the world, and there are currently many studies dedicated to understand what it means in other regions, traditions, and cultures. On the other hand, the critical tradition has condemned Gothic for its excessive, formulaic, and immature plots and motifs, thus leaving it at the margins of more well-regarded works. The reconsidered significance of Gothic today prompts to think of it as an established tradition, but does it still offer points of departure through what Fred Botting refers to as its ‘negative aesthetics’ (2014)? More importantly, as we look again at the popularity of Gothic to address and understand both global and regional supernatural narratives, events, and experiences, it is also relevant to inquire about the influence of local traditional folklore and legends in the development and current understanding of Gothic. At the same time, this provides us with an opportunity to consider the relevance and presence of Gothic in contemporary debates on literature, art, and popular culture.


We seek to explore how Gothic today may be considered a tradition or a departure from tradition, as well as how it has been inspired by local traditions, legends, or true stories. We seek to address how we look at past Gothic in comparison with contemporary Gothic, that is, where Gothic is now and what Gothic is for today. This exploration is not limited to the literary Gothic, but also seeks to keep on addressing Gothic manifestations across arts, media, and popular culture.


Thus, we seek to make the following inquiries: Do we understand Gothic as a tradition or as a departure from tradition? What is the relationship between Gothic, folklore, and traditional myths and legends? What is the current state of Gothic? What is happening with Gothic now? Why is Gothic still relevant today? How do we understand local and regional Gothic manifestations when we compare them with global Gothic? Is Goth culture a tradition too? Does Gothic in media, other arts, and popular culture depart from its literary tradition?


Topics could include, but are not limited to, the following:


-Gothic origins

-The Gothic as tradition

-The Gothic as a departure from tradition

-Gothic crossovers

-Gothic departures and journeys

-Gothic divergences

-Gothic digressions and deviations

-Gothic in popular culture

-Gothic and folklore

-Gothic and traditional legends

-Gothic and urban legends

-True histories of the Gothic

-Goth culture and traditions

-Goth culture as tradition

-Global Gothic vs local Gothic

-Gothic now vs Gothic then

-Post-Millennial Gothic

-20th Century Gothic

-Victorian Gothic

-Romanticism and the Gothic

-Pre-Gothic traditions

-Gothic and the media (old and new)

-Digital Gothic

-Gothic and the arts

-Performance Gothic

-Gothic Studies: past, present, and future


We welcome abstract proposals of no more than 300 words, along with a 50 word bio-note, for 20 minute papers. Please include your contact e-mail and affiliation. Abstracts may be submitted to The submission deadline is December 16, 2016. We also welcome submissions for panels (consisting of three papers) that address specific topics.


Accepted proposals will be notified in early January 2017.


The Monster Network has a hand and a claw in this upcoming special issue of Women, Gender and Research that sets out to explore Nordic Monster Studies and the concept of the Nordic within international Monster Studies. The issue welcomes articles as well as artistic contributions.

Deadline for abstracts is 1st of September 2016.

Download PDF here.

Call for articles

Special issue of Women, Gender & Research:

Monstrous Encounters:

Nordic Perspectives on Monsters and the Monstrous

“Monsters do a great deal of cultural work, but they do not do it nicely. They not only challenge and question; they trouble, they worry, they haunt. They break and tear and rend cultures, all the while constructing them and propping them up. They swallow up our cultural more and expectations, and then, becoming what they eat, they reflect back to us our own faces …” (2013: 1). These are the first words of art historian Asa Mittman’s introduction to The Ashgate Research Companion to Monsters and the Monstrous. The introduction presents the field of ‘Monster Studies’, which has been developing across academic disciplines since the 1990s, illustrating the productive force of monsters and the monstrous as analytical tools, norm critical notions, and destructive/creative practices. Fittingly, then, not all monster studies come from Monster Studies, and monsters can be encountered in a wide variety of contexts and a multitude of topics.

With the special issue ‘Monstrous Encounters: Nordic Perspectives on Monsters and the Monstrous’, we wish to put a focus on and explore both research and artistic practices related to the subject of monsters and the monstrous within a Nordic context. This means that we welcome both monster studies work from within the Nordic countries, and work that explores the monstrous in a Nordic context. With the recent establishment of a Nordic based Monster Network and an increased attention to the critical and creative potential of monsters and the monstrous within academic and artistic settings (whether based in Nordic countries or related to Nordic issues), the time seems right to invite to a special issue that engages with this Nordic development.

At the same time, we also invite our contributors to question what ‘Nordic’ may mean. Indeed, this issue does not operate with a set understanding of ‘Nordic culture’, ‘Nordic identity’ or similar, but asks contributors to challenge and question, trouble and worry, break and tear at the imaginaries of such constructs. In other words, and regardless of the subject of your contribution, we invite you to do monstrous work that is not nice, but critical and challenging in its exploration of what kind of cultural work the figure of the monster can do. As such, we invite contributions that explore new ways of imagining the world and its inhabitants in a time where there seem to be a need for such reconfigurations. What does the monster reflect back to us in times like these, where borders are closing; xenophobia and racism abound in the wake of the so-called refugee crisis; capitalism stands practically unchallenged, even after the financial crisis; public sectors are experiencing severe cuts; climate change causes natural disasters; individuals and nation states worry about ageing populations, etc. Further still: Who are ‘we’ to begin with? And who, then, are ‘they’?

All monsters are boundary-pushing hybrids and ‘Monstrous Encounters: Nordic Perspectives on Monsters and the Monstrous’ is no exception. We therefore invite both non-traditional (such as essays and creative writing) and traditional scholarly work, as well as artistic contributions such as fiction, poetry and art.

Possible themes for contributions (these are only suggestions):

  • The monstrous and gender studies/feminist theory
  • Ethics of monsters
  • Queer monsters
  • Monstrous sexualities
  • The monstrous and postcolonial studies/critical race theory
  • Disability and the monster/monstrous
  • Ageing and the monstrous
  • The monster in art and popular culture
  • Monstrous technologies (digital technologies, biotechnology, etc.)
  • Medical monsters
  • Monstrous embodiment
  • Hauntology and spectrality
  • The monster and the environment/climate change/eco-theory
  • Animals and the monstrous
  • Posthumanist theory
  • Monsters of science fiction, horror, fantasy and speculative fiction

Editors of the special issue:

Morten Hillgaard Bülow, Ph.D, Co-ordination for Gender Research/Medical Museion, University of Copenhagen, Denmark.

Erika Johanna Kvistad, Ph.D, senior lecturer, University of Oslo, Norway.

Line Henriksen, Ph.D, founding member of the Monster Network.

Deadline for abstracts (max 200 words + 50 word bio): 1st of September 2016

Deadline for article/other contributions: 15th of March 2017

All contributions must be in English and should be submitted to: redsek [at] soc [dot] ku [dot] dk

Guidelines for submissions.

The call for papers for articles for the sections “Monograph” and “Miscellaneous” for the Vol. IV n.º2 issue of Brumal. Revista de Investigación sobre lo Fantástico /Brumal. Research Journal on the Fantastic is now open.

Scholars who wish to contribute to either of these two sections should send us their articles by december 15, 2016, registering as authors on our web page. The Guidelines for Submissions may be found on the Submissions section of the web page.


Monographic issue “The Fantastic in Comics” (José Manuel Trabado, Coord.)

The aim of this monographic issue is to offer an overview the possibilities of fantastic comics both on a narrative level and as regards graphic formulation. We also try to look into the relationship between different formats (comic strip, Sunday page, album, sketchbook, comic book, etc) and the introduction of fantastic, with the goal of understanding the basic mechanisms of the formulation of fantastic within comics and define its relevance in different eras. Authors should take into account the concept of fantastic hold by the review: “the always problematic coexistence between the possible and the impossible in a world similar to the real one. This explains why the contents of Brumal exclude some neighbouring categories, for examples cience fiction, the marvellous or fantasy, since in them such conflict is absent”.  However this neighboruing genres can be dealt with in cases of generic hybridization

Possible theme lines:

  • Poetic and graphic narratives of fantastic comics
  • Fantastic and its relationship with formats
  • Authors for a canon of fantastic comics
  • The importance of magazines in the consolidation of the fantastic. Fantastic as editorial line
  • Cultural Traditions and fantastic comics: the fantastic and the bd, the fantastic in manga, the fantastic in superheroes comic books, etc.


Miscellaneous Section

This Miscellaneous section is open all year to receive any type of article on any of the diverse artistic manifestations of the fantastic (narrative, theater, film, comics, painting, photography, video games), whether theoretical, critical, historical or comparative in nature, concerning the fantastic in any language or from any country, from the nineteenth century to the present.

SGMS 2016 CALL: World-Building in Asian Popular Cultures

deadline for submissions:
August 1, 2016

full name / name of organization:
Minneapolis College of Art and Design

contact email:

SGMS 2016 CALL: World-building in Asian Popular Cultures

The Call for Mechademia 10 states: “Japanese popular culture — manga, anime, games, and SF — abound in scenarios in which our contemporary reality appears to be but one possible outcome within an open situation.”

Since Mechademia began, scholars and academics have addressed the way that dark narratives have been used to explore possible outcomes of open situations. Written in the context of Japan’s postwar period and continuing into the present, these dark narratives served as critiques of those conditions. However, within the 21st century, we are seeing alarming new developments that require more than critique, but instead, inspire creative action in response to the darkening turbulence of our cultural present.

For this conference, we propose the challenge of thinking of worldbuilding as a creative act, where narrative practices combine with new technologies to construct images, objects, texts, and performances of alternative worlds. We are not only looking at the dark implications of this moment in world history, but the creative interventions and possibilities that are found in the construction of alternate worlds, for future worlds, for saving worlds.

“Another world is possible” has already become the animating force behind a large body of cultural production within Japanese popular cultures. Examples include the construction of possible worlds, parallel universes, and parallel histories across a multitude of platforms. These practices can be read, not just as warnings, but as examples of how worlds can be, and are being, actively created.

We call for submissions that explore the aesthetic, mediatic, and technological dimension of these possible worlds, with an eye to the construction of inspiration and imagination within its circulation, as well as socio-political possibilities or potentiality. How might these worlds dismantle the rigid boundaries of concepts informing our current reality and reveal the glimmering potential of the unbounded reality that is the stable of such narratives?

We invite contributions that may consider or engage but are not limited by any of the following topics:

  • Popular culture frequently juxtaposes different realities in the form of alternative timelines or bifurcating temporalities. How might imaginative narratives jostling time and space function as axes of a potential alternate world reality?
  • How might worldbuilding address and even transform the dark portend of the Anthropocene?
  • How do new storytelling practices and forms of communication support worldbuilding across alternative locations and temporalities?
  • What is the role language plays in creating alternate worlds? Does one have to change language to create an altered reality?
  • Science fictions often encourage us to approach history and broad societal currents in terms of ‘what if’ scenarios. Such scenarios invite us to understand history through counterfactual narrations.  But rather than dismiss such scenarios as non-factual, we ask: What are potential relationships to be found in the social and political implications of understanding our historical reality in such terms?
  • How do colonialism, social inequality and gender constitute frameworks toward the creation of alternate worlds? In what ways are these factors recontexualized in new fictional worlds?
  • How do musical scores and soundtracks create the affective atmospheres that shape worldbuilding practices in film, anime and gaming?

The deadline for submissions is August 1, 2016

We welcome panel submissions as well as individual paper proposals and encourage emerging scholars (undergraduates and advanced high school students) to submit proposals to our Emerging Scholar sessions. All proceedings are held at the Minneapolis College of Art and Design, in Minneapolis, Minnesota.

You have the option of participating remotely via Zoom Room video conferencing if travel to the conference is a hindrance for you. This will enable you to virtually attend the full conference sessions, and to present on a panel.

The Millennium Hotel will probably have conference rates, and as soon as we have confirmation on rates we will publish them.

The register as an attendee, or participant after receiving notification of acceptance, go to:


For Panel Submissions:

-Panel title:

-Panel participant names, email addresses, titles, and 150-200 word abstracts


For Individual Presentation Submissions:

Participant name, email address, title, and 150-200 word abstract


For Emerging Scholar Presentations (High School and Undergraduate Papers):

-Participant name, email address, title, and 150-200 word abstract


Deadline for submission is: Aug. 1, 2016.

See our Facebook Page for details: