International Association for the Fantastic in the Arts

On the Shoulders of Giants
TitanCon 2020
Belfast, Ireland
August 28-30, 2020
Call for Papers

In the spirit of deepening and broadening its roots, Titancon 2020 is adding a formal academic track to its programming. The convention began as a collaboration between the Brotherhood Without Banners, who wanted to put on a fan convention for Game of Thrones, the Belfast SF/F society The Other Ones, who wanted to put on an SF/F convention, and Arkham Gaming Centre, who wanted to put on a gaming convention. In keeping with that spirit, our theme “On the Shoulders of Giants” hopes to encourage that spirit of collaboration.

We particularly encourage papers that focus on the work of our three guests of honor: Jeanette Ng, Jodi Taylor, and Robert J Sawyer. Papers may more generally consider women’s voices and themes of diversity in SF/F. The intersections of SF/F literature and other media, such as television, film, or graphic novels are other areas that might be explored, particularly in light of Robert J Sawyer and George RR Martin. Papers on Game of Thrones could focus on the show, the novels, the intersection of the two, fan reaction, or the importance of the show to Northern Ireland itself. We also welcome papers that focus on SF/F television and film generally. Fan studies and Game studies might consider particularly Irish or SF/F themes. Finally, we would also invite papers that focus particularly on Irish SF/F and Irish or SF/F graphic novels.

Proposals of 250 to 300 words and a brief 50 word biography of the author should be sent to lmackle2@uwo.ca or dgrace2@uwo.ca by February 15, 2020. Acceptances will be sent by March 15, 2020. Any queries can be sent to the above emails.

Call for Papers: Special Issue of the Journal of Fandom Studies on Archives and Special Collections

Abstract submissions are invited for a special issue of the Journal of Fandom Studies. This issue will focus on archives and special collections relevant to scholars of fan studies. Topics addressed might include profiles of institutional collections with primers for use, research, archiving and curatorial practices performed by fans, and archival and archontic theory.

Other possible topics include:

· Historical perspectives on collecting fan material in libraries and archives

· Race, gender, and queerness in fan collections and in library subject indexing

· Logistical and ethical issues of access to fan materials

· Current research and collecting gaps in the documentary record

Contributors may also submit short profiles (500 words) of relevant institutional collections with curatorial contact information as part of a special Research Guide section of this issue.

All articles submitted should be original work and must not be under consideration by other publications.

Please send abstracts of 250 words (including a title and keywords) with biographical statements of 100 words to Cait Coker (cait@illinois.edu) and Jeremy Brett (jwbrett@library.tamu.edu) by February 28, 2020. If accepted, contributions should be no longer than 9000 words, including notes and references, with completed drafts expected in October 2020.

Glasgow International Fantasy Conversations

Beyond the Anglocentric Fantastic

28th-29th May 2020

In “Surviving Fantasy Through Post-Colonialism”, Deepa Dharmadhikari writes that she grew up “speaking Marathi with my family, and Hindi with schoolmates and neighbours, but the only children’s books I read were in English. Less than a handful were written by Indian authors about Indian characters. . . . I grew up with half a tongue.” Her essay invites us to question our own habits: What language do we use when we read, watch, write, or think about Fantasy and the fantastic? What cultural traditions tend to be represented in the “Fantasy canon”? What ethnic and racial groups dominate Fantasy texts, in terms of characters and writers alike? What power dynamics shape the production, distribution, and reception of Fantasy texts? Many of the texts that have been used to define Fantasy are written in English and either set in or inspired by white-dominated spaces in the United States and the United Kingdom, from The Lord of the Rings to the works of George MacDonald, William Morris, L. Frank Baum, Neil Gaiman, Terry Pratchett and J. K. Rowling. Fantasy scholarship has reinforced this tendency, dominated as it is by discussion of English-language texts.

This limited perception of Fantasy is reflective of two key concepts for this year’s symposium: Anglonormativity and Anglocentrism. Anglonormativity refers to the hegemony of the English language, which pressurizes creatives and scholars into using English and writing about English-language texts, and treats scholars and writers in other languages as niche and hence marginalised. Anglocentrism, in turn, refers to the practise of viewing the world through the lens of an English or Anglo-American perspective and with an implied belief, either consciously or unconsciously, in the preeminence of English or Anglo-American culture.

Anglonormativity and Anglocentrism can lead to either ignoring or appropriating the lengthy and rich traditions of Fantasy and the fantastic written in other languages and cultures, many of which predate the Anglophone tradition. Those non-Anglophone traditions have resulted in unique genres separate from Anglocentric Fantasy, others in subgenres like Afrofuturism, and still others in culturally-specific incarnations of Fantasy. Recent years have seen an increase in the publication and profile of works of Fantasy and the fantastic translated from a variety of languages (Chinese, Russian, Greek and Malay, to name but a few) as well as the output of English-speaking authors of colour such as Nalo Hopkinson and Kai Ashante Wilson, who bring their own backgrounds and language into their work. Within Anglophone countries, there has been a slowly growing tendency to centre the perspective of racially, culturally, and ethnically marginalised groups whose perspectives have historically been underrepresented in white Anglocentric fantasy. Indigenous authors are also starting to make their presence known in the fantastic, using the genre to examine the contested space of colonised land, and imagine escape from or alternatives to a history and present of oppression and erasure. Tolkien’s white British English may still be treated as the default for Fantasy, but as Dharmadhikari argues, “Dragons are not universal, and fantasies are not homogenous.”

GIFCon 2020 is a two-day symposium that seeks to examine and honour the heterogeneity of Fantasy and the fantastic beyond Anglonormativity and Anglocentrism. We welcome proposals for papers relating to this theme from researchers and practitioners working in the field of Fantasy and the fantastic across all media, whether within the academy or beyond it. We are particularly interested in submissions from postgraduate and early career researchers. We will also offer creative workshops for those interested in exploring the creative process.

We ask for 300-word abstracts for 20-minute papers, as well as creative presentations that go beyond the traditional academic paper. Regrettably, despite our desire to centre the non-Anglophonic, we are only able to accept papers presented in English.

Suggested topics include, but are not limited to, the following:

Non-Anglocentric histories and traditions of Fantasy and the fantastic in all forms of media
The postcolonial fantastic, by authors such as Helen Oyeyemi, Salman Rushdie, N. K. Jemisin, Nalo Hopkinson, and Zen Cho
The use of real non-Anglophone languages in Fantasy
Translation studies and the fantastic
Accounts of non-Anglophone scholarship on Fantasy and the fantastic
Influence of Anglocentrism and Anglonormativity on the non-Anglocentric and non-Anglonormative
The non-Anglocentric European fantastic, e.g. Slavic, Nordic, Mediterranean, Gaelic
The (mis)use, exoticism, and appropriation of non-Anglocentric cultural traditions and fantasy lineages into the Fantasy ‘canon’
Indigeneity and indigenous self-determination in Indigenous forms of Fantasy
Deconstruction, decolonisation, and counterappropriation as topics within and movements surrounding Fantasy texts
Postcolonial reception of Anglocentric texts, e.g. the success of Harry Potter in India
Implications of “writing back” to Anglophone genres
Diasporic Fantasy and the fantastic
Relationship between Fantasy and non-Anglocentric genres and forms, e.g. magical realism, masala films, Africanjujuism, shenmo xiaoshuo, fantastique, kaiju, etc.
Fantasy and the fantastic in a non-Anglocentric medium, e.g. Bollywood fantasies, manga, anime, jrpgs, Karagöz shadow plays
Fan efforts to create space for non-Anglocentric experiences in Anglocentric texts
Marginalised traditions within Anglocentric fantasy, i.e. works of the fantastic about and by immigrant communities, religious minorities, and racial and ethnic minorities
Relationship between non-Anglocentric Fantasy and the regional cultural industries that produce them
The presence or lack thereof of non-Anglocentric Fantasy in Anglocentric spaces
Relationship between Fantasy and religious or spiritual beliefs in non-Anglocentric cultures

Please submit a 300-word abstract and a 100-word bionote to gifcon-submissions@glasgow.ac.uk by 12th January 2020 at midnight UTC. For further submission details, visit https://gifcon.org/gifcon-submission-guidelines/

Craft Critique Culture Conference 2020: Justice Framed

Call for Papers

The University of Iowa English Department invites proposals for its 2020 Annual Conference, Craft Critique Culture, to be held on the campus of The University of Iowa in Iowa City, Iowa.

Event date: Friday, April 17 – Saturday, April 18, 2020

Abstract deadline: Friday, January 24th, 2020

Categories: interdisciplinary, humanities, arts, literature, language, politics, law, social justice, criminal justice, race, gender, LGBTQ+

CRAFT CRITIQUE CULTURE is an interdisciplinary conference focusing on the intersections of critical and creative approaches to writing both within and beyond the academy. This year’s conference will interrogate frames of justice, criminality, and deviancy.

Jacques Derrida states that justice “is that which must not wait.” At the same time, he acknowledges the paradox that justice has yet to arrive: “justice remains, is yet, to come, venir.” In Martin Luther King Jr.’s “Letter from Birmingham Jail,” King describes the “myth of time” that society propagates to maintain social, class, and racial hierarchies. The government, media, and public caution marginalized peoples to “be patient” and “wait”—they say that justice will come in time. Through this spiritual bypassing, society can falsely, but effectively, accuse those fighting for justice as “agitators” and “incendiaries.” The fight for justice thus becomes framed as criminal and deviant behavior. MLK resists this framing in his letter when he urges us to see that “‘justice too long delayed is justice denied.’” This tension between justice yet to come and justice that cannot be delayed demonstrates the complicated, variant, and urgent purviews of justice.

CCC 2020 seeks submissions that explore the broad concepts of “justice,” “criminality,” or “deviancy.” Whether it is the media and government’s targeting of civil rights activists in the 1960s, the policing of black, indigenous, poor, and migrant folks, or in the criminalization of LGTBTQ+ identities, “deviance” is punished by society. Thus, “justice framed” can mean anything from social justice activism to the ways in which “justice” is used to advance oppression. While the theme asks that we think about the many ways that justice is “framed” (e.g. how it is formulated, how it is repudiated, and how it is abstracted), it also asks that we radically and consciously reimagine what justice could be. For if we take seriously Angela Davis’s assertion that “justice is indivisible,” then we must also consider her declaration: “You have to act as if it were possible to radically transform the world. And you have to do it all the time.”

Possible areas of focus might include but are not limited to the following:

Who do current “justice” systems protect, and who do they target / harm?
Transformative, restorative, and other forms of justice in comparison to punitive justice systems
What should be the responsibilities, duties, and actions of those who witness injustice? What does an “ethical / moral witness” to injustice look like?
The role of storytelling, art, and humanities in transforming our ideas of justice and criminality
Who does society define as criminals or deviants? How do we redefine “criminality” or “deviancy?”
The relationship between criminality/deviancy and reaching justice
Religious, spiritual, or faith-based notions of justice
Economic and environmental applications of injustice under capitalism / crimes against land and justice for land
Social justice activism and pedagogy
Prison abolition, decriminalization, police reform, and racial justice
Queer, reproductive, and gendered justice
In what ways have crimes against land and people been normalized and capitalized, and how do they intersect?
The distinctions between justice and law
How technology and surveillance systems are used for or against “justice”
Borders (geographical, conceptual, ideological, literary, political, and bodily) and the criminalization of people and movements
National/transnational deviancy, crime, justice and injustice: cultural, linguistic, historical, commercial, ideological

We invite proposal submissions for the following categories:

Panel Presentations
Posters
Roundtable sessions

Please submit 300-word abstracts along with your name, department, email, and university affiliation (if any) to studorg-c3conf@uiowa.edu by Friday, January 24, 2020.

For more information, you can visit our website at: https://craftcritiquecultureconference.wordpress.com/.

Twitter: @craft_crit_cult

Facebook: https://www.facebook.com/craftcritiqueculture/

CALL FOR PAPERS

Children’s Literature and Climate Change

Special Issue of The Lion and the Unicorn

Guest Editors: Marek Oziewicz, University of Minnesota, Twin Cities Lara Saguisag, College of Staten Island-City University of New York

We seek essays on how children’s literature empowers young people to productively engage with the challenges of climate change. After decades of climate change denial and toothless mainstream response, young people are angry. In response to climate change illiteracy and the impotence and negligence of adult-led institutions, teenage activists such as Xiuhtezcatl Martinez and Greta Thunberg are calling for radical and immediate action. How does children’s literature and media stoke this transformative anger and inspire young people to address the climate crisis and fight for their fundamental rights to life, health, and sustenance? How can educators and scholars of children’s literature support this fight? What new concepts, approaches, and narratives are needed to accelerate the sociopolitical revolution that will dismantle the status quo, or what Amitav Ghosh calls “the Great Derangement”? In this issue, we intend to bring together innovative research on children’s literature that attends to multiple facets of climate change and advances a conversation about the planetary future we can and want to create.

Possible topics include, but are not limited to:

• The role of children’s literature on climate change in raising young people’s awareness about their responsibility to the biosphere;

• Depictions of climate change across various genres and forms, including picturebooks, chapter books, comics, short stories, and novels;

• Films, apps, music, and games that engage with climate change and seek to mobilize youth action;

• Constructions of childhood in climate change narratives and discourses;

• Climate change and youth participation in community protests, political campaigns, nonviolent civil disobedience, ecotage (ecosabotage), and ecorism (ecoterrorism);

• Climate change narratives about and by Indigenous youth and youth of color, who are often at the forefront of climate justice initiatives and whose communities are disproportionately threatened by climate change;

• Children’s and YA books that link responsibility to climate change with, in the words of Kim Q. Hall, “commitments to futures that are queer, crip, and feminist”;

• Depictions of environmental racism and classism as facets of climate change;

• Climate change and human migrations, including stories about climate refugees; • Comparative studies of children’s and YA literature on climate change published in the global north and the global south;

• Visions of climate futures, including discourses of hope or despair;

• Reimagining and restructuring institutions of children’s literature that depend on, profit from, and support polluting, extractive industries;

• Intersections of critical discourse on climate change and children’s literature scholarship, including new taxonomies and emerging genres apposite to the challenges of conceptualizing climate change, from environmental literature and cli-fi to eco-fiction and beyond;

• Reevaluations of existing literary traditions through new theoretical concepts or approaches such as energy humanities, environmental humanities, indigenous futurisms, the Anthropocene, ecocritical posthumanism, and other lenses.

Essays should be sent to guest editors Marek Oziewicz and Lara Saguisag at LU.Climateissue@gmail.com by July 15, 2020. Submissions should be in the range of 4000 to 8000 words (although we will also consider shorter, forum-length essays). Accepted articles will appear in The Lion and the Unicorn, vol. 45, no. 2 (2021).