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Author Archives: Skye Cervone

Uses of Fantasy in Changing Media Landscape

October 20–21, 2016, University of Jyväskylä

Jyväskylä, Finland

 

In recent years, fantasy fiction has gained popularity in different mediums. For instance, in television fantastic or speculative themes are more visible than ever before, and – as television scholar J. P. Telotte has noted – they are even invading the so called reality television. The Uses of Fantasy seminar focuses on the uses and users of fantasy in contemporary culture and contemporary representation of fantasy in different cultural mediums. In other words, the seminar concentrates on the reception, representation and meaning of fantasy in a changing media landscape. The seminar is organised by the project Uses of Fantasy – The World Hobbit Project in Finland in cooperation with the University of Jyväskylä and The Research Centre for Contemporary Culture.

 

We invite presentations and panels on the uses and users of fantasy as well as on the contemporary representations of fantasy on different mediums, such as literature, television, film, comics and graphic novels, games and new media. These may include but are not limited to:

– Audience responses and the meanings of fantasy; affective attachments to fantasy; fantasy fandom and other participatory user practices

– Adaptation and transmedia; representing fantasy via different mediums

– The cultural meanings of fantasy; representations of cultural phenomena through fantasy; the politics of fantasy (e.g. in relation to gender, sexuality, ethnicity, age, class, disability etc.)

– Fantasy and narration; fantastic characters; fantastic genres (science fiction, horror etc.)

 

Proposals for scholarly papers from any academic discipline that seek to examine, interrogate, and expand research related to any aspect of uses of fantasy, in any medium are welcome. Papers will be allowed a maximum presentation time of 20 minutes.

 

Our keynote speakers will be:

 

Associate Professor Susana Tosca from the IT University of Copenhagen, Denmark

Professor Emerita Liisa Rantalaiho from the University of Tampere, Finland

Professor Emeritus Martin Barker from Aberystwyth University, UK

 

Please submit a 500-word proposal describing the content of your proposed paper, and few words about yourself and your research (including your current affiliation) to  hobbitprojectfinland(at)gmail.com. The deadline for the proposals is September 5, 2016.

 

If you have any questions about the seminar, please contact hobbitprojectfinland(at)gmail.com.

 

For more information, see https://theworldhobbitprojectfinland.com/seminar/

Graduate Journal aspeers Calls for Papers on “American Monsters”

Date:
October 23, 2016

Subject Fields:
American History / Studies, Cultural History / Studies, Popular Culture Studies, Literature, Graduate Studies

“The monster notoriously appears at times of crisis,” Jeffrey Jerome Cohen states in his Monster Theory. At first glance, Cohen’s assertion conveniently seems to fit the headlines by various venues–liberal and conservative–that all express a presumed crisis of the US Republican Party by referring to their 2016 presidential nominee as a “monster.” However, Cohen has a different kind of crisis, and different kinds of monsters, in mind, and a broader analytical trajectory to follow: For him, American culture as such can be read “from the monsters [it] engenders.”

Understood as a spectacular anomaly, a cultural shorthand that points at deeper turmoils, American culture has its fair share of monsters indeed. Whether we think of race, a social problem declared ‘dead’ by the post-race discourse, as a zombie roaming the land as deadly as ever, or whether we think of Barbara Creed’s seminal work on the perception and portrayal of femininity as ‘monstrous,’ categories of difference tend to express themselves with recourse to the figure of the monster and the logic of monstrosity. In fact, as Michael Rogin points out, monsters are “a continuing feature of American politics.” As such they are worthy of critical attention.

For its tenth issue, aspeers thus dedicates its topical section to “American Monsters” and invites European graduate students to critically and analytically explore American literature, (popular) culture, society, history, and politics through the monsters they beget. With a host of disciplines–ranging from economy and political science to history, media studies, literary and cultural studies, and beyond–engaging such monstrosity in various forms, we welcome papers from all the fields, methodologies, and approaches that comprise American studies as well as inter- and transdisciplinary submissions. Potential paper topics could cover (but are not limited to):

The literary figure of the fantastic monster, the zombie, the vampire, the alien, the cyborg, or the ghost, as tropes that do cultural work.

The forms of (racialized, gendered, etc.) othering involved in portraying social or cultural outsiders as monstrous.

Political rhetoric demonizing and dehumanizing the opponent.

The trope of the monster in various nonfictional discourses, such as law enforcement, medicine and psychology, and many others.

The pleasures and anxieties negotiated through representations of monsters, in genres such as horror, fantasy, science fiction, dystopia, (post)apocalypse, etc., and in media like novels, films, TV, graphic novels, or video games.

aspeers, the first and currently only graduate-level peer-reviewed journal of European American studies, encourages fellow MA students from all fields to reflect on the diverse meanings of monsters for American culture. Please note that the contributions we are looking for might address or go beyond the topical parameters outlined above. We welcome term papers, excerpts from theses, or papers specifically written for the tenth issue of aspeers by 23 October 2016. If you are seeking to publish work beyond this topic, please refer to our general Call for Papers. Please consult our submission guidelines and find some additional tips at www.aspeers.com/2017.

Contact Info:
aspeers: emerging voices in american studies

ISSN: 1865-8768
American Studies Leipzig
Beethovenstr. 15
04107 Leipzig, Germany

Contact Email:
info@aspeers.com
URL:
http://www.aspeers.com/2017

deadline for submissions:
December 15, 2016

full name / name of organization:
Martin Japtok/Rafiki Jenkins

contact email:

We invite essays on any aspect of Octavia Butler’s multi-faceted work, from her continued exploration of the topics of domination, slavery, symbiosis, and exploitation, to her ecological vision, to her exploration of gender systems, to genre considerations, etc. etc. Essays from 3000 to 6000 words are recommended, but no strict word limit (MLA format).

Please send essays to either Martin Japtok (mjaptok@palomar.edu) or Rafiki Jenkins (jjenkins@palomar.edu) by December 15, 2016.

Why Afrofuturism, Why Now? (NeMLA 2017, March 23-26, Baltimore)

deadline for submissions:
September 30, 2016

full name / name of organization:
NeMLA 2017

contact email:
mbelilgn@umbc.edu

48th Annual Convention, Northeast Modern Language Association
March 23-26, 2017
Baltimore, Maryland

This session seeks papers that explore the temporal, geographical and aesthetic parameters of Afrofuturism. Within and beyond the academy, the speculative has emerged as central to black critical inquiry, creative expression, and theories of subjectivity and citizenship. In literature, visual and the performative arts, indeed in the global black cultural imaginary, the speculative is the discourse of our times. This panel asks “Why Afrofuturism, Why Now?” What is it about our contemporary moment that demands, solicits and activates the fantastic? Moreover, how do we understand the fantastic, futurist and speculative as modes of cultural production that trespass borders between high and low art, lived and imagined, theoretical and fictional, abstract and embodied, local and transnational?

Our panel proceeds from the premise that Afrofuturism is not solely a condition or expression of posthumanism, technological innovation or digitization but a re-visitation of late-nineteenth and early-twentieth century black sonic and textual cultures. While Mark Dery’s 1994 essay “Black to the Future” is widely viewed as consolidating an emergent expressive form, this “new” aesthetic reflects an enduring commitment to the speculative in black narrative and sonic expression from the nineteenth century onward. As ante- and postbellum works by Martin Delany, Pauline Hopkins, Sutton Griggs, and W.E.B. Du Bois show, making sense of the black present is inherently a futuristic endeavor. The papers in this panel will explore fictional, theoretical, sonic, performative, and visual expressions of futurity as constitutive of black thought and being.

Possible topics include, but are not limited to, black performativity, sound studies, black speculative fiction, literature of the black fantastic, black futurity in the visual, sonic and digital arts, black comic books, pulp fiction, and black critical theory.

Deadline for abstracts: September 30, 2016

Interested scholars should submit 250 word abstracts to Maleda Belilgne through the NeMLA website using the link below.

https://www.cfplist.com/nemla/Home/S/16185

The World in 2050: Imagining and Creating Just Climate Futures

deadline for submissions:
August 15, 2016

full name / name of organization:
University of California, Santa Barbara

contact email:

The World in 2050: Imagining and Creating Just Climate Futures


A call for papers

We invite presentations of all kinds on the theme of “The World in 2050: Imagining and Creating Just Climate Futures” for an online, nearly carbon-neutral conference (described below) that will take place from October 24 to November 14, 2016. Coordinated by UC Santa Barbara, this conference is part of a series of events on “Climate Futures: This Changes Everything” [http://ehc.english.ucsb.edu/?page_id=11154]

The most pressing existential issue of the 21st century for humanity as a whole is the increasingly grim reality of climate change and our entry into a new era in the history of humans and the planet well signified by the Anthropocene. The changing conditions of life on Earth lie at the center of a storm of interconnected crises which include, among others, the precarity of the global economy, a widening deficit of political legitimacy, and cultures scarred by violence, from the most intimate interpersonal interactions to the most global realities of war-making.

Unlike either the justifiably pessimistic critical discussions or the unrealistically optimistic policy approaches that increasingly confront (or ignore) each other around the climate crisis, this conference will depart from our present ground zero by asking participants to experiment with perspectives on the multiple possible states of the world in mid-century and work back toward the present in an attempt to imagine, envision, enable, and collaboratively find or create some of the pathways to a more just  – or just less worse – outcome for humanity by 2050.

Please note that this will be a nearly carbon-neutral conference. We believe that a conference that takes up the issue of climate change while simultaneously contributing to the problem to such a degree is simply unconscionable. Even a relatively small academic conference can generate the equivalent of 20,000 pounds or more of CO2 (chiefly from travel). To put that number in perspective, this is the total annual carbon footprint of ten people living in India, thirty-three in Kenya.

Consequently, this conference will largely occur online. Over a period of three weeks, starting on October 24 and running through November 10, accepted talks and other events will be available for viewing on the conference website. Q&A will also take place online during this period, as participants and registered attendees will be able to connect with speakers and each other via online comments and speakers will be able to reply in the same way. Both the talks and Q&A sessions will remain up on the website as a permanent archive of the event.

A conference using this format was staged at UC Santa Barbara in May of 2016. As that conference’s website [http://ehc.english.ucsb.edu/?page_id=12687] contains a complete archive of the event, please visit it if you would like to see how this conference will work. In particular, the opening remarks and the accompanying Q&A session [http://ehc.english.ucsb.edu/?p=13550] help explain the rationale for this approach while also demonstrating it.

While we realize that this will not replicate the face-to-face interaction of a conventional conference talk and Q&A, we believe that it will nonetheless promote lively discussion, as well as help build a community of scholars and activists with intersecting research interests and hopes for the world. An advantage to this approach is that individuals who would not otherwise be able to become involved in the conference owing to distance, daily life, or financial constraints will be able to fully take part. There will be no registration fee for the conference. Although this online conference will have its own carbon footprint, as data centers and web activity also require energy, we expect that this will be only a small fraction of that of a conventional conference, likely just 1-3%.

Instead of traveling to the conference to attend panels and deliver a talk, speakers agree to do the following:

1) Film yourself (or yourself with others) giving a talk of 15-17 minutes. The webcams that come with desktop and laptop computers have improved dramatically over the past few years. Aftermarket webcams with noise cancelling microphones, which can be purchased for under $50, often provide even better quality. It is also the case that most computers have video recording software preinstalled, such as Apple’s QuickTime. Consequently, it is now possible, and relatively easy, to record a talk of surprisingly good quality in your home, office, or just about anywhere. How easy is it and how good is the quality? A sample talk that explains the concept and process in detail can be found here: http://ehc.english.ucsb.edu/?p=12048.

2) Take part in your three-week online Q&A session by responding to questions raised by your talk. You will automatically receive an email each time a new question is posed. Only registered conference participants (this includes speakers, as well as others who register for the conference) will be posing questions.

3) View as many of the talks as possible, posing questions of your own to speakers. This is especially important, as this is how you will meet and interact with other conference participants. Given the subject matter, our goal is help establish relationships and to build a community. In this case, since travel has been removed from the equation, our hope is that this community will be diverse and truly global.

Abstracts of 250 words and a brief biographical note of about 150 words should be submitted as one document [Word or pdf, only please] by August 15 and attached in a single e-mail copied to both of the following e-mail addresses: conference co-organizer John Foran – foran@soc.ucsb.edu and our conference assistant Rick Thomas  –EHCfellow@gmail.com.

We welcome all international submissions if the talks themselves can be either in English or subtitled (see below) in English.  The Q&A will be in English. You should also please confirm that you have viewed the sample video and agree both to the above conference requirements and to allow your filmed talk to be posted to the conference website, as well as our Vimeo, YouTube, and SoundCloud accounts. As noted above, the talks will become part of a permanent conference archive open to the public.

Amara provides free closed captioning software that allows anyone to caption videos. As they note on their website, Amara makes it “incredibly easy (and free) to caption and translate your videos…. Amara is built by a nonprofit, 501c3 organization. We are driven by the mission to reduce barriers to communication and foster a more democratic media ecosystem.” Because it does not require a steep learning curve, Amara can generally be quickly learned. Since our goal is to have a conference that is accessible as possible, please consider using Amara to add closed captioning to your talk or have someone (perhaps a student intern or a tech-savvy friend) do it for you. If you will not be able to closed caption your talk, please note this when submitting your abstract.

Abstracts are due by Monday, August 15, 2016.

Participants will be informed whether their submissions have been accepted or not by Monday, August 29, 2016.

Videos of the talks will be due by Monday, October 10, 2016.


The online conference will take place from Monday, October 24 to Monday, November 14, 2016.

Please send any questions to conference co-organizers John Foran – foran@soc.ucsb.edu and Ken Hiltner –hiltner@english.ucsb.edu.

 

Please feel free to be as creative as you like in your proposals – we look forward to seeing them!

The Biannual International Margaret Cavendish Society Conference

deadline for submissions:
January 9, 2017

full name / name of organization:
Lisa Walters/Liverpool Hope University

contact email:

The International Margaret Cavendish Society is pleased to announce that the next biannual conference is set to take place on June 22nd-24th, 2017 at Bates College, Maine. Professor Carolyn Merchant from the University of California, Berkeley, will be the keynote speaker.  Preference will be given to abstracts that closely relate to the conference theme, but all talks about Cavendish, her family, and related subjects will be considered.   The conference theme is “Margaret Cavendish: Reception and Representations.”   Cavendish has increasingly garnered intense academic interest during the past twenty five years by scholars from a wide range of disciplines such as literature, history of science, philosophy, history and politics. She is also increasingly becoming a figure of interest in popular culture, as attested to by Siri Hustvedt’s The Blazing World and Danielle Dutton’s Margaret the First: A Novel. Regardless of the interest that she sparks and publications devoted to her, old caricatures and stereotypes of Cavendish still stubbornly remain within both popular culture and academia alike. Indeed, she still provokes aversion in many disciplines. It is our intent that this interdisciplinary conference will explore and investigate reactions to Cavendish by her own contemporaries as well as by writers from the late seventeenth century up to the twenty first century. We aim to gain insight into how and why Cavendish has been loved, hated and/or ignored as tastes and socio-cultural norms evolved. On a broader level, the conference will consider who or what hinders writers and/or certain ideas from being canonical or acceptable. An official call for papers will go out in August, 2016. The program committee (yet to be formed) will look at abstracts as they come in and will try to get decisions to authors quickly. We also will post advice on transportation and accommodation for the conference. We expect there will be both inexpensive dormitory housing and reasonably priced motels, perhaps with a shuttle bus to campus for the motels. Please check the Margaret Cavendish Society website in August for further details.

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:
TMITHCandPhilosophy@gmail.com

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: http://www.opencourtbooks.com/categories/pcp.htm.The 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: TMITHCandPhilosophy@gmail.com
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: http://www.popularcultureandphilosophy.com/?p=791.

CFP: Celebrating Star Trek’s 50th Anniversary

deadline for submissions:
August 12, 2016

full name / name of organization:
PopMatters

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:https://popmatters.submittable.com/submit

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 http://mc.manuscriptcentral.com/lup-sfftv.

 

Any queries should be directed to the editors, Mark Bould (mark.bould@gmail.com),  Gerry Canavan (gerrycanavan@gmail.com) and Sherryl Vint  (sherryl.vint@gmail.com).

 

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 TheoFantastique.com. 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 johnwmorehead@msn.com.