CfP: Technofeminism: (Re)Generations and Intersectional Futures

Technofeminism: (Re)Generations and Intersectional Futures
Special issues of Computers and Composition and Computers and Composition Online

Deadline for proposals is July 1

Some of the most pivotal technofeminist work appeared in print in the mid-to-late-1990s, addressing gender/ed politics, design, and uses of technology, sexist behavior and feminist interventions online, women’s cyberspaces, and issues of power and representation. In the 20 years since this work emerged in computers and composition, have we kept the promises of those early works? How have we extended its values and visions? What technofeminist work remains to be done? How have changes in digital environments (e.g., the emergence of social media tools) shifted the context of technofeminist work?

We invite authors to submit a proposal for either a print manuscript to appear in a special issue of Computers and Composition or a webtext to appear in a special issue of Computers and Composition Online. Proposals might address issues including but not limited to:

● the state of technofeminism(s) and cyberfeminism(s) in rhetoric and composition today
● feminist principles that shape contemporary computers and writing culture, research, and practice
● intersectional feminisms and computers and writing theory, methodology, practice, and pedagogy
● issues of mentoring and intergenerational technofeminism
● approaches to feminist composing practices and pedagogies in/around/and online spaces
● intersections of feminism and queer, critical race, decolonial, and disability theories—and/or other cultural and social justice theories—in computers and writing
● explorations of post(techno)feminism/postrace/posthumanity
● discussions of feminism(s) and activism in digital spaces
● technofeminist responses to public policy
● revisits to early technofeminist concerns and tactics for contemporary import (e.g., is gendered technology still a thing? How is trolling and flaming an old and new concern? How is access an old and new concern? What feminist interventions are still effective? What else can we do?)

SPECIAL ISSUES TIMELINE
Timeline: Proposals due July 1, 2017; notification of acceptance on August 1, 2017; manuscript and webtext drafts due December 15, 2017

Proposal submission: Inquiries and questions are welcome; otherwise, please send your submissions to Jacqueline Rhodes (Michigan State University, jrhodes@msu.edu), Angela Haas (Illinois State University, ahaas@ilstu.edu), and Dànielle Nicole DeVoss (Michigan State University, devossda@msu.edu)

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CfP: Anthropocene Responsibility

Anthropocene Responsibility

deadline for submissions:
July 31, 2017

full name / name of organization:
Chase Pielak, Ph.D. / Auburn University

contact email:
chasesdg@hotmail.com

Anthropocene Responsibility

We are seeking proposals of 500 words by July 31, 2017 for essays to be included in an edited collection on the possibilities of responsibility in the anthropocene era.

Does responsibility end in an apocalypse or does subjectivity somehow change as a result of it? We believe that the possibility ends in some form of shared subjectivity that dethrones anthropocentrism (following the arguments made by animal studies critics in the last decade, e.g. Matthew Calarco and Janelle Schwartz). Drawing from literary and film depictions of apocalypse, this book will imagine new approaches to responsibility in the Anthropocene in light of the possibilities or potentialities of apocalypse. These readings may well engage climate change, politics, culture broadly conceived, etc., however, we hope that they will be grounded in relevant texts and films.

From Mary Shelley’s The Last Man onward through The Walking Dead (and perhaps before or after) there runs an anthropocentricism-busting thread. The problematic of catastrophic apocalypse is that it invalidates, at its end, the possibility of responsibility—of responding—because it reduces the possible set of external beings to whom we might respond. When human animals cease to call out demanding recognition (or misrecognition), there seems to be no need to respond. The question is a serious one because Derrida and others would argue that responsibility is key for subjectivity, for perhaps even personhood (as in The Gift of Death and The Animal that Therefore I Am). Responsibility governs how we relate to other creatures, both of the human variety and other species, and perhaps even to things, as recent proponents of thing-theory might suggest. Or perhaps it is simply anthropocentrism that is posthumous.

The premise of the Anthropocene is that humans have become aware of the possibility that we will destroy our species. Through climate change, or Kellis-Amberlee virus, or (pick a poison here) we will cease to be as a species. This possibility, this imagined perhaps, becomes rather an extancy having been conceived, a birth before the fact, infecting the possibility of subjectivity. In effect, like Keats, we are already living a posthumous existence.

Some questions to consider might be:

How might we reimagine subjectivity in light of the Anthropocene possibilities of apocalypse, which seem to reduce the possibility of grounding subjectivity in radical responsibility?

How can we choose to live in the apocalypse and toward what end? The possibility of ethics, even apocalyptic ethics, seems to be invalidated.

Without responsibility how do we relate, and to what?

How might we respond to the last man case? (And does the presence of only one other human, real or imagined, change the case study?) Surely it must, as the possibility of responsibility moves from internal to external.

If we imagine the end of subjectivity, has it already ended? I.e. if a human can be imagined as irresponsible, as no longer a subject, might they in fact already be irresponsible?

For more information, please contact Chase Pielak (chasesdg@hotmail.com) or Deborah Christie (dchristi@odu.edu).

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Call for Chapters: Philip K. Dick, Here and Now

Call for Chapters: Philip K. Dick, Here and Now

Deadline for submissions: July 31, 2017

Full name: David Sandner, California State University, Fullerton

Contact email: dsandner@fullerton.edu

In Spring, 2016, California State University, Fullerton hosted a singular Philip K. Dick Conference, bringing scholars from around the world to the place where he left his manuscripts and papers. We currently seek chapter submissions to join the strong core work from the conference in an edited volume that reinvents the study of major American author Philip K. Dick now that he is considered to be a major 20th-century American author. Where previous scholarly collections set out to explain why we should read Dick, our collection interrogates why we must and do—why he has become a touchstone for our culture today.

Philip K. Dick, Here and Now reinitializes and extends the study of a major American sf author whose reputation has undergone a profound transformation since his death. At Dick’s death, exactly one work was in print—Bladerunner, the movie tie-in, with its original title in small letters underneath. Now? Everything is in print. The Library of America collects Dick’s novels and more, even the hard to find, once-unpublishable Exegesis, so important to Dick, that has received scant critical attention. We live in a phildickian present.

Our collection divides into two sections: Rebuilding PKD concentrates on new studies of Dick’s literary works from a wide variety of recent critical perspectives; Building an Icon reassesses Dick’s legacy from the vantage point of his extraordinary rise in reputation. We seek essays for either section, but are particularly interested in proposals for the first section grounded in new perspectives on Dick’s work through such critical lenses as trauma studies, ecocriticism, monster studies, cultural studies or, of course, theoretically grounded science fiction studies; or interrogating his representations of gender, race, or class; or reassessments of material culture or spatiality in Dick’s work. This list is by no means exhaustive or meant to be prescriptive and we are happy to consider any proposal which places new critical approaches to Dick’s work at its center.

We hope to include chapters by authors from a variety of disciplines and viewpoints, reflecting the contemporary study of Philip K. Dick and science fiction. Please submit a 500-word chapter abstract and a biography of no more than 250 words by July 31st to:

dsandner@fullerton.edu

All proposed abstracts will be given full consideration, and submission implies a commitment to publish in this volume if your work is selected for inclusion. If selected, complete chapters will be due by November 30th.

All questions regarding this volume should be directed to: dsandner@fullerton.edu

Our editorial team includes editor David Sandner and associate editors Jaime Govier and Christine Granillo. We look forward to receiving an exciting array of abstracts and to working with selected authors on this important project, aiming to offer imaginative ways of re-conceptualizing Philip K. Dick Studies across a variety of critical approaches.

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New Division Heads Film and Television (FTV) and Fairy Tales and Folk Narratives (FTFN)

Dear IAFA members,

The Board is pleased to welcome our two new Division Heads:

Valerie Savard will shadow Kyle Bishop as Division Head of Film and Television for the coming conference and start her term at the awards banquet in 2018; and Christy Williams will be the Division Head for our new division of Fairy Tales and Folk Narratives starting her term immediately.

Many congratulations Valerie and Christy! We look forward to working with you.

Very best wishes,
Isabella van Elferen
IAFA 1st VP

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CfP: Indie Games in the Digital Age (Anthology)

Indie Games in the Digital Age (Anthology)

deadline for submissions:
July 1, 2017

full name / name of organization:
MJ Clarke CSULA, Cynthia Wang CSULA

contact email:
digitalindiegamesbook@gmail.com

The digital realm has reconfigured the ways in which production and consumption of games happen. Consider some prominent examples:

In May 2011, self-taught game developer Andrew Spinks released his own world-building game after only five months of production. The game, Terraria, now available on all major computing and gaming platforms, has sold over 20.5 million units, but is still only available through Spinks’s own publishing firm, Re-Logic.

In June 2013, student video game developer Toby Fox pitched his own project, Undertale, on the financing platform Kickstarter using the free-to-use production tool, gamemaker. After raising over $50,000 for his game, Fox’s Undertale sold over 2 million units before being named 2015 Game of the Year by several video game trade journals, including IGN.

In August 2012, the disillusioned pen-and-paper game developer Monte Cook left his job at the publisher of industry leader, Dungeons & Dragons, and pitched his own roleplaying system, Numenera, directly to fans in a Kickstarter campaign that earned over $500K. Subsequently, the game has become a brand-franchise spawning a series of spin-offs, novels and video games.

In November 2010, a group of high school friends from Chicago presented a version of their game, Cards Against Humanity, as a Kickstarter campaign. After surpassing its modest funding goal, the game sold over 500K units in the next three years and enabled its creators to generate a number of politically minded publicity stunts in the wake of Trump presidency.

In February 2016, two stay-at-home moms and escape room aficionados launched their Kickstarter campaign for a home-based, single-use escape room board game called Escape Room in a Box. They hit their goal of $19,000 within 14 hours, and were ultimately funded for over $130,000, necessitating shifting their game manufacturing plans from inviting friends to make the games by hand to looking at options for mass manufacturing. The two creators are working on a new game, and have created their own puzzle and games consulting company, The Wild Optimists.

In all these cases, creators have leveraged the ease and availability of networking through online platforms and, as a result, have forged paths to both creative and financial success previously unavailable. Traditional mass media and game publishing models have operated with high barriers to entry and high production costs, reinforcing capitalist power structures, wherein the richest, most privileged, most connected and the most culturally, socially and artistically normative have had the best chance to have their creative works made and exposed to a wide audience. And because mainstream board game companies like Mattel and Hasbro, as well as traditional video game companies such as Nintendo, Microsoft, and Sony have presided over an oligarchical system, independent game makers historically have had limited chances to get their work in front of an audience without directly working with one of these gatekeepers.

Investigating the products and practices of indie game makers presents scholars with an opportunity to reconsider the debate over user-generated content and digital labor more broadly. How much does the dissolution of mainstream gaming’s production chokeholds on financing, marketing, distribution and production empower indie game makers to rethink cultural, economic and political models? Conversely, how are indie game makers potentially exploited by new media platforms that siphon off their biopolitical labor, reinforcing and re-interpellating them into traditional models of capitalism and power?

We are interested in contributions that both expand and problematize this binary by closely examining independent games and their makers as components of a distinct and emerging culture of production that often does imagine complexity in the economic, social and cultural decisions of its makers.

We seek contributions from scholars in media and video games studies, communications studies, anthropology and sociology, and any other associated disciplines who are interesting in developing grounded case studies of indie game makers; theoretical models of indie game work and / or style; historical examinations of developments within indie games; and critical analyses of particular indie game makers, formats or significant indie games titles. More specifically, we are interested in how indie games intersect with a wide array of concepts including (but not limited to):

Production, distribution, and labor

Collaborative circles, microcultures, and social movements

Financing, crowdfunding, and multiple market approaches

Game aesthetics and mechanics

Serious games, critical games, and critical gameplay

Social justice, community/coalition building, advocacy

Entrepreneurial & innovation theory

Informal media and “grey” markets

Digital affordances

Artisanal and craft movements

Social media and networks

Historical perspectives

Folk culture and practices

Mainstream incorporation/co-optation of indie games

Comparative studies of indie games across platforms and media

Video game streamers, broadcasters, and let’s plays

Please submit a 500-word abstract to digitalindiegamesbook@gmail.com by July 1, 2017. If you have any questions, please feel free to email MJ Clarke at mclarke2@calstatela.edu and/or Cynthia Wang at cwang68@calstatela.edu.

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CfP: Drawing the Past: Comics and the Historical Imagination

Drawing the Past: Comics and the Historical Imagination

Edited by Michael Goodrum (Canterbury Christ Church), David Hall (Old Dominion University), and Philip Smith (University of the Bahamas)

In a short comic, available during the 2014 Free Comic Book Day event, the dimension-hopping villain Morlan killed the Jacobean Spider-Man on the stage of the Globe Theatre in a reimagined version of Shakespeare’s England. The release of the comic was bookended by the publication of volume one and two of John Lewis, Andrew Aydin, and Nate Powell’s epic multi-volume non-fiction comic March, which seeks to document the key events of the Civil Rights Movement. The two comics are radically different in terms of style, genre, and purpose, but both engage in the process of (re)creating and (re)imagining history.

This multi-authored volume seeks to examine the many ways in which history has been explored and (re)presented through comics. It spans non-fiction, historical fiction, and speculative comics. It asks, for example, how V for Vendetta has changed our understanding of Guy Fawkes and the Gunpowder Plot, how readers are meant to think about the Constitutional Convention when its participants are put in conversation with Batman, how Hip Hop Family Tree portrays historical personages, and how comics such as Maus or Persepolis manage the fraught relationship between memory and image?

Abstracts due by July 15 2017, first drafts, each 5,000 words, due December 2017. Please send submissions and queries to drawingthepasteditorial@gmail.com.

The editors’ previous work includes Superheroes and American Self Image (Ashgate 2015). Reading Art Spiegelman (Routledge 2015), and the forthcoming Gender and the Superhero Narrative (University Press of Mississippi).

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CfP: Tolkien and Jackson Fan Studies Special Issue (06-15-2017)

CfP: Tolkien and Jackson Fan Studies Special Issue (06-15-2017)

Articles on fan studies scholarship on any aspect of fan production, creation, or activities relating to J. R. R. Tolkien’s Legendarium and/or Peter Jackson’s live-action film adaptations of The Lord of the Rings and The Hobbit are invited for a special theme issue of The Journal of Tolkien Research (JTR). First drafts will be reviewed by the editors; final drafts be submitted for double-blind peer review.

Timeline:
Deadline for submission to editors: June 15, 2017 (Proposal or First Drafts)

Deadline for submission to JTR: October 30, 2017 (Final Drafts)

Co-editors: Katherine Larsen klarsen@gwu.ed
Robin Anne Reid robin.reid@tamuc.edu

The Journal of Tolkien Research (JTR) is a peer-reviewed electronic journal published on ValpoScholar, the publishing and institutional repository of Valparaiso University (supported by Bepress). It is an open access journal; content is published immediately once peer reviewers and editors have deemed it appropriate and ready for publication.

Authors have the right to choose which Creative Commons license is appropriate for their content (see Copyright Notice on journal’s homepage). Content will be bundled into an “issue” on a yearly basis, for the purposes of citation and library cataloging requirements. There are three ways to be published in JTR (choose appropriate area when submitting):

1. Peer-Reviewed Article (these articles are double-blind peer reviewed)
2. Article (these articles are editor-reviewed)
3. Conference Paper (papers in this section are not peer reviewed; this section is designated for those who wish to share their Tolkien-related conference papers with the broader community; Creative Commons license/appropriate citation applies for those who wish to cite or quote)

Aims & Scope
The Journal of Tolkien Research (JTR) has the goal of providing high-quality research and scholarship based on the works of J.R.R. Tolkien (1892-1973) and on transformative and derivative texts based on his work to a wide and diverse audience. The journal therefore offers the opportunity to all scholars working in and on Tolkien research to publish their original research articles in an open access and widely-distributed high quality peer-reviewed scholarly journal.

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CfP: Breaking out of the Box: Critical Essays on the Cult TV Show Supernatural

CfP: Breaking out of the Box: Critical Essays on the Cult TV Show Supernatural

Lisa Macklem and Dominick Grace seek proposals for a refereed collection of essays on the CW cult horror show Supernatural.

“What’s in the box?” Dean Winchester asks in “The Magnificent Seven,” episode one of the third season of Supernatural, to the befuddlement of his brother Sam and their avuncular mentor Bobby Singer, but to the delight of fans who revel in the show’s wry meta elements. Dean is of course quoting Detective Mills, Brad Pitt’s character in the thriller Se7en (1995), directed by David Fincher. Throughout its twelve-year run (to date), Supernatural has revelled in breaking out of the limitations usually implied by a television show, breaking out of the box in numerous ways. Acknowledging the popularity of the meta-play in the show, current showrunner Andrew Dabb promised the most meta-finale ever for the season twelve finale. One of the most noteworthy examples of this predilection is the extensively meta elements of the season five apocalypse plotline, which featured the character Carver Edlund (his name derived from series writers Jeremy Carver and Ben Edlund) in several episodes. Edlund is a novelist who has written supposed works of fiction that in fact document Sam and Dean Winchester’s lives, thoroughly breaking the fourth wall. Edlund is the pseudonym of Chuck Shurley—who turns out to be God, making one of his rare mainstream television appearances. However, this meta plot element represents only one of the myriad ways Supernatural has broken out of the box. Season five, episode eight (“Changing Channels”), transports Sam and Dean into the worlds of several television shows, while season six, episode fifteen, “The French Mistake,” carried the conceit further, having Sam and Dean visit the “real” world, in which they are characters in the TV show Supernatural. Season eight and nine feature as main villain the appropriately-named Metatron, the scribe of God trying to write himself into the position of God—in effect plotting in both senses of the word. Season eight also featured, in episode 8 (“Hunteri Heroici”), Warner Brothers style cartoon gimmickry, and the upcoming season thirteen promises an animated crossover episode with Scooby Doo. Season ten’s 200th episode is yet another recursive metanarrative, featuring a highschool student trying to mount a musical adaptation of the Carver Edlund novels. In short, despite its horror trappings, Supernatural has been decidedly postmodern in its liberal use of pastiche, meta, intertextuality, and generic slippage. This collection is interested in exploring the ways Supernatural breaks boundaries. Topics of potential interest include but are not limited to

Explicitly meta elements in Supernatural
Supernatural and fandom: interpenetrations
God, Metatron, and other Supernatural authors
Role and role-playing
Generic slippage (comedy; found footage; the musical episode)
Allusion and intertext in Supernatural
Canonicity
Non-Supernatural (e.g. the episodes with no fantasy elements)
Supernatural and genre TV
reality and retcon: how the show has shifted and redefined its own rules
casting and self-consciousness (e.g. the use of celebrity guest stars such as Linda Blair, Rick Springfield, etc.)
Importance of music throughout the show

Proposals of 300-500 words should be submitted to Lisa Macklem (lmacklem1@gmail.com) or Dominick Grace (dgrace2@uwo.ca) by October 1 2017. Final papers should be between 5,000 and 7,000 words long and written in conformity with MLA style and will be due by May 1 2018. McFarland has expressed interest in this collection, with a contract forthcoming.

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CfP: At Home with Horror? Terror on the Small Screen, 27th-28th October 2017, University of Kent

At home with horror? Terror on the small screen

deadline for submissions:
June 30, 2017

full name / name of organization:
The Melodrama Research Group/University of Kent

contact email:
horrorishome@gmail.com

The Melodrama Research Group presents:

At home with horror? Terror on the small screen

27th-28th October 2017

University of Kent

Keynote speaker: Dr Helen Wheatley (University of Warwick)

CALL FOR PAPERS

The recent horror output on TV and the small screen challenges what Matt Hills found to be the overriding assumption ‘that film is the [horror] genre’s ‘natural’ home’ (Hills 2005, 111). Programmes such as American Horror Story, Penny Dreadful and The Walking Dead are aligned to ‘‘quality TV’, yet use horror imagery and ideas to present a form and style of television that is ‘not ordinary’’ (Johnston 2016, 11). Developments in industrial practices and production technology have resulted in a more spectacular horror in the medium, which Hills argues is the ‘making cinematic’ of television drama (Hills 2010, 23). The generic hybridity of television programmes such as Whitechapel, and Ripper Street allow conventions of the horror genre to be employed within the narrative and aesthetics, creating new possibilities for the animation of horror on the small screen. Series such as Bates Motel and Scream adapt cinematic horror to a serial format, positioning the small screen (including terrestrial, satellite and online formats) as the new home for horror.

The history of television and horror has often displayed a problematic relationship. As a medium that operates within a domestic setting, television has previously been viewed as incompatible with ‘authentic’ horror. Television has been approached as incapable of mobilizing the intense audience reactions associated with the genre and seen as a medium ‘restricted’ in its ability to scare and horrify audiences partly due to censorship constraints (Waller 1987) and scheduling arrangements. Such industrial practices have been seen as tempering the genre’s aesthetic agency resulting in inferior cinematic imitations or, ‘degraded made-for-TV sequels’ (Waller 1987, 146). For Waller, the technology of television compounded the medium’s ability to animate horror and directed its initial move towards a more ‘restrained’ form of the genre such as adapting literary ghost stories and screening RKO productions of the 1940s (Ibid 1987). Inferior quality of colour and resolution provided the opportunity to suggest rather than show. Horror, then, has presented a challenge for television: how can the genre be positioned in such a family orientated and domesticated medium? As Hills explains, ‘In such a context, horror is conceptualised as a genre that calls for non- prime-time scheduling… and [thus] automatically excluded from attracting a mass audience despite the popularity of the genre in other media’ (Hills 2005, 118).

Helen Wheatley’s monograph, Gothic Television (2006), challenges the approach of television as a limiting medium for horror, and instead focuses on how the domestic setting of the television set is key to its effectiveness. Focusing on the female Gothic as a domestic genre, Wheatley draws a lineage from early literary works, to the 1940s cycle of Gothic women films and Gothic television of the 1950s onwards. Wheatley argues for the significance of the domestic setting in experiencing stories of domestic anxiety for, ‘the aims of the Gothic drama made for television [are] to suggest a congruence between the domestic spaces on the screen and the domestic reception context’ (Wheatley 2006, 191).

Developments in small screen horror are not restricted to contemporary output. In his work on the cultural history of horror, Mark Jancovich argues that it was on television in the 1990s where key developments in the genre were taking place (Jancovich 2002). Taking Jancovich’s work as a cue, Hills develops his own approach to the significance of horror television of the 1990s. Hills cites Buffy the Vampire Slayer and The X Files as examples of programmes striving to mobilise the genre’s more graphic elements while existing as a ‘high-end’ cultural product: ‘authored’ TV that targeted a niche fan audience (Hills 2005, 126).

Taking these recent developments into account, the aim of this conference is to engage with such advances. Can we say that it is on the small screen where critical and creative innovations in horror are now being made? How has the expansion of satellite television and online sites impacted on the genre? How has the small screen format developed the possibilities of horror? Is the recent alignment with ‘quality TV’ evidence of horror’s new mainstream status? This conference will also reflect on seminal works on television horror and revisit the history of the genre. In addressing these questions the conference will underline the importance of the small screen for horror, within the study of the genre and of the medium, and ask: is the small screen now the home of horror?

Topics can include but are not limited to:

The seasons and horror on the small screen

Gothic television

Gender and horror

Historical figures and events in small screen horror

Small screen horror as an ‘event’

Adaptation from cinema to small screen ‘re-imaginings’

Production contexts

Censorship and the small screen

Serialisation and horror production

National television production of horror

The impact of Netflix and Amazon Prime

TV history and horror

Literary adaptations

Children’s TV and horror

Genre hybridity

Fandom

Teen horror

Stardom and horror

Please submit proposals of 400 words, along with a short biographical note (250 words) to horrorishome@gmail.com by Friday 30th June 2017. We welcome 20 minute conference papers as well as submissions for creative work or practice-as-research including, but not limited to, short films and video essays.

Conference organisers: Katerina Flint-Nicol and Ann-Marie Fleming

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CfP: Science Fiction Beyond the Western Tradition

CfP: Science Fiction Beyond the Western Tradition
Deadline 1st September 2017

“Science fiction is the major non-realistic mode of imaginative creation of our epoch. Why? Because science and technology are continually changing the conditions of our existence. And because science […] is the principal way modern culture locates us imaginatively in time and space.” (H. Bruce Franklin, 2007)

Over the past fifty years, science fiction has established itself as a serious genre, one which invites formal academic inquiry, while creatively underpinning our personal and social trajectories in an ever-increasingly technoscientific world. Science fiction narratives, whether in literary or cinematic registers, help us to understand ourselves, our societies, our politics and our world, by experimenting with alternatives, possibilities, and communing with the ever-present (and variously embodied) Other. Furthermore, as the critical history of science fiction in the Western tradition has clearly demonstrated, science fiction texts are culturally revealing in that they often key into and illuminate social concerns, anxieties, and the anticipated shapes of futures yet to come.
While science fiction in the Western, English-speaking tradition continues to dominate scholarship within the field, we are interested in applying the same critical principles to science fiction outside of the West. It is our intention to produce a high-quality introductory reader to serve as a starting point to the genre in non-Western cultures, nations and regions, with an emphasis on scholarship produced both on and by non-Western writers and academics. We hope that by investigating science fiction outside of the West, readers may gain insight into the genre across a range of cultural traditions, while also developing new and informed perspectives on these cultures themselves. Outside of analyses concerned primarily with historical development or generic conventions, questions to consider may include (but are not limited to):

• What is the creative or critical function of science fiction?
• How does science fiction enable specific cultures to express or explore themselves?
• What alternatives does science fiction pose? To what? And why?
• How does science fiction intersect with issues of nationalism, language, religion, gender or cultural identity?
• What do science fictional futures reveal about the way a nation looks forward?
• How do science fiction texts communicate concerns or needs regarding technology, science, environment, evolution, progress, identity, politics, etc.?
We are interested in high-quality academic writing on science fiction literature or film texts by authors or directors from anywhere outside of the Anglophone West and Europe. We are also interested in historical / survey chapters that can provide an overview of science fiction practice in a particular nation, culture or region.

Notification of acceptance: 30th September 2017
Full chapters due: 15th January 2018
Planned submission of manuscript: 1st March 2018

At this time, we are particularly seeking proposals on work produced in Latin America, South-East Asia, and the Arab world.

We hope to cover a wide range of historical periods, media, styles and themes; we realise that science fiction outside of the West has evolved differently in different cultures – our ability to document these differences will be one of our collection’s strengths. As such, while we hope to receive chapters on well-known names such as LiuCixin, Nnedi Okorafor, Lauren Beukes et al., we are also relying on our contributors to bring to our readers’attention new and/or lesser-known texts that may be considered generically and culturally relevant. We take a flexible view of what constitutes a ‘text’: literature may be expanded to include graphic novels, comics, manga, etc.,while film may also cover television and new media such as videogames.

Submission procedure:
Researchers are invited to submit a 350-500 word proposal outlining the content and aims of their chapter, on or before 1st September 2017. Authors will be formally notified of their acceptance by 30th September 2017. Full chapters will be expected before the 15th January 2018. Chapters will be subjected to a double-blind peer review.
Please submit proposals as Word documents to both yomna.ismail@qu.edu.qa and achristmas@qu.edu.qa, using the subject line “Science Fiction Beyond the Western Tradition”.

Inquiries:
Inquiries may be directed to either yomna.ismail@qu.edu.qa or achristmas@qu.edu.qa

Editors:
Dr Yomna Saber, Qatar University
Dr Amy Christmas, Qatar University

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