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Clarion West occasionally has part-time job opportunities open. If you’re in the greater Seattle area and you might be a match for an open position, we’d love to hear from you!

About Clarion West

Clarion West’s mission is to provide a high-quality educational opportunity for writers of speculative fiction at the start of their careers. Our flagship program is the summer six-week residential workshop in which eighteen writers come together to learn from established writers and editors who offer critical feedback on writing, insight into publishing, and career advice. In conjunction with the annual workshop, we hold a reading series showcasing the work of our instructors, along with other events bringing together writers and readers of speculative fiction. During the fall and spring, CW holds one-day workshops in Seattle that are open to the community.

Our intensive workshop experience has been held in Seattle, Washington for over thirty years, and has produced some of science fiction and fantasy’s renowned writers and editors. Our graduates have received every major form of recognition in the field, including the Hugo, Nebula, and World Fantasy awards.

Clarion West is governed by a board of directors that includes alumni and community members, and has eight part-time staff members and two contractors. Our annual budget is roughly $180,000.

Open Positions

Executive Director

Job Title: Executive Director
Part-time (average of 20 hours/week; fluctuates with level of organization’s activity); Exempt position
Reports to: Board of Directors
Location: Seattle, Washington

Primary Functions

Essential skills include experience in operations and administration, writing budgets, directing and working collaboratively with staff; and proven fundraising ability, especially the ability to find and nurture new donors, as well as raising funds from our existing donor pool. The executive director is organizer-in-chief.

Desirable skills include locating new grant opportunities and event planning. Experience with board development is helpful. Some familiarity with the world of speculative fiction is helpful, but not required.

The ED is an ex officio member of the board and works with board members on a regular basis, as needed.

We Are Looking For…

We seek a leader with experiences as an executive director who will support our staff, board of directors, and volunteers in nurturing our programs and sustaining the organization. We are not looking for growth at this time. We are interested in maintaining our stability and continuing to institute best practices both in terms of programmatic and organizational development.

The ideal candidate will show demonstrated interpersonal skills, organizational skills, and an ability to cultivate external and internal relationships that include our extended community of alumni, donors, supporters, and industry professionals.

Summary of Key Priorities

Manage Clarion West staff (Workshop Director, Workshop Administrator, and Communications Specialist as direct reports).
Work collaboratively with the Board of Directors to fulfill board development goals.
Ensure that all workshop, fundraising, communication and administrative activities run smoothly and meet the goals set by the Board of Directors.
Lead fundraising development strategies and activities.
Cultivate external relationships and serve as the official public representative of Clarion West.
Key Responsibilities

Leadership and Management

Assist in development and implementation of strategic plans as well as scheduling and managing day-to-day tasks in collaboration with staff and board.
Recruit, hire, supervise, and evaluate all staff, and terminate if necessary. Ensure there are updated job descriptions for each position.
Demonstrate sound human resources practices, commitment to diversity and timely response to staff requests.
Finance and Administration

Work with the board finance committee and treasurer to develop the annual budget.
Ensure that the organization operates within budget guidelines.
Oversee the maintenance of official records and documents, and ensure compliance with federal, state, and local regulations.
Negotiate and sign leases and contracts on behalf of Clarion West.
Ensure the upkeep of administrative and operational records (policies, etc.).
Communicate in a timely fashion with staff, board, and volunteers through the project management system.
Fundraising

Plan and oversee the execution of fundraising, development, alumni relations strategies and activities.
Write grant proposals and reports.
Cultivate, solicit, steward, and recognize major donors.
Board Development

Develop programmatic, organizational, and financial plans in conjunction with, and as requested by the board, and carry out plans and policies authorized by the board.
Work with the nominating committee to identify and recruit board members and volunteers on an on-going basis, and provide leadership for board orientation.
Work with the board to develop, enhance, and maintain strong governance practices and set board development goals.
Act as the interface between the board and the rest of the organization, seeing that the board is fully informed on the condition of the organization.
Work with the board to set the vision and long range strategy.
Community Relations

In concert with the Workshop Director and Communications Specialist, maintain and support positive workshop relationships and cooperative arrangements with speculative fiction community groups and other relevant organizations.
In concert with the Workshop Director and Communications Specialist, maintain overview of developments in the speculative fiction field and in the area of writers’ workshops.
Respond to public speaking requests and other public requests as needed.
Ensure that all Clarion West staff and board members work together to accurately represent Clarion West programs and philosophy to agencies, organizations, media and the general public.
Ensure that there is an overall communications and outreach plan and that it is being implemented.
Qualifications

Experience in leading a small non-profit organization. A minimum of four years of management and supervisory experience.
A proven ability to create and lead a fundraising strategy and raise funds from a range of sources.
A proven ability to lead, support and mentor staff with integrity, enthusiasm, with an emphasis on collaboration, and a commitment to results.
Understanding of basic financial systems.
Experience with donor database and online project management software.
Passion for and commitment to Clarion West’s mission, and some familiarity and understanding of speculative fiction or a similar type of genre and arts community.
Excellent communication, listening, and relationship-building skills.
Proven commitment to diversity and inclusion.
Knowledge of and experience in board structures, management and principles of governance.
Ability to multi-task and sense of humor!
Compensation and Benefits

Salary commensurate with experience.

To Apply:

Please submit a cover letter and resume electronically in Microsoft Word or .rtf format to:

Vicki Saunders
Clarion West Board Chair
chair@clarionwest.org

We will begin reviewing applications on January 5. This position will remain open until filled, although we hope to have someone start in February.

Please visit https://www.clarionwest.org/about/jobs/ for more information.

Gaming Disability: Disability Perspectives on Contemporary Video Games

Edited by Dr Katie Ellis, Dr Mike Kent & Dr Tama Leaver
Internet Studies, Curtin University

Abstracts Due 15 February 2017

Video games are a significant and still rapidly expanding area of popular culture. Media Access Australia estimated that in 2012 some twenty percent of gamers were people with a disability, yet, the relationship between video gaming, online gaming and disability is an area that until now has been largely under explored. This collection seeks to fill that gap. We are looking for scholars from both disability studies and games studies, along with game developers and innovators and disability activists and other people with interest in this area to contribute to this edited collection.

We aim to highlight the history of people with disabilities participating in video games and explore the contemporary gaming environment as it relates to disability. This exploration takes place in the context of the changing nature of gaming, particularly the shift from what we might consider traditional desktop computer mediation onto mobile devices and augmented reality platforms. The collection will also explore future possibilities and pitfalls for people with disabilities and gaming.

Areas of interest that chapters might address include

· Disability narratives and representation in gaming

· Accessibility of gaming for people with disabilities

· Mods, hacks and alterations to games and devices for and by people with disabilities

· Augmented reality games and disability

· Disability gaming histories

· Mobile gaming platforms and disability

· Specific design elements (such as sound) in terms of designing accessible games

· Gaming, television and disability

· Future directions for disability and gaming

Submission procedure:

Potential authors are invited to submit chapter abstracts of no more than 500 words, including a title, 4 to 6 keywords, and a brief bio, by email to Dr Mike Kent by 15 February 2017. (Please indicate in your proposal if you wish to use any visual material, and how you have or will gain copyright clearance for visual material.) Authors will receive a response by 15 March 2016, with those provisionally accepted due as chapters of approximately 6000 words (including references) by 15 June 2016. If you would like any further information, please contact Mike Kent.

About the editors:
The editors are all from the Department of Internet Studies at Curtin University and have a history of successfully publishing edited collections in the areas of and gaming, disability, and new media.

Dr Katie Ellis is an Associate Professor and Senior Research Fellow in the Department of Internet Studies at Curtin University. Her research focuses on disability and the media extending across both representation and active possibilities for social inclusion. Her books include Disability and New Media (2011 with Mike Kent), Disabling Diversity (2008), Disability, Ageing and Obesity: Popular Media Identifications (2014; with Debbie Rodan & Pia Lebeck), Disability and the Media (2015; with Gerard Goggin), Disability and Popular Culture (2015) and her recent edited collection with Mike Kent Disability and Social Media: Global Perspectives (2017).

Dr Mike Kent is a senior lecturer and Head of Department in the Department of Internet Studies at Curtin University. Mike’s research focus is on people with disabilities and their use of, and access to, information communication technology and the Internet. His other area of research interest is in higher education and particularly online education, as well as online social networking platforms. His book, with Katie Ellis, Disability and New Media was published in 2011 and his edited collection, with Tama Leaver, An Education in Facebook? Higher Education and the World’s Largest Social Network, was released in 2014. His latest edited collection, with Katie Ellis, Disability and Social Media: Global Perspectives is available 2017, along with his forthcoming edited collections Massive Open Online Courses and Higher Education: What went right, what went wrong and where to now, with Rebecca Bennett and Chinese Social Media Today: Critical Perspectives with Katie Ellis and Jian Xu.

Dr Tama Leaver is an Associate Professor in the Department of Internet Studies at Curtin University. He researches online identities, digital media distribution and networked learning. He previously spent several years as a lecturer in Higher Education Development, and is currently also a Research Fellow in Curtin’s Centre for Culture and Technology. His book Artificial Culture: Identity, Technology and Bodies was released through Routledge in 2012 and his edited collections An Education in Facebook? Higher Education and the World’s Largest Social Network, with Mike Kent, was released in 2014 through Routledge, and Social, Casual and Mobile Games: The Changing Gaming Landscape, with Michele Wilson, was released through Bloomsbury Academic in 2016.

Pippi to Ripley 4: Gender and Sexuality in Fantasy, Science Fiction and Comics

deadline for submissions:
January 15, 2017

full name / name of organization:
Katharine Kittredge

contact email:
kkittredge@ithaca.edu

Pippi to Ripley 4:Sex and Gender in Fantasy, Science Fiction, and Comics

Ithaca College, April 21-22, 2017

Keynote: SAMMUS performs her acclaimed nerdcore hip-hop and talks about race, geekdom, and feminism.

Special guest: Breakout YA author LJ Alonge

Pippi to Ripley 4 is an interdisciplinary conference with a focus on women and gender in imaginative fiction. We invite papers devoted to fictional characters in all media, including: comics, films, television, and video games as well as in folklore, mythology, and children’s and young adult literature. This year’s conference includes a special focus on:

Fan Intersectionality: Race, Gender and Sexuality in Fan Communities

But we also welcome paper proposals on all aspects of female/gender queer representation within an imaginative context, including but not limited to:

•Young female and queer characters, especially in media for young adults and children (The Hunger Games, Divergent, The Song of the Lioness, His Dark Materials, The Runaways, Power Pack)
•Women and their place in futuristic or other worlds (Dystopic Fiction, Classic Science Fiction, Fantasy Worlds, Star Trek, Doctor Who, Babylon 5, Firefly)
•Female and queer protagonists in urban fantasy and paranormal romance (Buffy, Anita Blake, Sookie Stackhouse, Clary Fray)
•Gender politics after the apocalypse (Revolution, Falling Skies, Oryx and Crake, Y: The Last Man)
•Teaching imaginative fictive/offering imaginative fiction-based programming at all levels (Buffy-based courses; graphic novel units, YA dystopias, children’s fantasy)
•Female and queer characters in updated/adapted fairy tales (Once Upon a Time, Hansel and Gretel: Witch Hunters, Snow White and the Huntsman, Grimm)
•The women of superhero films/television with a special focus on differently abled and gender non-conforming characters (Jessica Jones, Marvel Cinematic Universe, Agents of SHIELD)
•Female-focused comic book series (Ms. Marvel,Wonder Woman, Pretty Deadly, Rocket Girl)

•Horrific women and women in horror (American Horror Story, Lamia, Carrie, Mama)
•Science fiction and reproductive body horror (Alien franchise, Twilight, Bloodchild)
•Cyberpunk and the redefinition of gender (William Gibson, Neal Stephenson, Charles Stross)

Please send a 300-500 word abstract by January 15, 2017, to Katharine Kittredge, Ithaca College, Department of English, kkittredge@ithaca.edu.

Dear SFF friends,

It’s with great pleasure that I’m drawing your attention to the recently advertised post of Lord Kelvin Adam Smith Research Fellow in Fantasy at the University of Glasgow. I’d be most grateful if you could circulate details of this position as widely as possible.

If you follow the link here (http://www.gla.ac.uk/about/jobs/vacancies/) and use the search term ‘LKAS’ and the reference 015206, you can find the fellowship listed against ‘School of Critical Studies’. Following that link will take you to a page where the post is described in detail. The crucial paragraph is listed under ‘Other’:

‘Fantasy is a rapidly growing and wide-ranging field of research across the arts and humanities, spanning all periods and cultures. Based in English Literature, this Fellowship in Fantasy Literature underlines the University’s ambitions for further expansion in this area.

We therefore welcome applicants specialising in any area of English literary criticism or literary history involving Fantasy. An additional interest in other media, e.g. comics, film and TV, theatre, gaming, or in related fields such as children’s literature, creative writing, or digital humanities (not an exhaustive list), may be an advantage.

As well as engaging in literary research, the LKAS Fellow will be expected to contribute to the development of a new interdisciplinary hub involving not only literary scholars but also (e.g.) the Medical Humanities Research Centre, the Medieval and Early Modern research network (MEMNET), the Andrew Hook Centre for American Studies, the Digital Humanities research network, the Centre for Scottish and Celtic Studies, and the Stirling Maxwell Centre for the Study of Text/Image Cultures. In addition, the Fellow will be expected to assist in the ongoing development and delivery of English Literature’s highly successful taught postgraduate masters’ degree in Fantasy.’

I’m sorry the post is so hard to locate, but I think you’ll agree it’s a really exciting development in the field. I look forward to seeing who’ll apply!

All best wishes,

Rob Maslen
Programme convener, Fantasy MLitt
English Literature
School of Critical Studies
University of Glasgow
Glasgow G12 8QQ
United Kingdom

Ladies and Gentlemen,

At ICFA 38 in March 2017, for the SCIAFA sponsored session, scholar and author Kathryn Hume will be giving a two part talk on preparing for the academic job market. She will offer detailed advice on the documents required for job applications, the interview process, and more. I highly recommend attending both parts of the talk.

In addition, Kathryn Hume has generously offered to look over job application documents and offer feedback and suggestions, as well as meeting with people for half hour face-to-face discussions during her free time at the conference.

She asks that if you are interested in feedback you send her CV, a letter of application, a teaching philosophy, a dissertation description/abstract to her email address at: iqn@psu.edu

She will begin reading through these documents starting Dec 10th. And she will get back to you with feedback as soon as possible.

For more information about how to put these documents together she recommends you take a look at her book Surviving your Academic Job Hunt: Advice for Humanities PhDs.

I have heard great things about the kind of feedback she provides and the insight she offers during the face-to-face meetings, so I highly recommend you take advantage of this opportunity.

When we are closer to the conference and the schedule has been released, I will begin signing people up for face-to-face meeting time slots. If you will be sending Kathryn Hume your documents and are interested in scheduling a face-to-face meeting please email me at rudd.am@gmail.com so I can compile a list of interested parties.

Please feel free to email me if you have any questions.

Sincerely,

Amanda Rudd
SCIAFA Representative

Dark Arts Journal is currently taking submissions for two separate calls:

The Dark Arts Journal 3.1

The Dark Arts Journal is pleased to announce a call for papers for issue 3.1 for the topic of “Gothic Studies Today.” We invite innovative submissions on any aspect of the field of Gothic studies as it stands, including philosophical, theoretical or inter-disciplinary approaches to the area. Possible topics may cover, but are by no means limited to the following ideas:

Gothic studies and philosophy or literary theory
The interdisciplinary Gothic – theology/biblical studies/politics/art/media/sciences
Contemporary challenges or debates in Gothic studies
New methodologies or emergent Gothic fields in culture, media, text or society
Gothic history – new approaches to Gothic texts, interrogations of the Gothic canon etc.
All submissions should be emailed to darkartsjournal@gmail.com for the attention of the editor with the subject line “Dark Arts 3.1 Submission.” Papers should be between 4000-5000 words and use the MHRA style guide for referencing and footnotes. We welcome contributions from scholars at any stage in their careers, but preference will be given to postgraduate and early career researchers.

The deadline for submissions is 31st December 2016.

***

The Dark Arts Journal 3.2 Special Issue: Gothic Capitalism

Capitalism: for some the source of modern evil, for others a being of monstrous power to be worshipped, for Marx, an inherently haunted phenomenon. Recent years has seen a two way exchange emerge between New Economic Critics now reading the market as inherently spectral and cultural scholars focusing on the presence of money in classic gothic tales; from Ebeneezer Scrooge being haunted by his financial partner, to Dracula bleeding money, to Edgar Allan Poe’s fictional doubles signifying emerging understandings of corporate personhood. Since the 2008 crash, an event that saw the devastating destruction encapsulated within the market inflicted on a global scale, more and more questions are being asked about how we understand finance, the market, and whether modern capitalism can survive, or indeed, if we can survive modern capitalism. We therefore invite submissions on the theme of Gothic Capitalism for a themed edition.

Possible topics include, but are not limited to:

*Evil bankers

*Possessed commodities, or gothic commodification of the body

*The monstrous market

*Gothic formulations of accumulation, capitalist competition, and debt

*Neoliberalism in the gothic

*Gothic understandings of capitalism i.e. zombie banks

*Capitalist re-readings of classic gothic texts and films

*The Gothic as a commodity, gothic advertising, gothic tourism

*Money as a haunted concept and/or item

Submissions should be between 6000-9000 words and use the MHRA style guide for referencing and footnotes. We welcome contributions from scholars at any stage in their careers, but preference will be given to postgraduate and early career researchers.

The deadline for submissions is the 8th January 2017. Submissions should be sent to gothiccapitalism@gmail.com

For more information, please visit https://thedarkartsjournal.wordpress.com/.

Comics Remixed: Adaptation and Graphic Narrative

deadline for submissions:
December 1, 2016

full name / name of organization:
The Graduate Comics Organization at the University of Florida

contact email:
schalifour@ufl.edu

The Graduate Comics Organization at the University of Florida invites applicants to submit proposals to the 14th UF Conference on Comics and Graphic Novels, “Comics Remixed: Adaptation and Graphic Narrative.” The conference will be held from Friday, April 7 to Sunday, April 9, 2017.

The ongoing blockbuster expansions of the Marvel and DC comics universes into parallel cinematic and television universes have brought to mainstream attention the adaptation of print comics into other media. Comics scholars are also paying closer attention to the importance of adaptation as an aspect of comics production and reception. Liam Burke’s The Comic Book Film Adaptation (2015) has addressed the boom in Hollywood comic book movies during the 21st century. Stephen Tabachnick and Esther Bendit Saltzman’s 2015 collection Drawn From the Classics analyzes comic adaptations of literary classics. In 2015, the University of Leicester hosted the symposium “Comics and Adaptation in the European Context,” seeking to “bring the fields of comics and adaptation studies into critical dialogue.”

When traditionally print-based comics are adapted to other media, or when comics adapt works from other media, how does this change our understanding of what comics can accomplish? Comics adaptations, and adaptations of comics, are not limited to only visual and/or lexical source material; for example, P. Craig Russell has authored a successful series of comics adaptations of operas, and Alison Bechdel’s graphic novel Fun Home has been adapted into a hit Broadway musical. Comics have a long history of borrowing from other media without, strictly speaking, adapting plot lines or character biographies, as seen in Bob Kane and Bill Finger’s adoption of techniques from German Expressionist film in the early Batman stories. In addition, comics culture may be viewed as long having undergone a process of adaptation as a consequence of changes in media ecologies: as the Internet allows fans to connect in different ways, how does this affect the construction of comics fandoms? Moreover, how does the evolution of comics production contribute to a process of adaptation?

The goal of this conference is to invite more extensive and nuanced investigation into these and other problems of comics adaptation. What are the known possible relationships between comics and other media, including but not limited to alphabetic texts, film and television, music, fine art, street art, videogames, and photography? How does the process of adaptation affect our understanding of the genres, themes, or political/aesthetic concerns of works being adapted, and the results of adaptation? The scope of this conference is not limited to trans-media adaptation. Are there instances where comics may influence and borrow from actual life? What is the place of comics adaptations in the multiple media landscapes of the 21st century and beyond?

Possible topics may include but are not limited to:

Comics-to-film adaptation (Marvel’s The Avengers, The Dark Knight, Ghost World, Persepolis)
Film-to-comics adaptations (Jack Kirby’s 2001, Dark Horse’s Alien comics, Mike Mignola’s Dracula)
Comics and TV (Jessica Jones, Arrow, Buffy the Vampire Slayer, Doctor Who Magazine, Star Trek)
Film’s influence on comics (German Expressionism and Batman)
Comics-to-music and music-to-comics (Fun Home, P. Craig Russell’s The Ring of Nibelung)
Literature-to-comics (Classics Illustrated, The Book of Ballads and Sagas by Charles Vess, The Graphic Canon)
Comics-to-literature (Elliot S. Maggin’s Superman: Last Son of Krypton, Neil Gaiman’s Sandman: The Book of Dreams)
Comics-to-radio/audio (Superman radio show)
Comics that adapt news stories (Marvel 9/11 issue, Torso, Green River Killers, Rick Geary’s Treasury of Victorian Murder)
Nonfiction/Comics journalism (Joe Sacco’s graphic novels)
Fanfiction, fan art, and other fan works

In addition to traditional, 15-20 minute presentations, “Comics Remixed” will also consider discussion panels from multiple presenters coordinating around a central topic or theme. Proposals should be between 200 and 300 words, and are due December 1, 2016. All proposals should be submitted to Spencer Chalifour at schalifour@ufl.edu.

Hybridity and Monstrosity

deadline for submissions:
December 31, 2016

full name / name of organization:
University of Texas at Dallas Arts and Humanities Graduate Student Association

contact email:
utd.gsa@gmail.com

Conference website: http://www.utdgsaraw.com

University of Texas at Dallas
Arts & Humanities Graduate Student Association

utd.gsa@gmail.com

February 24 and February 25, 2017

Keynote speakers: Dr. Nnedi Okorafor and Dr. Stephen T. Asma

Theme: Hybridity and Monstrosity

Submission Deadline: December 31 , 2016

Early Acceptance Submission Deadline: November 15, 2016

The Arts & Humanities Graduate Student Association of the University of Texas at Dallas will hold its ninth annual RAW: Research, Art, Writing graduate symposium on February 24th and 25th at the UT Dallas campus in Richardson, TX. Organized by and for graduate students, RAW offers students from around the country the opportunity to share their work and ideas with peers across the humanities disciplines.

As part of our ongoing efforts to create access for graduate students and advanced undergraduates whose work challenges the boundaries of traditional academic endeavor, the theme for this year’s RAW symposium is “Hybridity and Monstrosity.” Hybridity of ideas or organisms is inherently creative, disrupting accepted cultural norms and producing new artifacts that may be mind-expanding, paradigm-shifting, or literally terrifying, but which always raise questions worthy of investigation. We encourage you to submit papers, artwork, or other projects that introduce new theoretical paradigms into the conventional discourse, that uncover the grotesque in the everyday, or that bridge the gap between seemingly incompatible modes of inquiry. We will, of course, also accept proposals for work that occupies the relatively tamer spaces in traditional humanities scholarship.

In this spirit of creative hybridity, we are excited to welcome two keynote speakers to the 2017 RAW symposium: Dr. Nnedi Okorafor and Dr. Stephen T. Asma.

Dr. Nnedi Okorafor is Associate Professor of Creative Writing and Literature at the University at Buffalo (SUNY) and an internationally recognized author of African-based science fiction, fantasy, and magical realism for both children and adults. Her 2015 novella B inti recently won both the 2016 Hugo and 2015 Nebula awards for best novella. Dr. Okorafor’s many other works of fiction include Who Fears Death (winner of the World Fantasy Award for Best Novel and rec ently optioned for film), Akata Witch (an Amazon.com Best Book of the Year and also optioned for film), Zahrah the Windseeker (winner of the Wole Soyinka Prize for African Literature), and The Shadow Speaker (winner of the CBS Parallax Award). Dr. Okorafor’s creative work knits personal elements drawn from African culture with the fantastical elements we expect from science fiction to tell old stories of our world from new perspectives.

Dr. Stephen T. Asma is Professor of Philosophy and Distinguished Scholar at Columbia College Chicago, where he is also a founding Fellow of the Research Group in Mind, Science, and Culture. Dr. Asma is a regular contributor to public radio and to many academic and popular periodicals; he writes regularly for the New York Times. His seven books i nclude O n Monsters: An Unnatural History of Our Worst Fears (2011) and the best-selling B uddha for Beginners (originally published in 1996 and reissued in 2008). His eighth book, T he Evolution of Imagination, will be published by the University of Chicago Press in 2017. Dr. Asma’s work connects developing theories in the science of mind with the evolution of human nature; he also somehow finds time to pursue his other interests as both a professional jazz musician and a professional illustrator.

Each interested participant may submit one 200-word abstract for a 15-minute individual presentation and/or one submission of a full panel that includes three to four individual presentations. There are no limitations on topic, field, genre, or methodology.

Submissions may include, but are not limited to:

• excerpt of an M.A. paper or thesis • excerpt of a seminar paper
• excerpt from a dissertation
• animation, video, or film projects

• excerpt from a novel, play, or short story

• M.F.A. final project

• selection of poetry

• dance or other performance piece

• art work (paintings, ceramics, drawings, etc.)

• games

Proposals are due by December 31, 2016. Proposals submitted by November 15, 2016 will receive a response by December 1, 2016. Full-panel proposals have a higher acceptance rate. All proposals must include the following:

• A complete mailing address, e-mail address, phone number, field, and affiliation of participant

• An abstract of no more than 200 words for the proposed presentation; must include 3 to 5 keywords

• For creative pieces, the medium and space requirements for the work/presentation

Panel proposals must include a proposal for the panel, a short description of each presentation, and the above information for each participant.

Send submissions and questions to utd.gsa@gmail.com. Registration information will follow. For additional information, see www.utdgsaraw.com.

A Wizard of Their Age 2: Critical Essays from the Harry Potter Generation

deadline for submissions:
December 31, 2016

full name / name of organization:
Kate Glassman and Jenny McDougal | St. Catherine University

contact email:
kgglassman@stkate.edu

Since its first volume hit UK stores in 1997, Harry Potter has become a best-selling phenomenon that has forced readers and critics to reconsider how and what we read, and revolutionized the publishing industry from the bottom up. With countless accolades and roughly 500 million English copies in print, eight feature films, with another on its way, and merchandise that continues to sell too well to be pulled from shelves, Harry Potter remains a fixed cultural icon 20 years on.

Now, in light of J.K. Rowling’s resurgence of material, with the Fantastic Beasts and Where to Find Them film series, a redesigned Pottermore with controversial new universe building, and the authorized fan-play “The Cursed Child,” great minds are once again turning towards Hogwarts.

We are seeking critical essays that expand our understanding of this universe and these characters, particularly those that offer a new lens through which to view readers’ long-established perceptions of the series.

Please review the Table of Contents of the first volume of A Wizard of Their Age: Critical Essays from the Harry Potter Generation (SUNY Press) to see previous topics or, perhaps, what is missing

We welcome any approach, though we are particularly interested in analyses of

race and ethnicity
class
gender, sex, and sexuality
the YA genre
women writers (their approach and reception)
thorough exploration of any element, group, or creation of that universe
the worlds beyond the text (Pottermore, the Wizarding World theme park, fandom/fanfiction, etc.)
and character analyses beyond the Golden Trio

Guidelines:

Authors must fall within the “generation” of Harry Potter – those who were with Harry from the very start (or soon thereafter), and were of the age originally targeted by the series. Though we celebrate the phenomenal reach of the series across age (among many other boundaries), this collection is centering on the voices of those who grew up with Harry Potter. [Undergraduate or recent graduates]

Send abstracts of 250 words to kgglassman@stkate.edu no later than October 31st. Final essays of no more than 30 pages (double-spaced), by December 31st.

This follow-up collection will be edited by Professors Jenny McDougal and Kate Glassman (St. Catherine University) in partnership with a board of contributing editors.

GFF 2017: Realities and World Building
University of Vienna, September 20th-23rd 2017

The creation and experience of “new” worlds is a central appeal of the fantastic. From Middle Earth to variations of the Final Frontier, the fantastic provides a seemingly infinite number of fantastic “worlds” and world concepts. It develops and varies social and cultural systems, ideologies, biological and climatic conditions, cosmologies and different time periods. Its potential and self-conception between the possible and the impossible offer perspectives to nearly every field of research.

The plurality and concurrent existence of different, even contradictory concepts of reality is an established topos in cultural and social sciences.[1] In a similar fashion, scientific narratives can simultaneously coexist with fantastic ones within the cultural network of meaning[2] – without creating an existential antagonism between them. The reason for that is not that one of these narratives is true while the other is not, but – following Hayden White, who assumed that scientific and literary narratives have more in common than not[3] – because both of them are fictional. If a fantastic narrative is internally consistent, it is in a Wittgensteinian sense[4] as true as Newton’s laws. This poses an existential problem for the fantastic: if it applies to every consistent narrative, what is the defining difference between fantastic and other narratives?

In our everyday practice, however, we seem to easily distinguish the fantastic from other aspects of reality. How is that possible? How can fantastic worlds emerge within and besides other multiple world-conceptions? What are the functions of fantastic worlds in the construction of reality? In designating texts as fantastic, we explicitly assert their fictitious character. Which practices do we employ to facilitate this designation?

We call narratives fantastic that violate our common reality consensus, thus establishing their own counter-reality consensus – in other words, a different world. This is done in different ways, thereby defining fantastic genres: for example, science fiction uses key motives like objects and cultural practices (interstellar travels, wormhole-generators, etc.) for world-building that belong to a realm of conceivable future possibility. While the modern scientific reality consensus does not categorically preclude beaming, it does deny the very possibility of a demon summoning.

In order to serve as a foil to the real, the fantastic has to play an ambiguous role: key motives of its multiple worlds have to be recognizable as imaginary, but at the same time at least some of these elements have to be linked with common reality consensus. A typical strategy for achieving this ambiguity is the incorporation of cultural practices that remind us of established perceptions of history, most prominently perhaps the European Middle Ages. Thus, a perceptible distance between the narrative and the recipient’s common reality consensus gets established, while using parts of this very consensus to render the narrative comprehensible.

Wolfgang Iser considers the “fictive” to be an intentional act, and the “imaginary” the recipient’s conception of the fictionalization’s effects.[5] World Building is part of every narrative, but as a result of variable cultural contexts, every narrative is involved in different modes of production and perception. The conference aims to emphasize and reflect these very acts of fictionalization used to build fantastic worlds – in different media, and on theoretical as well as methodological levels.

Accepted Keynotes:

Stefan Ekman (University of Gothenburg, Sweden)
Farah Mendlesohn (Anglia Ruskin University, UK)

Possible Topics:

· Intermedia (and media-specific) features and indicators of fantastic worlds in film, TV, literature, (digital) games, etc.
· How does the extradiegetic constitute fantastic worlds and vice versa? Social and cultural systems, ideologies, biological and climatic conditions, cosmologies, etc.
· World-building methods and practices: reflections on economic and technical resources; transparent world-building (Making-ofs, exhibitions, interviews, etc.)
· Construction plans: sourcebooks, world editors, Table-Tops, miniatures, dioramas, LARPs
· We are of course open to further suggestions. The conference will also feature an “Open Track” for presentations beyond the scope of this CFP.

The GFF awards two stipends to students to help finance traveling costs (250 Euro each). Please indicate if you would like to be considered.

Call open till January 31st 2017: short bio & abstracts (500 words max.) to
thomas.walach@univie.ac.at