Friday, June 15, 2018

Thursday, June 14, 2018

NEPCA 2018 Update

I am pleased to report that the Fantastic (Fantasy, Horror, and Science Fiction) Area will be going out with a bang.

For our final set of sessions set for this year's meeting of NEPCA, the area is sponsoring two sessions on the 200th anniversary of Frankenstein plus five sessions on the fantastic.

Full details to follow.

Michael A. Torregrossa
Fantastic (Fantasy, Horror, and Science Fiction) Area Chair

Thursday, June 7, 2018

CFP Messengers from the Stars 2018 Conference (expired)

Sorry to have missed posting this sooner.

Science Fiction and Fantasy International Conference Messengers from the Stars: Episode V – “Fragments of Humanity”
deadline for submissions: 
April 30, 2018
full name / name of organization: 
School of Arts and Humanities, University of Lisbon

Science Fiction and Fantasy International Conference
Messengers from the Stars:  Episode V – “Fragments of Humanity”

School of Arts and Humanities, University of Lisbon
University Lisbon Centre for English Studies
November 29-30, 2018


Science Fiction and Fantasy objects are a permanent part of today’s cultural industry.  From the margins to mainstream culture, their ubiquity demands critical debate beyond the preconception of pop culture made for mass entertainment. The University of Lisbon Centre for English Studies (ULICES) invites you to take part in the 5th International Conference Messengers From the Stars: On Science Fiction and Fantasy to be held at the School of Arts and Humanities, University of Lisbon, on November 29-30, 2018. This year Episode V will focus on the theme “Fragments of Humanity.”

Since its very beginning, Fantasy and SF have questioned essential notions such as: “What does it mean to be human?”; “What are the boundaries of humanity?”; “Are we more or less human than our ancestors?”, among others. These recurrent themes emerged in 18th- and 19th-century writing, namely in the Gothic novel and in works such as Robert Louis Stevenson’s Dr. Jekyll and Mr. Hyde (1886) or in Mary Shelley’s Frankenstein (1818), a book which celebrates its 200th birthday in 2018. Inspired by these pioneering texts and fed by advances in technology, such issues have become more and more complex in Fantasy and SF literature, cinema, TV series, comics and graphic novels, music, and other art forms. What is happening to the human body? Are we still human or are we becoming something else? Are we still whole or fragmented? Are we human, post-human, metahuman and/or transhuman? How can hybrids and monsters allow us to reflect on notions of self and identity? Must we redefine those notions? In that case, what is the role of A.I. in this redefinition? What is the impact of our fragmented humanity on our social environment? What may be the consequences in current and future cultures and their religious belief systems and creeds?

We welcome papers of 20 minutes as well as joint proposals for thematic panels consisting of 3 to 4 participants. Postgraduate and undergraduate students are also welcomed to participate.

Topics may include but are not limited to the following:

▪     Artificial Intelligence;
▪     Ecocriticism;
▪     Fantasy and SF;
▪     Fantasy, SF and ethics;
▪     Mary Shelley’s Frankenstein (and later adaptations/reinterpretations of the novel);
▪     Monsters and Monstrosity;
▪     Post-Humanism and Transhumanism;
▪     The Self, Humanity and Identity;
▪     The Other;
▪     Utopias/Dystopias;
▪     Vampires, zombies, werewolves and other undead bodies.

Confirmed keynote speakers:

Filipe Furtado – Full Professor (Faculdade de Ciências Sociais e Humanas – Universidade Nova de Lisboa) and author of A Construção do Fantástico na Narrativa (The Construction of the Fantastic in Narrative)

Mike Carey – British writer of comic books, novels, and films. He is the author of the acclaimed novel the Girl with All the Gifts (2014) which was adapted on screen in 2016. His most recent novel, published in April 2017, is The Boy On the Bridge, a stand-alone novel set in the same world as The Girl With All the Gifts.

Individual papers, as well as thematic panel proposals, should have 250 words maximum and be sent to along with a short biographical note (100 words maximum) by Apr 30, 2018.

Notification of acceptance will be sent by June 4, 2018.

Working Languages: Portuguese and English

Early bird registration:  June 4 –14 September
80 € / Students: 40 €
Late bird registration: 14 September – 19 October
100 € / Students: 70 €

1    Only after proof of payment is registration effectively considered.
2    Participants are responsible for their own travelling arrangements and accommodation.
3    Undergraduate and post-graduate students must send proof of student status with their registration.
4    All sessions are free. However, participants who are not presenting (or co-authoring) and wish to have access to the conference materials and coffee breaks can benefit from a special registration rate: 20€. Registration: June 4 – 26 November.

[1] The fee includes attendance at all sessions, conference material, coffee breaks and a certificate of participation.

Last updated March 6, 2018
This CFP has been viewed 935 times. 

CFP Literary Fantasy and its Discontents Conference (8/31/18; Taipei 11/23/24/2018)

 Literary Fantasy and its Discontents

deadline for submissions: 
August 31, 2018
full name / name of organization: 
Taipei Tech (National Taipei University of Technology)
contact email: 
In her still influential Fantasy and Mimesis: Responses to Reality in Western Literature (1984), Kathryn Hume defines the literary fantastic as any departure from consensus reality, believing that it holds an equally significant position in literary history as mimesis. Rather than being a recent and sometimes academically marginalized genre, fantasy, for Hume, is integral to almost all literature.
The dialectics between literary fantasies and consensus reality have recently become more relevant than ever: current events remind us of how elusive consensus reality can be. This conference takes this concern over (un)reality as a jumping-off point for our theme: Literary Fantasy and Its Discontents. We hope to have a broad cross-section of papers that consider fantasy in its many forms: both as a (frequently politicized) literary genre or mode and in the word fantasy’s broader meanings of delusion, unconscious wish, or falsehood. How do fantasies assist in the formation of national identities? How do they impact the narratives––be they harmful or beneficial––that nations and people groups tell themselves about their origins, their capabilities, and their future? How do reader responses to the fantastic in literature differ from responses to texts that are predominantly mimetic, and how do these differences condition reception history? How has the fantastic been used in reform movements and the rhetoric of reaction? What are the ethics of literary fantasies (or the fantastic mode), and how have they been applied?

We welcome papers on any topic related to our theme. We hope to have several panels on texts from the medieval, early modern, eighteenth-century, Romantic, Victorian, and twentieth- and twenty-first century periods. While most papers given at this conference will address Anglophone literatures, we also welcome papers (in English) that address non-English or non-literary texts from other regions. As our conference is in Taipei, Taiwan, we particularly hope to organize several panels that address how literary fantasies have been celebrated, used, criticized, or abused in Asia. We are also interested in explorations of the reception history of Western fantasies in the East and Eastern fantasies in the West.

Our keynote speakers are Marysa Demoor (Ghent University) and Ackbar Abbas (University of California, Irvine). Marysa Demoor is author or editor of nearly twenty books, predominately on British and European literature, including the Dictionary of Nineteenth-century Journalism. Her early publications were on folklorist, fairy-tale collector, and journalist, Andrew Lang, and her current research interests include identity, nationhood and histoire croisée. Ackbar Abbas (Hong Kong: Culture and the Politics of Disappearance) is currently working on several projects: a book on ‘Posthumous Socialism’ about China and Hong Kong; a collaborative volume on ‘Volatility’ in contemporary culture and finance; and another volume which he will be co-editing on ‘Poor Theory’.  Abbas's keynote speech is entitled “Documentary As Fantasy; or, Documentary in the Era of Its Impossibility.”

Paper topics include but are not limited to:

  • National Epics (The Epic of Gilgamesh, The IliadBeowulfOssianLe Morte D’Arthur, the KalevalaIcelandic Sagas and the Poetic and Prose Eddas, etc.)
  • Classical Chinese Novels and Nationalism or Politics: Romance of the Three KingdomsWater MarginJourney to the WestDream of the Red Chamber 
  • The politics of or within best-selling literary fantasies such as The Lord of the Rings, the Gormenghast trilogyThe Master and Margarita, The Books of Earthsea, Harry PotterHis Dark Materials, Game of Thrones and others
  • Nineteenth-century Fairy Tale Collectors such as the Brothers Grimm, Andrew Lang, and the members of the Folk-Lore Society, and their collections
  • Racial Theories and Nationalism, Politics, or (fantastic) Literature, (Matthew Arnold, Ernest Renan, Robert Knox, etc.)
  • German philology, folklore, and twentieth-century Nazism
  • White nationalism and pseudo-history (Vikings, Anglo-Saxons, etc.)
  • Magical Realism and National Identities
  • Fantasy and Orientalism
  • Fantasy and Taiwanese Identity
  • Fantasy and Chinese identity
  • Taiwanese or Chinese nationalisms
  • Japanese fantasy and Taiwanese identity (from the Japanese colonial period to the present)
  • Fantasy and nationalism in Scotland, Wales, Ireland, Catalonia, etc.
  • Colonial and Post-colonial nationalisms and literary fantasies
  • Political satires written in the fantastic genre such as Gulliver’s Travels 
  • Utopias and/or Dystopias
  • Sexual Politics and Fantasy (“The Wife of Bath’s Tale,” the Arabian NightsGame of Thrones, etc.)
  • Early Modern writers, fantasy, politics, and nationalism (Shakespeare, Marlowe, Spenser, Milton, etc.)
  • Medievalism (in art, literature, TV and film, gaming, etc.)
  • Victorian fantasists and politics: William Morris, Charles Kingsley, George MacDonald, Lewis Carroll, Christina Rossetti, Dinah Mulock, Margaret Oliphant, Tennyson, etc.
  • Travelers’ Tales and Nationalism
  • Politics and nationalism in children’s literary fantasies
  • Fantasy and environmentalism or fantasy and climate change
  • Fantasy and revolutions (The French Revolution, the Godwinian school, the work of particular Romantic poets, fantasy and European revolutions, etc.)
  • Fantasy and national or ethnic identities
  • Politicized fantasies
  • Politicized Reception histories of fantasy
  • Mao Zedong’s theory of literature and art, later Communist theories of art
  • Marxism and fantasies
  • Oral Histories and/or Folktales and Cultural Identity
  • Fantasy and the Cultural Industry
  • Literary fantasy and its publishers
  • The international diffusion and reception history of national fantasies across borders
  • Repressive governments such as ISIS and North Korea, and their national fantasies
  • Politics, Literature, and “Alternative Facts”
  • Escapism
  • Literary Fantasy and Radical Technologies

Please  submit a 250–300 word abstract and the requested presenter information in one Word or PDF file to the conference e-mail address,, by Friday, August 31, 2018.

We also have an early-consideration deadline, Monday, June 4, 2018because we will have a significant number of papers from international scholars, who work on a different academic calendar and who may need more time to make long-distance travel plans. Anyone may choose to apply by the June 4 early deadline, and we will respond within two weeks of that date. Abstracts received after June 4 and before August 31 will be considered in early September with results sent by September 15. Papers will be limited to 20 minutes.

The conference will be held on November 23–24, 2018, in Taipei, with companion cultural events on November 22. Detailed information about the conference can be found on our conference website,

Last updated April 13, 2018
This CFP has been viewed 1,194 times.

Sunday, June 3, 2018

CFP Tolkien Studies Area (10/1/2018; PCA Washington DC 4/17-20/2019)

Here's the second.

deadline for submissions: October 1, 2018
full name / name of organization: Tolkien Studies, Popular Culture Association
contact email:

CFP: Tolkien Studies
2019 Popular Cultural Association National Conference
Wardman Park Marriot, Washington, D.C.
Wednesday, April 17, to Saturday, April 20, 2019

The Tolkien Studies Area welcomes proposals for papers, paper sessions, or roundtables in any area of Tolkien Studies (the Legendarium, adaptations, reader reception and fan studies, source studies, literary studies, cultural studies, tourism studies, medieval and medievalist studies, media and marketing, religious studies) from any disciplinary or interdisciplinary perspective.

We welcome individual paper proposals or proposals for paper sessions or roundtable discussions. All sessions are scheduled in 1.5 hour slots, typically with four presenters per paper session or five-seven per roundtable. Paper presentations should not exceed 15 minutes.

Academic and independent scholars and graduate students are encouraged to submit. For individual papers, please submit contact information (name, institutional affiliation if any, mail and e-mail addresses, and telephone number), a title and 200-300-word abstract plus a working bibliography.

For roundtables or complete paper sessions, please submit:

Session Title
Name and contact information for the session organizer
Titles and abstracts for each presenter
Contact information for each presenter

All presenters must set up an account to submit their proposal electronically, must be members of the PCA, and must register for the conference:

For information on PCA, please go to

For conference information, please go to

Travel and research grants are available:

Possible topics include but are not limited to:

Adaptation:  Visual Arts
Adaptation:  Tolkien and Game Studies

Gender Studies: Women in Tolkien
Gender Studies: Gender and Tolkien
Gender Studies: Tolkien’s Queering of Genre

Literary Studies: Tolkien and Genre
Literary Studies: Hemingway and Tolkien
Literary Studies: Romanticism and Tolkien

Fandom Studies: Reparative Fan Fiction (Race) and Tolkien
Fandom Studies: Tolkien and Cosplay
Fandom Studies: History of Tolkien Fandom

Methodology: Digital Humanities Tools for Tolkien Scholarship
Methodology: Ethics in Tolkien Studies

Themes: Environmentalism, Ecology, and Tolkien
Themes: Poststructuralism and Tolkien

Religious Studies: Alternate Mythologies/Pagan Readings and Tolkien
Religious Studies: Spirituality and Tolkien
Religious Studies: Catholic Debates in 20th Century and Tolkien
Religious Studies: Oxford Community and Tolkien

1 July                     Database Opens for Submissions
1 October               Registration Opens
1 October               Deadline for Paper Proposals
15 November          Early Bird Registration Rate Ends
1 December            Preliminary Program Available
15 December          "Drop Dead": Unregistered Participants Removed from Program
3 January 2019       Final Program to the Publisher
17-20 April 2019     Washington, D.C.!

For information on the Tolkien Studies area, please contact:

Robin Anne Reid
Department of Literature and Languages
A&M University-Commerce
Commerce, TX 75429

Or check the Tolkien Studies at Popular Culture Public Group on Facebook.

Last updated May 25, 2018 

CFP Prophecy and Future-telling in Tolkien and Related Authors (10/1/2018; PCA Washington DC 4/17-20/2019)

The first of two Tolkien calls for the night.

deadline for submissions: October 1, 2018
full name / name of organization: Tolkien Studies / Tarot & Other Methods of Divination, Popular Culture Association
contact email:
Prophecy and Future-telling in Tolkien and Related Authors

Call for Papers
Tolkien Studies / Tarot & Other Methods of Divination
at the
Popular Culture Association / American Culture Association conference
Washington, DC, 17-20 April 2019

And many other things Ilúvatar spoke to the Ainur at that time, and because of their memory of his words, and the knowledge that each has of the music that he himself made, the Ainur know much of what was, and is, and is to come, and few things are unseen by them. Yet some things there are that they cannot see […]  (The Silmarillon)

Future-telling abounds in mythopoeic literature, where it takes on many forms: dreams, intuitions, predictions, premonitions, prophecies, visions, and more. Tolkien made extensive use of future-telling in his writings, particularly The Lord of the Rings. At times, his characters seek knowledge of the future deliberately by studying prophecies, or by the use of tools and special techniques; at others, it comes to them spontaneously through memory and the unconscious.

We are seeking papers on all aspects of future-telling in Tolkien's writings for this co-sponsored session, including, but not limited to, studies of future-telling techniques and effects, relevance to character and plot development, and comparisons to relevant works and characters, such as King Arthur, Merlin, and Macbeth.

We hope to round out the session(s) with papers on future-telling in the works of other Inklings and related authors, notably Charles Williams's The Greater Trumps and C.S. Lewis's Narnia books, and perhaps Madeleine L'Engle's A Wrinkle in Time.

Papers may address any of Tolkien's legendarium and related works and their film adaptations.

Prospective participants in these sessions are asked to submit their papers to the Tolkien Studies area (for tech-related administrative simplicity). Papers addressing other aspects of future-telling should be submitted to the Tarot/Divination area.

Queries are welcomed by both area chairs.

Deadline for Paper Proposals: 1 October 2018

Tolkien Studies Area Chair: Robin Reid
Tarot/Divination Area Chair: Emily E. Auger

 Last updated May 25, 2018

Saturday, March 10, 2018

CFP Fantastic (Fantasy, Horror, and Science Fiction) Area 2018 (6/1/18; NEPCA Worcester, MA 10/19-20/18)

Fantastic (Fantasy, Horror, and Science Fiction) Area
Eleventh-Anniversary and Farewell Sessions

2018 Conference of the Northeast Popular Culture/American Culture Association (NEPCA)
Worcester State University, Worcester, Massachusetts
19-20 October 2018
Proposals due 1 June 2018

Formed in 2008, the Fantastic (Fantasy, Horror, and Science Fiction) Area will hold its eleventh-anniversary and farewell sessions in 2018, and we seek proposals from scholars of all levels for papers and/or panels that explore any aspect of the intermedia traditions of the fantastic (including, but not limited to, elements of fairy tale, fantasy, gothic, horror, legend, mythology, and science fiction) and how creative artists have altered our preconceptions of these subtraditions by producing innovative works in diverse countries, media, and time periods and for audiences at all levels.
Presentations will be limited to 15 or 20 minutes in length depending on final panel size.
An archive of previous work in the area exists at our website Northeast Fantastic (, which is intended as a gateway to furthering research on the fantastic.

Special Topics:
  • Given the proximity of the conference to Halloween, we are always interested in proposals related to monsters and the monstrous.
  • This year, we are also looking for papers related to the fantastic in children’s culture, especially the works of the Walt Disney Company.
  • Furthermore, in celebration of the two hundredth anniversary of the publication of Mary Shelley’s Frankenstein in 2018, we are organizing a special session devoted to “Frankenstein 1818 to 2018: 200 Years of Mad Scientists and Monsters.” Details can at our outreach site Frankenstein and the Fantastic at

Directions for Submission:
Please contact area chair Michael A. Torregrossa at, using “NEPCA Fantastic 2018” as your subject line, with any questions in advance of the 1 June 2018 deadline.
Submissions for papers and/or panels should be made online through the “2018 Proposal Form” at Please select “The Fantastic (Fantasy, Horror, and Science Fiction)” as your designated area. A complete submission includes contact information, academic affiliation (if any), an academic biographical statement (between 50 and 200 words), a paper title (no more than 60 characters), and a paper abstract (no more than 250 words). Do also send copies of your biography and proposal to the area chair at, using “NEPCA Fantastic 2018” as your subject line.

The Northeast Popular/American Culture Association (a.k.a. NEPCA) was founded in 1974 as a professional organization for scholars living in New England and New York. It is a community of scholars interested in advancing research and promoting interest in the disciplines of popular and/or American culture. NEPCA’s membership consists of university and college faculty members, emeriti faculty, secondary school teachers, museum specialists, graduate students, independent scholars, and interested members of the general public. NEPCA is an independently funded affiliate of the Popular Culture Association/American Culture Association. Membership is open to all interested parties, regardless of profession, rank, or residency. NEPCA holds an annual conference that invites scholars from around the globe to participate. In an effort to keep costs low, it meets on college campuses throughout the region.

Membership in NEPCA is required for participation and annual dues are included in conference registration fees. Further details are available at

Friday, March 9, 2018

Poppins Is Back!

In addition to the return of Winnie the Pooh and friends, Disney is also set to revisit the world of Mary Poppins in the upcoming film Mary Poppins Returns. Once again, the young children of the series are now grown-ups and struggling with issues they cannot handle alone until their childhood friend returns.

Here is the teaser from Disney:

Return of Pooh

Disney has become very focused recently on remaking its animated classics as live-action films, and it is now set to release a series of big-budget sequels to other productions.

The first to come out is Christopher Robin. Apparently, Robin has grown up into a depressed middle-aged man (played by Ewan McGregor) and needs the help of his childhood pals from the Hundred Acre Woods to set things right. The CG Pooh looks a bit like Ted (from Seth MacFarlane's adult comedy from a few years ago), but, reminiscent of Michael Bay's use of voice actors from the Transformers animated series in the live-action films of that franchise, he is voiced by Jim Cummings, the Pooh of Disney's long-running television series The New Adventures of Winnie the Pooh from the late 1980s and 1990s. Like Transformers, all other characters appear to have new voices.

Trailer follows:

Friday, January 19, 2018

NEPCA 2018 News

NEPCA’s 2018 Fall Conference

THE CALL FOR PAPERS for 2018 will be announced soon.

NEPCA’s 2018 conference will take place on the campus of Worcester State University, Worcester, Massachusetts on Friday October 19 and Saturday October 20, 2018.

Proposals are due before June 1, 2018. After this date NEPCA will only accept proposals that round out incomplete panels.

CFP Escaping Escapism in Fantasy and the Fantastic (1/31/2018; Glasgow 4/26-27/2018)

Escaping Escapism in Fantasy and the Fantastic (Deadline Extended)

deadline for submissions:
January 31, 2018

full name / name of organization:
University of Glasgow

contact email:

Glasgow International Fantasy Conversations

Escaping Escapism in Fantasy and the Fantastic

26th – 27th April 2018

The second Glasgow International Fantasy Conversations welcomes proposals for papers on the theme of escapism in fantasy. What is the role of fantasy and the fantastic? Why—and perhaps more crucially, how—does the genre matter? Fantasy theorists frequently define the genre in opposition to what is possible and real: Kathryn Hume, for instance, sums it up in Fantasy and Mimesis as “departures from consensus reality”. Critics often scrutinize this departure as a negative, and disparage representations of the fantastic either due to their failure to depict real world issues or their presumed attempts at “escapism.” This perceived link between fantasy and escapism is so strong that dictionaries like the Oxford English Dictionary define escapism as “engaging in fantasy”.

Despite this association, a growing body of evidence asserts both that escapism can be healthy and that the fantastic can influence how its consumers perceive real world issues even when their representations are deemed problematic. For example, though readers and scholars have criticized the portrayal of minority groups in J. K. Rowling’s Harry Potter series, studies suggest that people who read the series are more accepting of stigmatised groups and more likely to vote for political candidates whose policies support these groups. And while some critics view the creation of fictional Secondary Worlds as a troubling detachment from reality, creativity scholars have drawn links between creating imaginary worlds as a child and high achievement in artistic and scientific fields later in life. Escapism is perhaps not as escapist as it was previously perceived to be, and even when it is, it can have a positive impact. The “escapism accusation” is being flipped on its head, with texts as disparate as Diana Wynne Jones’s Fire and Hemlock and Buffy the Vampire Slayer’s “Normal Again” presenting the rejection of the fantastic in favour of “reality” as the dangerous escapist behaviour. The traditional dynamic between escapism and the fantastic is constantly being changed and renegotiated.

This two-day symposium seeks to examine and honour the relationship between escapism and the fantastic. We welcome proposals for papers on this theme from researchers and practitioners working in the field of fantasy and the fantastic across all media, whether within the academy or beyond it. We are particularly interested in submissions from postgraduate and early career researchers.

We will offer workshops in creative writing for those interested in exploring the creative process.

We ask for 300-word abstracts for 20-minute papers, as well as creative presentations that go beyond the traditional academic paper.

Suggested topics include, but are not limited to, the following:
  • Intersections and interplays between fantasy and reality.
  • Metatextual responses to escapism in fantastic texts and media.
  • Theoretical and/or critical discussions of escapism in relation to fantasy and the fantastic, broadly defined.
  • Relationships between Secondary Worlds and the Primary World; relationships between world and characters.
  • Reading, writing, and engaging with fantasy as a political act; the depiction of real world issues, or lack thereof, in fantastical settings and contexts.
  • Representations of the fantastic in media associated with escapism, such as live-action role-playing, board games, tabletop role-playing games, television, etc.

Please submit a 300-word abstract and a 100-word biography in separate editable documents (not PDF) to by Wednesday, the 31st of January 2018.

Last updated January 16, 2018

CFP Mythcon 49 (5/1/2018; Atlanta 7/20-23/2018)

Mythcon 49: On​ ​the​ ​Shoulders​ ​of​ ​Giants

Atlanta, Georgia
July 20 - 23, 2018

Call for Papers
The Mythopoeic Society has launched into a series of 50th anniversaries: the founding of the Society in 2017; the initial solicitation of articles for Mythlore in 2018; and of our Mythopoeic conferences in 2019. Because of the way that Inklings scholarship has built on a series of good foundations, for Mythcon 49 we've chosen the theme, On​ ​the​ ​Shoulders​ ​of​ ​Giants.

Call for Papers Download PDF of Call for Papers here


On the Shoulders of Giants
The Mythopoeic Society has launched into a series of 50th anniversaries: the founding of the Society in 2017, the conception and launch of our scholarly journal Mythlore in 2018, and the establishment of our mythopoeic conference in 2019. Our theme is suggested by the ways in which Inklings scholarship has built on such good foundations. We will celebrate these foundation and fifty years of building “On the Shoulders of Giants” at Mythcon 49. Papers exploring this theme might include, but are not limited to any of the following:
• The past, present, and future of mythopoeic scholarship and independent journals
• Academic, audience, and critical reception of mythopoeic literature
• The history of fandom, fan communities, and fan-fiction
• Adaptations of mythopoeic literature — film, music, gaming, and more
• The mythopoeic giants who inspired the Inklings — including Homer, Dante, Milton, George MacDonald, William Morris, G.K. Chesterton, and the most prolific of them all, Anon.
• Giants as literary figures in myth, fairy tale, and mythopoeic literature — Atlas, Goliath, the Norse Giants, Grendel, Gogmagog, Tolkien’s Trolls, the Giants and Ettins of Narnia


Robin Anne Reid, Scholar Robin Anne Reid is a Professor in the Department of Literature and Languages at Texas A&M University-Commerce, where she specializes in creative writing, critical theory, and marginalized literatures. She edited the two-volume Women in Science Fiction and Fantasy (Greenwood, 2009), with Judy Ann Ford, Professor of History, Texas A&M-Commerce. She and Dr. Ford team-taught a series of undergraduate and graduate courses on Tolkien’s The Lord of the Rings, both face to face and online. Their collaborative essay, '[T]hings that were, and things that are, and things that yet may be:' Teaching Tolkien's The Lord of the Rings On-Line, appeared in Approaches to Teaching Tolkien's The Lord of the Rings and Other Works, edited by Leslie Donovan (MLA, 2015). Dr. Reid has also published on Peter Jackson’s film adaptation of The Lord of the Rings. Other recent Tolkien publications are an essay on female bodies and femininities in The Lord of the Rings in The Body in Tolkien's Legendarium, edited by Christopher Vaccaro, a bibliographic essay on the history of scholarship on female characters in Tolkien's work in Perilous and Fair, edited by Janet Brennan Croft and Leslie Donovan, and a bibliographic essay on race and Tolkien studies in Tolkien and Alterity, edited by Christopher Vaccaro and Yvette Kisor. Besides her work on Tolkien and feminist science fiction, she has also published on fan productions and fan activism in online media fandom. She is a regular contributor to “The Year’s Work in Tolkien Studies” in the annual journal, Tolkien Studies.


Papers dealing with the conference theme are especially encouraged. We also welcome papers focusing on the work and interests of the Inklings (especially J.R.R. Tolkien, C.S. Lewis, and Charles Williams), on our Guests of Honor, and on other mythopoeic authors and themes. Papers from a variety of critical perspectives and disciplines are likewise welcome. Each paper is generally given a one-hour time slot, but papers should be timed for oral presentation in 40–45 minutes to allow time for questions. Two shorter papers can also be accommodated in a single one-hour time slot. We also welcome proposals for panels consisting of several shorter papers on related topics or for open panel discussions on subjects appropriate to Mythcon. All presenters must register for the full conference; please see the Mythcon 49 web page,, for information and rates.

Participants are encouraged to submit papers chosen for presentation at the conference to Mythlore, the refereed journal of the Mythopoeic Society ( All papers should conform to the 8th edition of the MLA Style Manual. Presenters who are full-time undergraduate or graduate students are encouraged to submit their completed conference papers in advance for consideration for the Alexei Kondratiev Student Paper Award. Please see for more information.

Paper abstracts of no more than 300 words, along with contact information, should be sent to the Papers Coordinator at the address below by May 1, 2018. Please include the anticipated duration of your presentation and any A/V requirements you feel are essential. We will make every effort to accommodate your A/V requests, but this cannot be guaranteed. You will be notified after the deadline if your paper or panel proposal has been accepted.

Jason Fisher
Mythcon 49 Papers Coordinator

Location Mythcon 49 will be held in Atlanta, Georgia. This is our first Mythcon in the South in 15 years! The last one was Mythcon 34 in Nashville, Tennesee. We will be at the Ritz-Carlton in Downtown, right in the heart of the city near all of the tourist destinations.

We have arranged for a preferred guest rate of $159 per room at the Ritz-Carlton. When booking you will need to identify yourself as an attendee of Mythcon 49, more details about this are below. We recommend staying at the Ritz, not only to be in the middle of things and avoid a long, late-night walk back from the hospitality suite, but also so the conference is credited with your room nights.

Guests can contact the Ritz-Carlton call center at 1-800-241-3333 and state that they are coming to The Ritz-Carlton, Atlanta (Downtown), for Mythcon July 2018 and provide the agent with their requested dates of stay; the agent will identify your group rate of $159.00.

Guests can also reserve online at - enter their desired dates of stay, enter the seven letter Group/Promotion code MCJMCJA and click find to complete the reservation process.

Thursday, October 26, 2017

Fantastic Area Sessions 2017

Sorry about the lack of formatting; Blogger doesn't make pasting from Word easy:

Fantastic (Fantasy, Horror, and Science Fiction) Areas Sessions 2017
(full conference program at

Session I: Friday, October 27, 1:00-2:30pm

PANEL 1 – CC 803 – The Fantastic: Horrors Past and Present
CHAIR: Amie Doughty, SUNY Oneonta

 “Horrifying Mythical Obstacles: Masculine Anxieties and Alternate Gazes in Robert Eggers’s The Witch (2015),” Dustin Fisher, University of Cincinnati

Dustin Fisher received an M.A. in Literature from Wright State University in 2014 where he completed and presented his master’s thesis, “Doppelgangers and Dualistic Femininity in Shirley Jackson’s The Haunting of Hill House.” In 2014 he also presented a paper at Newcastle University in Newcastle, UK, on Ian McEwan’s Atonement. He is currently pursuing a Ph.D. in contemporary Gothic fiction and film studies at the University of Cincinnati.

“Images of the Indigenous Monster in The Green Inferno (2013),” Erica Tortolani, University of Massachusetts Amherst

Erica Tortolani is currently enrolled at the University of Massachusetts Amherst, where she is pursuing a Ph.D. in Communication with a concentration in Film Studies.  Her past research explored the intersection of film theory with rhetorical studies, looking specifically at how the cinematic medium can transmit messages regarding gender, sexuality, and the female body through visual and narrative elements.  These interests culminated into her Masters thesis, entitled "Dual Images of the ‘Monstrous Feminine’ in Three Horror Films," a project that received the 2015 Graduate Research Excellence award at the University of Rhode Island.  Erica has also presented at the 2015 Graduate Conference at the URI, the 2016 Northeastern Modern Language Association Conference, and earned her publication in the Fall 2013 issue of the undergraduate journal, Film Matters.  Her research interests include general film theory and criticism, silent cinema, comedy and theories of humor, horror films, German Expressionist film, and feminist film theory.

“The Decomposing Youths and the Revival of the Zombies in Contemporary Korea,” Ha Rim Park, Seoul National University

After receiving her Master of Literature in 2016, Harim Park is doing a Ph.D in Comparative Literature at Seoul National University. She has published an article titled “The Origin of Catastrophe and Melancholy: A Korean Cultural Study on Zombie Narrative in the 2000s” in the journal of Korea Comparative Literature as the result of her master degree. Her areas of research include 1990-2000s Korean literature, genre fiction, movie, webtoon, and modernization, democratization after the Korean War. Harim is currently studying on disaster, apocalypse, Sci-fi narratives and non-human representations in contemporary East asian cultures, specifically Korea, Taiwan and Japan. 

“The Bunhill Apocalypse: Robert Aickman’s ‘Larger than Oneself’ (1966) as a Post-Christian Metaphor,” Steffen Silvis, University of Wisconsin-Madison

Steffen Silvis is a playwright, theatre critic, actor and director, who is currently finishing his Ph.D. in Interdisciplinary Theatre Studies at the University of Wisconsin, Madison. Among Silvis’ plays are Archetypes (1991; produced at The King’s Head, London), Liberty, Oregon (winner of the London International Playwrights Festival, 1993, produced by The Man-in-the-Moon Theatre, Chelsea, London, 1994, [nominated for best new work on the London Fringe]; The Traverse Theatre, Edinburgh, 1995, California State University, 2005,); The Kalama Orpheum (winner of the London International Playwrights Festival, 2001); Nothing, If Not Critical (co-winner of the London One-Act Festival, 2003, and produced in London and Portland, Oregon, 2004); and Phere[crates]: Scraps (produced in Madison, Wisconsin, 2013). Silvis was the theatre critic for Portland’s Willamette Week and The Prague Post in the Czech Republic. His writing has appeared in American Theatre Magazine, Time Out, Paperback Jukebox, and Black Lamb. Co-Founder of the Madison-based theatre company, In-House, Silvis has produced Manjula Padmanabhan’s Light’s Out, and directed the devised-environmental piece, Reunion. Silvis has also won an NEA/Annenberg Fellowship and an O’Neil Fellowship for his criticism.

Session II: Friday, October 27, 2:45-4:15pm

PANEL 8 – CC 803 – The Fantastic: Meeting Monsters
CHAIR: Michael A. Torregrossa, Independent Scholar

“‘Everything That Ought to Have Remained Hidden’: Sublimation and the Uncanny in Anya's Ghost (2011),” Shane Gomes, North Dakota State University

Shane is from Honolulu, Hawaii, and completed his BA at the University of Hawaii at Hilo, his MA at the University of Northern Colorado, and is currently pursuing his PhD in English at North Dakota State University. His primary research interests are graphic novels and pop/comic culture more broadly, especially minority representations therein.

“Murder, Reproduction, and Bad Women in Junji Ito’s Tomie,” Rahel Worku, University of Maryland

Rahel Worku was an undergrad English major at UMBC and is currently a Masters student at the University of Maryland studying Comparative Literature. Rahel is now in the second year of the program and once again teaching English 101. Rahel’s interests are in African American literature, speculative fiction, and comic books.

“A Trekkie’s Guide to the Zombie Apocalypse,” Cinzia DiGiulio, Merrimack College

Cinzia DiGiulio is an Associate Professor of Italian and Cultural Studies at Merrimack College in North Andover, Massachusetts.  Cinzia completed a Doctorate in Russian and English (languages and literatures) at the Catholic University of Milan, a Master’s degree in Comparative Literature and Classics at Purdue University, and then a Ph.D. in Romance Studies and Comparative Literature at the University of North Carolina-Chapel Hill. Most Cinzia’sstudies and research interests revolve around late 19th-century narrative (British, Russian, and Italian) -- particularly popular narrative -- and its intersections with contemporary popular culture.

“Scientists Become Monsters: The Strain’s Dr. Goodweather,” Kristine Larsen, Central Connecticut State University

Dr. Kristine Larsen is Professor of Astronomy at Central Connecticut State University, where her teaching and research focus on the intersections between science and society. She is the co-editor of The Mythological Dimensions of Doctor Who and The Mythological Dimensions of Neil Gaiman.

Session III: Friday, October 27, 4:30-6:00pm

PANEL 15 – CC 803 – The Fantastic: Re-envisioning the Heroic in Fantastic Fiction
CHAIR: Shane Gomes, North Dakota State University

“Happy Endings: Frankenstein’s Creature as a Romantic Lead,” Maggie Damken, Independent Scholar

Maggie Damken is a graduate of Sarah Lawrence College, where she studied literature and creative writing. She has presented previously at the Northeast Regional Honors Conference and Beacon Conference. A previous essay on Frankenstein was accepted for presentation by the Science Fiction Research Association.

“Decentering Monsterhood: Blurred Histories, Genres and Narrative Identities in John M. Ford’s Fantasy The Last Hot Time (2000),” Angela Gustafsson Whyland, Southern New Hampshire University [WITHDRAWN]

“Guinevere, the Warrior Queen of Camelot?: The Altered Fate of Guinevere in Recent Comics,” Michael A. Torregrossa, Independent Scholar
Independent scholar Michael A. Torregrossa is a graduate of the Medieval Studies program at the University of Connecticut (Storrs). His research interests include adaptation, Arthuriana, comics and comic art, medievalism, monsters, and wizards. Michael has presented papers on these topics at regional, national, and international conferences, as well as in published works. In addition, he is currently Fantastic (Fantasy, Science Fiction, and Horror) Area Chair for the Northeast Popular Culture/American Culture Association and organizes sessions, like this one, for their annual conference in the fall and maintains the area’s blogs.

Session IV: Saturday, October 28, 8:45-10:15am

PANEL 22 – CC 803 – The Fantastic: New Approaches to the Fantastic
CHAIR: Nova Seals, Salve Regina University

“The Princess Bride and Slavoj Žižek's Fantasy of the Real,” Heather Flyte, Kutztown University of Pennsylvania

Heather Flyte is a graduate student in English Literature at Kutztown University in Pennsylvania. She is working on her thesis investigating the dialogue of imperialism created during translation of non-western fairy tales in the Victorian era, with a specific focus on Japanese folk tales. In September 2014, she presented at the “Sensational Influences: Mary Elizabeth Braddon’s Literary Legacy” in London and recently was awarded the Emma Richards-Bausch Award in Literary Criticism from Kutztown University for her writing on H.G. Wells. She is a non-traditional student who has previously worked in journalism and web development and plans to pursue doctoral work in English Literature.

“Madness and Mixed-Bloods: Racial Metaphors in Seanan McGuire’s October Daye Series,” Amie Doughty, SUNY Oneonta

Amie Doughty is an associate professor of English as SUNY Oneonta, where she teaches course in linguistics, composition, and literature, including children’s literature, folklore, fantasy, and science fiction. She is the author of Folktales Retold: A Critical Overview of Stories Updated for Children and “Throw the book away”: Reading versus Experience in Children’s Fantasy, and is the editor of Children’s and Young Adult Literature and Culture: A Mosaic of Criticism.

“Heredity And The Hero: The Role of Heredity in Shaping Popular Heroes and Why It Matters,” Cheryl Hunter, University of Massachusetts Lowell

Cheryl Hunter is an adjunct professor of English and the Humanities at UMASS Lowell and Southern New Hampshire University. She attended the University of New Hampshire where she received a Master of Arts degree in Liberal Studies with a concentration in Philosophy and Literature. She was a National Endowment for the Humanities Fellow at a week-long workshop on Henry David Thoreau. Her book, Myths and Archetypes in The Lord of the Rings and Harry Potter, looks at the roles of Philosophy and Mythology in modern literature and what important lessons about the human condition are conveyed to the audience through the hero and journey archetypes. She is a writer and artist, and she loves to travel.

Session V: Saturday, October 28, 10:30am-noon

PANEL 29 – CC 803 – The Fantastic: Re-Thinking the Monstrous
CHAIR: Heather Flyte, Kutztown University of Pennsylvania

“‘If You're So Hungry, Why Don’t You Get a Job?’: Patrick Bateman as Neoliberal Monster and Hero in American Psycho,” Caitlin Duffy, Stony Brook University

Caitlin Duffy is a doctoral student in the English Department at Stony Brook University. Her scholarly interests include horror films and 19th century American Gothic literature. Her work will be published in the 2017 issue of The Journal of Dracula Studies and in an upcoming volume on 1980’s horror films.

“Tackling the Femme: The Psycho-Biddy Genre,” James Patrick Carraghan, Kutztown University

James Patrick Carraghan is a graduate student, writing tutor, and research assistant at Kutztown University. He is currently writing a thesis on the intersection of Harlem Renaissance scholarship and Queer Theory. His work has been published in On the Road, Glimmer on the Bookshelf, and 5x5. He is currently a contributing writer at Terse Journal and Vada Magazine (UK).

“The Aesthetics of Abjection in Anna Dressed in Blood (2011),” Nova Seals, Salve Regina University

Nova Seals is a Ph.D. candidate in humanities at Salve Regina University in Newport, Rhode Island. Nova is also the Director of Library Services and Archives and teaches philosophy courses at St. George’s School, an independent preparatory school in Middletown, Rhode Island. Her academic interests are the intersection of philosophy and technology, as well as art and aesthetics. Nova is particularly interested in how groups use technology, especially social media, to transform knowledge.

“The Brides of Dracula Tell All: Dracula as Romantic Protagonist in Recent Neo-Victorian Fiction,” Terry Riley, Bloomsburg University

Terry Riley teaches in the English Department at Bloomsburg University.  He teaches 19th and 20th century British Literature; his research interests are in 19th century science and neo-Victorian fiction.

Session VI: Saturday, October 28, 1:30-3pm

PANEL 36 – CC 803 – The Fantastic: Mary Shelley’s Frankenstein: 199 Years Old and Still Going Strong
CHAIR: Kristine Larsen, Central Connecticut State University

“Frankenstein and the Real: A Psychoanalytic Look at Power and the Unconscious,” Emilie Lewis, Simmons College

Emilie Lewis is currently an M.A. candidate in Gender/Cultural Studies at Simmons College in Boston. She holds a bachelor’s degree in English-Creative Writing from Goucher College and is a member of Phi Beta Kappa.

“Coexistence of Gender Binaries: Bisexualism in Frankenstein,” Christopher Maye, California State University, Long Beach

Christopher Maye graduated from California State University, Long Beach with a Bachelor's in English Literature and a minor in music in 2015. His research interest includes Critical Theory, Gender Studies, Political, and Ethnic Literature, but he primarily focuses on literature within the 18th Century English and 20th Century American periods. While he is currently pursuing a Master of Arts in English at CSULB, he works as a substitute teacher in the Los Angeles Charter School system, and is one of the managing editors for CSULB’s graduate academic journal Watermark.

“Modern Prometheus Bound,” Dennin Ellis, Independent Scholar

Dennin Ellis grew up in upstate New York and was raised by a consortium of stubborn women, a trait they passed to him. He learned how to read from X-Men comics and how to talk (and sing) from Beatles records. Throughout his childhood he vacillated between his dual passions for music and writing before settling on the former, receiving his Bachelor’s in Music from the College of Saint Rose. He then immediately went back to vacillating, achieving his Master’s in English from the State University of Albany. His graduate thesis, Colossus, concerned the place of humanity and the individual in the face of technological encroachment, brought to life through the melding of historical fiction, journalism and the epistolary novel. More recent projects include a collection of speculative fiction and research papers on topics as diverse as Edgar Allan Poe and Pink Floyd. He currently lives with his girlfriend in Ulsan, Korea, where he teaches English.

Session VII: Saturday, October 28, 3:15-4:45pm

PANEL 43 – CC 803 – The Fantastic: New England Horrors
CHAIR: Amie Doughty, SUNY Oneonta

“Body Horror in Lovecraft Fiction and Film,” Shastri Akella, University of Massachusetts Amherst

Shastri Akella earned an MFA in Creative Writing before joining the Comparative Literature PhD in 2014. He lived all over India, Dublin, and San Francisco, before moving the valley. He previously worked for a street theater troupe and for Google. His fiction and essays have been published or is forthcoming in Guernica, Electric Literature, The Common, The Rumpus, and Hypothetical Review, among other places. He has taught at the university for 5 years and was one of two teaching associates to win the campus-wide Distinguished Teaching Award for the academic year 2015-2016. His dissertation topic is a comparison of the perception of children in horror films and the perception of refugees. His other interests include film and translation, and he is working to get certified in both areas.

“The Dead Past in New England Vernacular Poetry,” N. C. Christopher Couch, University of Massachusetts Amherst

N. C. Christopher Couch holds a Ph.D. in art history from Columbia University, and is the author of numerous books and articles on comic art, graphic novels, and Latin American art. His most recent book, Jerry Robinson: Ambassador of Comics (Abrams 2010), on the artist and humanitarian famed for his Expressionist Batman and creation of the Joker, was a Harvey Award finalist and was featured in a New York Times profile of Robinson. As senior editor at Kitchen Sink Press, he worked with Will Eisner, about whom he has published two co-authored volumes, including The Will Eisner Companion (2005, with Stephen Weiner). He has held fellowships at the Institute for Advanced Study, Dumbarton Oaks of Harvard University, and the Newberry Library among others. He teaches at the University of Massachusetts Amherst, Trinity College in Hartford, and in the Care Center Clemente Program, Holyoke, MA, and has curated exhibitions at the American Museum of Natural History and other art and science museums.

“Tilting at Vampires,” Katie Gagnon, Independent Scholar

Katie Gagnon has a Master of Arts in American Studies from Trinity College.

Sunday, October 1, 2017

Fantastic Area Sessions 2018

I am pleased to announce the schedule for the area's tenth-anniversary sessions. My thanks to the program chair, Marty Norden, for his help in organizing.

The complete conference schedule and registration information can be accessed at

Session I: Friday, October 27, 1:00-2:30pm

PANEL 1 – CC 803 – The Fantastic: Horrors Past and Present
CHAIR: Amie Doughty, SUNY Oneonta
“Horrifying Mythical Obstacles: Masculine Anxieties and Alternate Gazes in Robert Eggers’s The Witch (2015),” Dustin Fisher, University of Cincinnati
“Images of the Indigenous Monster in The Green Inferno (2013),” Erica Tortolani, University of Massachusetts Amherst
“The Decomposing Youths and the Revival of the Zombies in Contemporary Korea,” Ha Rim Park, Seoul National University
“The Bunhill Apocalypse: Robert Aickman’s ‘Larger than Oneself’ (1966) as a Post-Christian Metaphor,” Steffen Silvis, University of Wisconsin-Madison

Session II: Friday, October 27, 2:45-4:15pm

PANEL 8 – CC 803 – The Fantastic: Meeting Monsters
CHAIR: Michael A. Torregrossa, Independent Scholar
“‘Everything That Ought to Have Remained Hidden’: Sublimation and the Uncanny in Anya's Ghost (2011),” Shane Gomes, North Dakota State University
“Murder, Reproduction, and Bad Women in Junji Ito’s Tomie,” Rahel Worku, University of Maryland
“A Trekkie’s Guide to the Zombie Apocalypse,” Cinzia DiGiulio, Merrimack College
“Scientists Become Monsters: The Strain’s Dr. Goodweather,” Kristine Larsen, Central Connecticut State University

Session III: Friday, October 27, 4:30-6:00pm

PANEL 15 – CC 803 – The Fantastic: New Approaches to the Heroic in Fantastic Fiction
CHAIR: Shane Gomes, North Dakota State University
“Happy Endings: Frankenstein’s Creature as a Romantic Lead,” Maggie Damken, Independent Scholar
“Decentering Monsterhood: Blurred Histories, Genres and Narrative Identities in John M. Ford’s Fantasy The Last Hot Time (2000),” Angela Gustafsson Whyland, Southern New Hampshire University
“Guinevere, the Warrior Queen of Camelot?: The Altered Fate of Guinevere in Recent Comics,” Michael A. Torregrossa, Independent Scholar

Session IV: Saturday, October 28, 8:45-10:15am

PANEL 22 – CC 803 – The Fantastic: New Approaches to the Fantastic
CHAIR: Nova Seals, Salve Regina University
“The Princess Bride and Slavoj Žižek's Fantasy of the Real,” Heather Flyte, Kutztown University of Pennsylvania
“Madness and Mixed-Bloods: Racial Metaphors in Seanan McGuire’s October Daye Series,” Amie Doughty, SUNY Oneonta
“Heredity And The Hero: The Role of Heredity in Shaping Popular Heroes and Why It Matters,” Cheryl Hunter, University of Massachusetts Lowell

Session V: Saturday, October 28, 10:30am-noon

PANEL 29 – CC 803 – The Fantastic: Re-Thinking the Monstrous
CHAIR: Heather Flyte, Kutztown University of Pennsylvania
“‘If You're So Hungry, Why Don’t You Get a Job?’: Patrick Bateman as Neoliberal Monster and Hero in American Psycho,” Caitlin Duffy, Stony Brook University
“Tackling the Femme: The Psycho-Biddy Genre,” James Patrick Carraghan, Kutztown University
“The Aesthetics of Abjection in Anna Dressed in Blood (2011),” Nova Seals, Salve Regina University
“The Brides of Dracula Tell All: Dracula as Romantic Protagonist in Recent Neo-Victorian Fiction,” Terry Riley, Bloomsburg University

Session VI: Saturday, October 28, 1:30-3pm

PANEL 36 – CC 803 – The Fantastic: Mary Shelley’s Frankenstein: 199 Years Old and Still Going Strong
CHAIR: Kristine Larsen, Central Connecticut State University
“Frankenstein and the Real: A Psychoanalytic Look at Power and the Unconscious,” Emilie Lewis, Simmons College
“Coexistence of Gender Binaries: Bisexualism in Frankenstein,” Christopher Maye, California State University, Long Beach
“Modern Prometheus Bound,” Dennin Ellis, Independent Scholar

Session VII: Saturday, October 28, 3:15-4:45pm

PANEL 43 – CC 803 – The Fantastic: New England Horrors
CHAIR: Cheryl Hunter, University of Massachusetts Lowell
“Body Horror in Lovecraft Fiction and Film,” Shastri Akella, University of Massachusetts Amherst
“The Dead Past in New England Vernacular Poetry,” N. C. Christopher Couch, University of Massachusetts Amherst
“Tilting at Vampires,” Katie Gagnon, Independent Scholar

Wednesday, September 27, 2017

CFP Essays on Gone with the Wind (Spec Issue of The Southern Quarterly) (12/1/2017)

Of potential interest:

Call for papers: Gone with the Wind
Discussion published by Diane DeCesare Ross on Saturday, September 23, 2017
Reposted this from H-Announce. The byline reflects the original authorship.

Type: Call for Papers
Date: December 1, 2017

Call for papers: Gone with the Wind. Submission deadline: December 1, 2017.

The Southern Quarterly invites submissions for a special issue that explore this iconic film: responses to the film from reviewers and famous writers in non-English speaking countries; the film and World War II; the ways the film has been reinterpreted in other media; recasting gender/racial roles; etc. Submit manuscripts online at, where guidelines and the full call for papers can also be found. The Southern Quarterly is an internationally-known scholarly journal devoted to the interdisciplinary study of Southern arts and culture, including the Caribbean and Latin America.

Contact Email:

Thursday, September 21, 2017

CFP Celebrating H.G. Wells: Teaching His Literature in the 21st Century (9/29/2017; NeMLA 4/12-15/2018)

Sorry to have missed this:

Celebrating H.G. Wells: Teaching His Literature in the 21st Century

Roundtable at the 2018 Annual Northeast Modern Language Association Convention

Pittsburgh, PA
April 12-15, 2018

For 152 years, H.G. Wells has been part of our literary cannon in science fiction, criticism and utopian projections. Fiction writers have the latitude to focus on current issues of their time, often in the guise of fictional places and/or unusual characters. H.G. Wells did exactly that in his science fiction as well as his fiction stories. Wells’ vision of an “open conspiracy of intellectuals and willful people” to build Cosmopolis occurs regularly in most of his fiction, and appears prominently in his major prophetic writings before 1914: in Anticipations, in A Modern Utopia, and elsewhere (W. Warren Wagar 40-42). The focus of this roundtable is to discuss the techniques H.G. Wells utilized, to discuss the interface between Wells’ literature and film adaptations, to assess the possible implications as seen in his literature as well as in the film adaptations, and to share pedagogical skills employed to reveal the genius of Wells.

The NeMLA site to submit your proposal is:

Please include your name, position, e-mail address and the title of your proposed submission. If you are an independent scholar, please indicate that information. The deadline to submit an abstract is September 29, 2017.

CFP Serials, Cycles, Suspensions Conference (10/15/2017; INCS 3/1-4/2018)

Of potential interest:

"Serials, Cycles, Suspensions"
Interdisciplinary Nineteenth-Century Studies Conference

Hotel Whitcomb, San Francisco, CA
March 1-4, 2018

Host Institution: San Francisco State University

The nineteenth century was shaped by serial forms of organization, production, and communication. By the nineteenth century the idea of the "series" had moved from the discipline of mathematics into the culture at large, as theories of temporal and spatial connection became dominant organizing principles for systems of knowledge developed in laboratories, libraries, and museums. Implied within seriality is both the continuity of cycles and the discontinuity of suspensions. INCS 2018 invites proposals for papers having to do with any aspect of nineteenth-century seriality, including, but not limited to:

SERIAL CULTURE (PRINT, LITERARY, VISUAL ARTS, THEATER, ENTERTAINMENTS): serial narrative, serial poetry, serial readers, periodicals, newspapers, magazines, the penny press, sequels, chapters, spino­ffs, adaptations, serial photography, moving pictures, panoramas, song cycles, operatic cycles, sonnet cycles, musical canon, fugues, story cycles, genres, Bildungsroman, science fiction, steampunk, vampires, mysteries, cartoons, animations, echoes, allusions, narrative suspense, middles, cli­ffhangers, narrative immersion and world-building, suspension of disbelief, serial rhetorical forms (prolepsis, procatalepsis, hypophora, paradox), repetitions, rhyming, meter, caesura, variations, reinventions

SERIAL TIME: calendars, clock faces, seasons, standardized time, empty homogeneous time, typological time, historical materialism, the dialectic, diurnal time, the working day, the liturgical year, academic terms, courts of assize, revolutions, resurrections, reincarnation, evolutionary cycles, suspended revolutions (1848), fashion cycles, interruptions, stutters, prophesy, psychological and social developments (childhood, adolescence, adulthood), life cycles, hormonal cycles, addictions, apocalypse, inheritance, trauma and repetition compulsion, recurring dreams, causality dilemmas

SERIAL INVENTIONS AND TECHNOLOGIES: suspension bridges, train tracks, serial numbers, circuit boards, the arithmometer, diff­erence and analytical engines, automata, escalators, fax machines, Braille, mechanization, manufactories, power looms, punch cards, evolution, dialectical materialism, circulatory systems, catalogues, optical illusions, stereoscopy and stereoscopes, phenakistoscopes, zoetropes, cameras, panoramic photography, the Cinématographe, the Kinetoscope, the Mutoscope, celluloid, bicycles, carousels, Ferris wheels, suspenders, crinolines, hot air balloons, panoptic structures, treadmills, piano rolls, gramophones, rotary presses, stereotypes

Please submit individual papers (250-word proposals) or panels (a single document including a 250-word panel description accompanied by 250-word abstracts and one-page participant CVs) to the SFSU submission portal at by October 15, 2017. You will be prompted to post a one-page CV with your name, affiliation, and email address (for panels this information should correspond to the organizer). Proposals that are interdisciplinary in method or panels that involve multiple disciplines are especially welcome. For questions please contact conference organizer Sara Hackenberg at For more information, please visit the INCS website:

Friday, September 8, 2017

CFP Alternate Earths (Themed Issue of Territory) (due date not provided)

Of possible interest; (with apologies to the organizers) it seems very vague to me:

CfP: Territory, Issue VII – Alternate Earths

Posted on September 5, 2017

Territory, Issue VII – Alternate Earths

Maps of the earth might be the most ubiquitous and recognizable type of map, but they also might be the most misleading and the most contested. There is the technical matter of projecting the planet, a three-dimensional object, onto the representational space of a two-dimensional plane, but at a more foundational level, we wonder: what is Earth?

Even the simplest answers aren’t so simple. The earth is round, but has been argued—often elaborately and compellingly—to be flat, hollow, expanding, eternal, illusory, embedded in platonic solids, resting on the back of a turtle that’s resting on the back of a larger turtle, and so on. The earth has seven continents and five oceans, but these are constantly shifting. The earth’s seven continents were once one, but this too is an argument, a narrative constructed from fossil records and glacial deposits. Many argue the earth is headed for destruction while others deny this claim. Many argue the earth is 4.5 billion years while others, less than 10,000.

Earth as planet, resource, globe, home, miracle, stage, habitat, mother, matter, worry, birthplace, and resting place. The earth is the ground beneath our feet, but it is anything but sure. There is always the possibility of an alternate earth, one that inverts, flattens, or otherwise undoes this sense of groundedness and centrality. The question is not whether alternate earths exist, but which you choose to inhabit.

Here are a few we find especially intriguing: Agartha & the hollow earth, Another Earth (2011), Antiterra, Atlantis, Aztlán, alternate histories, bhavacakra, The Books of Genesis & Revelations, brane cosmology, cli-fi, Cosmographia, creation myths, deep time, disaster films, The Drowned World, East of West, ecopoetics, ecumenopoles, eras & epochs, eschatons, the expanding earth, fictional universes, the flat earth & its societies, flood myths, geocentrism, The Global Village, heat death, heliocentrism, Hyperborea, hyperobjects, landfill, the last glacial maximum, Lemuria, ley lines, mappa mundi, Mother Earth / Gaia, Mu, the multiverse, Panthalassa, parallel universes, Pax Germanica, post-apocalyptic fiction, Saṃsāra, sea-level rise, The Southern Reach Trilogy, spirit worlds, supercontinents, T-O maps, terraforming, tidal islands, Waterworld (1995), the world tree, Yggdrasil, The Yiddish Policeman’s Union.

Issue VII will be published February 2018. To learn how to contribute, read our submissions guidelines.

Sunday, September 3, 2017

Frankenstein at PCA

The Fantastic (Fantasy, Horror, and Science Fiction) Area is organizing a session on the Frankenstein story in children's and young adult culture for the 2018 meeting of the Popular Culture Association. Details at

Monday, August 14, 2017

New Book--Gothic Landscapes: Changing Eras, Changing Cultures, Changing Anxieties

A new book from members of the area:

Gothic Landscapes: Changing Eras, Changing Cultures, Changing Anxieties
Editors: Yang, Sharon Rose, Healey, Kathleen (Eds.)

Hardcover $99.99
price for USA
ISBN 978-3-319-33164-5

eBook $79.99
price for USA (gross)
ISBN 978-3-319-33165-2
Digitally watermarked, DRM-free
Included format: PDF, EPUB
ebooks can be used on all reading devices

About this book:

  • Looks at the role of landscapes in Gothic Fiction - an under-examined area
  • Broad historical sweep, from 18th century to 20th century
  • Examines other media including film

This book is about the ways that Gothic literature has been transformed since the 18th century across cultures and across genres. In a series of essays written by scholars in the field, the book focuses on landscape in the Gothic and the ways landscape both reflects and reveals the dark elements of culture and humanity. It goes beyond traditional approaches to the Gothic by pushing the limits of the definition of the genre. From landscape painting to movies and video games, from memoir to fiction, and from works of different cultural origins and perspectives, this volume traverses the geography of the Gothic revealing the anxieties that still haunt humanity into the twenty-first century.

Table of contents (13 chapters)

Introduction: Haunted Landscapes and Fearful Spaces—Expanding Views on the Geography of the Gothic
Yang, Sharon Rose (et al.) / Pages 1-18

Dark Shadows in the Promised Land: Landscapes of Terror and the Visual Arts in Charles Brockden Brown’s Edgar Huntly
Healey, Kathleen / Pages 21-46

Haunting Landscapes in “Female Gothic” Thriller Films: From Alfred Hitchcock to Orson Welles
Biesen, Sheri Chinen / Pages 47-69

“Beauty Sleeping in the Lap of Horror”: Landscape Aesthetics and Gothic Pleasures, from The Castle of Otranto to Video Games
Davenport, Alice / Pages 71-103

What the Green Grass Hides: Denial and Deception in Suburban Detroit
Vayo, Amber B. / Pages 107-124

“Go Steady, Undine!”: The Horror of Ambition in Edith Wharton’s The Custom of the Country
Drizou, Myrto / Pages 125-145

The Convent as Coven: Gothic Implications of Women-Centered Illness and Healing Narratives in Toni Morrison’s Paradise
Waller-Peterson, Belinda M. / Pages 147-168

Haunting Memories: Gothic and Memoir
Moore, Erica / Pages 169-198

The Indian Gothic
Pai, Nalini / Pages 201-223

St. Bernard’s: Terrors of the Light in the Gothic Hospital
Rieger, Christy / Pages 225-238

Nature Selects the Horla: How the Concept of Natural Selection Influences Guy de Maupassant’s Horror Tale
Yang, Sharon Rose / Pages 239-269

Ruins of Empire: Refashioning the Gothic in J. G. Ballard’s Empire of the Sun (1984)
Watson, Alex / Pages 271-291

Gothic Landscapes in Mary Butts’s Ashe of Rings
Foy, Roslyn Reso / Pages 293-305

About the editors:

Sharon Rose Yang is Professor of English at Worcester State University, USA. She both teaches and writes on the Gothic and nineteenth-century literature. She has published in nineteenth-century literature and is the author of Goddesses, Mages, and Wise Women: The Female Pastoral Guide in Sixteenth-and Seventeenth-Century English Drama.

Kathleen Healey is Visiting Assistant Professor of English at Worcester State University, USA. Her research includes literature and the visual arts, Gothic Literature, and American Literature.

CFP Not Just Kidding Around: On Teaching Children’s Media (8/18/2017; SCMS 2018)

Of potential interest, but do note the impending deadline:

Not Just Kidding Around: On Teaching Children’s Media (SCMS 2018)

deadline for submissions: August 18, 2017

full name / name of organization: Andrew Scahill / University of Colorado Denver

contact email:

**CFP for the Society of Cinema and Media Studies (SCMS) 2018 Conference in Toronto**

In an academic setting, weighty or dramatic “adult” films are generally met with intellectual curiosity by students, or at least an acknowledgement that they are “worthy” of consideration. Genre films like horror or action are met with more resistance, but generally students are willing to admit they have some sort of ideological investments. Films aimed at children, however, are often dismissed as just entertainment. Surely we may analyze Bicycle Thieves, but Home Alone? Yes to Goodfellas, no to Goonies.

The assumption is often that younger audience equates to a simpler text. In teaching children’s media, professors also must deal with the legacy of media effects research, which often leads to knee-jerk and oversimplified assumptions (“Disney princesses are bad!”) and the construction of a completely passive child spectator. Rarely, too, do we discuss how children’s media is designed with a bilateral address to both children and adults, often serving as a meditation on what it means to be a parent as much as what it means to be a child. As a “low” or unworthy genre, professors may also have to deal with an administration unable to see the value in teaching a course on kids’ films.

Pedagogy is a neglected subject in media studies, and this workshop promises a positive, collaborative, and supportive atmosphere. This will be a “best practices”-style workshop, and our facilitators will bring teaching materials to distribute among attendees, including model syllabi, assignment prompts, and discussion prompts. Each facilitator will be asked to prepare a short testimony about a challenge they experienced teaching children’s media, and what steps they took to overcome it. This comes at an important time for our 2018 conference, as the “Children’s and Youth Media and Culture” scholarly interest group is merely a year old, and this workshop would aid in our community-building and recruitment efforts.

To express interest, please contact Andrew Scahill (University of Colorado Denver) at by August 18 and explain how you would be able to contribute to this workshop.

keywords: pedagogy workshop children media animation film cinema kids academia

Last updated August 7, 2017 

Sunday, August 6, 2017

CFP Women in Genres of the Fantastic and Transmedia Entertainment (9/1/2017)

Women in Genres of the Fantastic and Transmedia Entertainment

deadline for submissions:
September 1, 2017

full name / name of organization:
Amanda Howell/Griffith University

contact email:

Call for Papers: Women in Genres of the Fantastic and Transmedia Entertainment

The particular concern of this edited collection is to discover how transmedia world-building in genres of the fantastic might open spaces of possibility, especially for women—a group historically under-represented as media producers, also often overlooked or devalued as audience-members and consumers. To this end, we seek proposals for book chapters utilising a range of methodological approaches to investigate female characters in transmedia universes belonging to genres of the fantastic, also to address the various creative contributions of women who produce and consume fantastic fictions in a converged/cross-platform/transmedia environment.

Please submit your 250 word abstract for consideration by 1 September 2017 to Amanda Howell, along with a brief bio. The editors will contact you concerning the status of your proposal no later than 31 October 2017. Completed chapters of no more than 6,000 words should consist substantially of new material and original research; draft chapters will be submitted to an editorial and peer review process in 2018, the timetable for which to be advised. This collection is not yet under contract. Its development is funded, in part, by a collaboration grant from Griffith University (Queensland, Australia) and Southern Denmark University (Odense). Editors: Stephanie Green (GU), Amanda Howell (GU), and Rikke Schubart (SDU).


Women figure in somewhat ambiguous and problematic ways in today’s entertainment media environment, being at once highly visible yet often also numerically under-represented both on screen and in production sectors, especially in the context of big budget Hollywood film and globally-dominant US television. Nevertheless, since the turn of this millennium, genres of the fantastic – including horror, fantasy, the fairy tale, sci-fi, and the superhero franchise –are noteworthy for their focus on and redevelopment of female heroes. Characters like Jessica Jones, Ms Marvel (Kamala Khan), Wonder Woman and Super Girl from universes of Marvel and DC comics are particularly interesting examples of the shifting shape of female heroism, their story-worlds spreading across film, television, comics and games. Premium cable/post-broadcast/non-network television series such as The Walking Dead (AMC 2010–), Game of Thrones (HBO 2011–), The 100, (CW 2014–), Penny Dreadful (Showtime 2014-16), and Stranger Things (Netflix 2016–) also use their fantastic and speculative premises to innovate new forms of female heroism as part of their appeal to multiple niche audiences. While, in children’s media, efforts to engage a previously underrepresented girl audience include offerings such as Mattel's television/online media franchise/ doll line Monster High (2010-present) which remakes and regenders classic Universal and other traditional monsters for 7-12 year olds. High budget Hollywood film remains dominated by male directors, but Wonder Woman (Patty Jenkins 2017) has become the highest grossing film directed by a woman. Female showrunners, directors, and scriptwriters are increasingly visible and important to recent developments in television, while a number of high-profile films and television series are based on books written by women. Female audiences have responded in turn by creating vibrant communities around fantastic entertainments, numerous fan and paratextual productions further expanding imaginary worlds, while breaking down boundaries between producers and consumers.


The editors of this collection are interested in investigating how a converged and rapidly-changing media environment might offer new sites and means and opportunities for women to tell stories. And what opportunities might be offered especially by genres of the fantastic, which have in common ‘as-if’ imagining, a cognitive meta-thinking unique to humans, said to generate ‘self-awareness and self-reflexivity’ (Bould 2002: 81), leading to ‘transformation and reflection’ (Feldt 2012: 1). A central aim of this collection is to explore the hypothesis that the fantastic, because it lends itself to imaginative acts and creativity, may as a consequence open spaces of possibility for female producers and audiences. Similarly, we wish to explore what possibilities might become available within the transmedia environment where, at the same time that multi-national media conglomerates may dominate, multiple points of entry are possible into the imagined universes of the fantastic, with as a consequence multiple opportunities to create and consume its fictions.

Specific topics of interest for this collection include but are not limited to
  • women’s representations and roles within a contemporary fantastic transmedia environment (film, television, computer and board games, comics and novelisations, internet-based and other fan activities), with a special focus on how these might challenge gender stereotypes and/or re-author familiar gender scripts, including the renegotiation of gender in relation to race, class, sexual preference;
  • the opportunities or particular challenges transmedia fictions in genres of the fantastic might offer female producers (directors, producers, designers, writers) of media content;
  • the significance of fantasy genres in transmedia entertainment—and a converged media environment more generally—especially for the sometimes ignored and historically de-valued female audience;
  • the power dynamics of transmedia entertainment, as exemplified by the fantasy genre, including conflict and congruency between old and new media, big and small scale productions, global and local productions;
  • the way transmedia fictions might work with, play with, adapt, recruit, or transform fantasy texts and tropes of the past to remake narrative possibilities in the present;
  • those different modes of authorship and audience engagement produced by transmedia entertainment, those new or altered relationships between authors and producers, readers and audiences for narrative entertainments, especially in genres of the fantastic.

Last updated August 4, 2017

CFP Blade Runner International Session (9/21/2017; ACLA 2018)

CFP: ACLA 2018 Seminar, "Blade Runner International"
Announcement published by Antonio Cordoba on Friday, July 21, 2017

Type: Call for Papers
Location: United States

CFP: Seminar "Blade Runner International." Annual convention of the American Comparative Literature Association (ACLA), Los Angeles, March 29-April 1, 2018.

Thirty-five years ago, Ridley Scott’s film Blade Runner (1982) brought Philip K. Dick’s novel Do Androids Dream of Electric Sheep (1968) to the big screen and in the process introduced a groundbreaking visual language for science fiction film in its creation of a dystopian future Los Angeles. As ACLA prepares to convene in Los Angeles, just one year shy of the setting of Scott’s film, this seminar is interested in exploring Blade Runner’s influence on cultural production around the globe.
  • To what extent has the film’s “retro-fitted” aesthetic shaped the visual language of the international iterations of science fiction sub-genres such as cyberpunk and steampunk? 
  • How has its representation of human and robot relations intervened in subsequent explorations of – and scholarship about – the post-human? 
  • What connections might we draw between Blade Runner’s portrayal of the future and more recent representations of dystopian futures and/or urban spaces? 
  • How have re-workings of some of Blade Runner’s tropes in literature and film from Latin America, Asia, Africa, and non-Anglophone Europe in turn reshaped our current understanding of the original film? 
We welcome papers from diverse historical, ethno-national, and social contexts that examine and/or engage with a range of media (film, literature, animé, video-games, etc.).

We invite you to contact us or to submit an abstract to the ACLA website by September 21.
Contact Info:

Emily Maguire (Northwestern University),, and Antonio Cordoba (Manhattan College),
Contact Email: