http://call-for-papers.sas.upenn.edu/node/41890
Steaming into a Victorian Future: A Steampunk Anthology
full name / name of organization: Ken Dvorak, PhD
contact email: krdvorak@nnmc.edu
We are seeking contributors for a collection of critical essays on Steampunk. Steampunk remains an elusive topic even among its admirers and practitioners, but at its heart, it re-imagines the Victorian age in the future, and re-works its technology, fashion, and values with a dose of anti-modernism. From sci-fi and fantasy to websites catering to a Steampunk lifestyle, this multi-faceted genre demands greater scholarly analysis.
The editors of this anthology seek contributions in the following suggested subject areas:
Steampunk Film
Steampunk Literature
Steampunk History
Steampunk Fashion
Steampunk Technology
Steampunk Fandom/fan culture
Steampunk Art & Design
Steampunk as Culture/Lifestyle Gender
and
Steampunk Critiques of existing analyses of Steampunk
Submission Guidelines: Send a 1000 word abstract in Microsoft Word by email attachment on or before August 15, 2011; include a brief biography or vita. International submissions are welcomed and encouraged.
Abstracts chosen for inclusion in the anthology will be considered “conditional acceptances” – the editors will secure the submission in the volume, but the editors reserve the right to reject any full essay that does not meet the standards (of style/content, etc) agreed to between the editors and authors. Endnotes are mandatory; illustrations are encouraged and must be secured (along with permissions) by the author and submitted with the final draft.
Editors:
Dr. Julie Anne Taddeo
History Dept., University of Maryland
Email: Taddeo@mail.umd.edu
Dr. Cynthia Miller
Institute for Liberal Arts, Emerson College
cynthia_miller@emerson.edu
Dr. Ken Dvorak
Distance Education, Northern New Mexico College
Email: krdvorak@nnmc.edu
Monday, July 18, 2011
CFP The Undead (NeMLA) (9/30/11)
http://call-for-papers.sas.upenn.edu/node/41506
The Undead (deadline 9/30/2011)
full name / name of organization: Northeast Modern Language Association
contact email: lindsay.bryde@gmail.com
This seminar seeks papers with strong analytical theses that offer readings of the undead phenomenon in literature and/or pop culture. Proposals may theorize the undead, offer close readings of individual undead texts, contemporary or not, but should keep in mind the big picture question: why is this material resonating so strongly with contemporary audiences (American or otherwise)? How do we, in other words, make sense of our love of the undead? Send 300-500 word abstracts and a brief biography to Lindsay Bryde at lindsay.bryde@gmail.com.
The Undead (deadline 9/30/2011)
full name / name of organization: Northeast Modern Language Association
contact email: lindsay.bryde@gmail.com
This seminar seeks papers with strong analytical theses that offer readings of the undead phenomenon in literature and/or pop culture. Proposals may theorize the undead, offer close readings of individual undead texts, contemporary or not, but should keep in mind the big picture question: why is this material resonating so strongly with contemporary audiences (American or otherwise)? How do we, in other words, make sense of our love of the undead? Send 300-500 word abstracts and a brief biography to Lindsay Bryde at lindsay.bryde@gmail.com.
CFP Apocalyptic Projections in Sci-Fi and/or Fantasy Literature (NeMLA) (9/30/11)
http://call-for-papers.sas.upenn.edu/node/41823
NeMLA March 15-18, 2012, Rochester, NY: Apocalyptic Projections in Sci-Fi and/or Fantasy Literature for 2012 and Beyond
full name / name of organization: Annette M. Magid/ Northeast Modern Language Association
contact email: a_magid@yahoo.com
This panel provides an opportunity to explore the ramifications of the 2012 doomsday prophesiers on cultural behavior as witnessed within the genre of science fiction literature and cinema. The term apocalyptic may include any means of total or near-total destruction, whether it is caused by humans, aliens or Nature. Papers analyzing the role apocalyptic sci-fi and/or fantasy have played and continue to play in literature, cinema, theater and other aspects of culture will be the main emphasis of this panel. Focus can be on apocalyptic visual arts and cinema, but written literature is also appropriate.
Please send e-mail abstracts of 200-250 words in MS Word .doc or .docx.
Deadline: September 30, 2011
Please include with your abstract:
Name and Affiliation
E-mail address
Postal address
Telephone number
A/V requirements (if any; $10 handling fee with registration)
NeMLA March 15-18, 2012, Rochester, NY: Apocalyptic Projections in Sci-Fi and/or Fantasy Literature for 2012 and Beyond
full name / name of organization: Annette M. Magid/ Northeast Modern Language Association
contact email: a_magid@yahoo.com
This panel provides an opportunity to explore the ramifications of the 2012 doomsday prophesiers on cultural behavior as witnessed within the genre of science fiction literature and cinema. The term apocalyptic may include any means of total or near-total destruction, whether it is caused by humans, aliens or Nature. Papers analyzing the role apocalyptic sci-fi and/or fantasy have played and continue to play in literature, cinema, theater and other aspects of culture will be the main emphasis of this panel. Focus can be on apocalyptic visual arts and cinema, but written literature is also appropriate.
Please send e-mail abstracts of 200-250 words in MS Word .doc or .docx.
Deadline: September 30, 2011
Please include with your abstract:
Name and Affiliation
E-mail address
Postal address
Telephone number
A/V requirements (if any; $10 handling fee with registration)
CFP Issues in Contemporary Geek Media (7/15/11)
http://call-for-papers.sas.upenn.edu/node/41899
Issues in Contemporary Geek Media - SCMS March 21-25, 2012
full name / name of organization: Society for Cinema and Media Studies
contact email: csoles@brockport.edu
Over the past decade, geeks -- both real and fictional -- have risen to a position of centrality and immense cultural power within the pop-cultural mediascape. This panel will explore the cultural and industrial issues raised by the rise of the geek as an onscreen and offscreen presence in contemporary media. Topics may include (but are not limited to) the rise of the superhero comic-book blockbuster, geeks in "independent" and alternative media, video games and their adaptation into blockbusters, early influences on the rise of pop cultural geekdom (e.g., Steven Spielberg, George Lucas, Woody Allen, John Hughes, et. al.), and any critical approach to geek-centered texts and/or production trends which seeks to analyze the popularity of geek media and its socio-cultural effects and implications. While historical papers will be considered, the central aim of the panel is to elucidate critical / analytical tools and approaches which can be used to expose the issues which undergird the rise of pop-cultural geekdom and "geek chic" in contemporary media forms.
SUBMISSION DUE DATE: July 15, 2011
SEND SUBMISSIONS TO: Carter Soles, csoles@brockport.edu
CONFERENCE DATES: March 21-25, 2012, Boston Park Plaza Hotel and Towers, Boston, MA
email Carter Soles (panel chair) or see the SCMS website for more information
Issues in Contemporary Geek Media - SCMS March 21-25, 2012
full name / name of organization: Society for Cinema and Media Studies
contact email: csoles@brockport.edu
Over the past decade, geeks -- both real and fictional -- have risen to a position of centrality and immense cultural power within the pop-cultural mediascape. This panel will explore the cultural and industrial issues raised by the rise of the geek as an onscreen and offscreen presence in contemporary media. Topics may include (but are not limited to) the rise of the superhero comic-book blockbuster, geeks in "independent" and alternative media, video games and their adaptation into blockbusters, early influences on the rise of pop cultural geekdom (e.g., Steven Spielberg, George Lucas, Woody Allen, John Hughes, et. al.), and any critical approach to geek-centered texts and/or production trends which seeks to analyze the popularity of geek media and its socio-cultural effects and implications. While historical papers will be considered, the central aim of the panel is to elucidate critical / analytical tools and approaches which can be used to expose the issues which undergird the rise of pop-cultural geekdom and "geek chic" in contemporary media forms.
SUBMISSION DUE DATE: July 15, 2011
SEND SUBMISSIONS TO: Carter Soles, csoles@brockport.edu
CONFERENCE DATES: March 21-25, 2012, Boston Park Plaza Hotel and Towers, Boston, MA
email Carter Soles (panel chair) or see the SCMS website for more information
CFP "Evil" Children in Film, Literature, and Popular Culture (NeMLA) (9/30/11)
http://call-for-papers.sas.upenn.edu/node/41924
NEMLA, March 15-18, 2002, Rochester, NY: "Evil" Children in Film, Literature, and Popular Culture
full name / name of organization: Karen J. Renner / Northern Arizona University
contact email: karen.j.renner@gmail.com
From the possibly possessed Miles and Flora in _The Turn of the Screw_ to the feral children in _Lord of the Flies_ to the demonic Damien in _The Omen_, evil children take on various forms. Some are corrupted by external influences—violent media, abuse, or Satan himself. Others, as the title of William March’s 1954 novel suggests, are simply “bad seeds,” inheritors of morally deficient genes and rotten to the core from birth. To discuss evil children as a singular trope would thus disregard the variations in their form and function. For this panel, I am seeking papers that address the role that evil children play in literary texts, films, and popular culture. Are they repositories for particular cultural anxieties? Emblems of historical changes to the family unit? Responses to juvenile crime? Markers of evolutions in psychological theories of selfhood? How do evil children reflect shifting views of innocence and depravity, redemption and sin? Are they a product of Freudian thought? If not, do pre-Freudian evil children differ from their post-Freudian counterparts? Papers may address texts from any time period or country, and I am particularly interested in examinations that are situated within a historical or cultural context.
Please send 250-500-word abstracts and one-page CV (as well as any questions) to Dr. Karen J. Renner (Northern Arizona University) at karen.j.renner@gmail.com. Materials should be submitted as attachments by September 30, 2011, with your subject line as “2012 NeMLA Abstract” and should include the following information: name, affiliation, email address, postal address, telephone number, and A/V requirements (if any; note A/V has $10 handling fee to be paid with registration).
Information for the convention can be found at http://www.nemla.org/convention/.
NEMLA, March 15-18, 2002, Rochester, NY: "Evil" Children in Film, Literature, and Popular Culture
full name / name of organization: Karen J. Renner / Northern Arizona University
contact email: karen.j.renner@gmail.com
From the possibly possessed Miles and Flora in _The Turn of the Screw_ to the feral children in _Lord of the Flies_ to the demonic Damien in _The Omen_, evil children take on various forms. Some are corrupted by external influences—violent media, abuse, or Satan himself. Others, as the title of William March’s 1954 novel suggests, are simply “bad seeds,” inheritors of morally deficient genes and rotten to the core from birth. To discuss evil children as a singular trope would thus disregard the variations in their form and function. For this panel, I am seeking papers that address the role that evil children play in literary texts, films, and popular culture. Are they repositories for particular cultural anxieties? Emblems of historical changes to the family unit? Responses to juvenile crime? Markers of evolutions in psychological theories of selfhood? How do evil children reflect shifting views of innocence and depravity, redemption and sin? Are they a product of Freudian thought? If not, do pre-Freudian evil children differ from their post-Freudian counterparts? Papers may address texts from any time period or country, and I am particularly interested in examinations that are situated within a historical or cultural context.
Please send 250-500-word abstracts and one-page CV (as well as any questions) to Dr. Karen J. Renner (Northern Arizona University) at karen.j.renner@gmail.com. Materials should be submitted as attachments by September 30, 2011, with your subject line as “2012 NeMLA Abstract” and should include the following information: name, affiliation, email address, postal address, telephone number, and A/V requirements (if any; note A/V has $10 handling fee to be paid with registration).
Information for the convention can be found at http://www.nemla.org/convention/.
CFP Essay Collection: Transformers: More Than Meets the Eye (11/1/11)
http://call-for-papers.sas.upenn.edu/node/41925
Call for Contributions to an Essay Collection: Transformers: More Than Meets the Eye
full name / name of organization: Audrey DeLong, PhD
contact email: delonga@sunysuffolk.edu
The editor is currently seeking proposals for an essay collection investigating and interrogating the popular Transformers franchise.
With this summer’s release of a third major blockbuster film, along with an ongoing comic series, and a new cartoon series, on top of perennial toylines, the Transformers franchise has grown and developed significantly from its humble start in 1984 as a toy-hawking cartoon, while many of its mid-80s peers have languished in neglect. What is it that has captured the imagination for so long? What has kept it alive through so many changes of media, market pressure, and fictive universe?
This collection is seeking to answer that question from a myriad of perspectives. We invite authors to write from any perspective. Here are some possible—but not exclusionary—topics:
__Imperialism/Colonialism
__Portrayals of gender in both the robots and their human associates
__Technophilia/technophobia
__ Development of canon
__Hasbro/Corporate Influence
__Metaphors of invasion
__Good vs evil: How evil are those ‘Evil Decepticons’? How ‘good’ are the Autobots?
__Impact of media on narratology
Please submit a 500 word abstract to delonga@sunysuffolk.edu by 1 Nov 2011. Queries, and less formal questions also welcome.
Call for Contributions to an Essay Collection: Transformers: More Than Meets the Eye
full name / name of organization: Audrey DeLong, PhD
contact email: delonga@sunysuffolk.edu
The editor is currently seeking proposals for an essay collection investigating and interrogating the popular Transformers franchise.
With this summer’s release of a third major blockbuster film, along with an ongoing comic series, and a new cartoon series, on top of perennial toylines, the Transformers franchise has grown and developed significantly from its humble start in 1984 as a toy-hawking cartoon, while many of its mid-80s peers have languished in neglect. What is it that has captured the imagination for so long? What has kept it alive through so many changes of media, market pressure, and fictive universe?
This collection is seeking to answer that question from a myriad of perspectives. We invite authors to write from any perspective. Here are some possible—but not exclusionary—topics:
__Imperialism/Colonialism
__Portrayals of gender in both the robots and their human associates
__Technophilia/technophobia
__ Development of canon
__Hasbro/Corporate Influence
__Metaphors of invasion
__Good vs evil: How evil are those ‘Evil Decepticons’? How ‘good’ are the Autobots?
__Impact of media on narratology
Please submit a 500 word abstract to delonga@sunysuffolk.edu by 1 Nov 2011. Queries, and less formal questions also welcome.
CFP Children's Media (11/1/11)
http://call-for-papers.sas.upenn.edu/node/41943
Children's Media
full name / name of organization: Interdisciplinary Humanities
contact email: Dr. Wynn Yarbrough - wynnyarbrough@hotmail.com or Dr. Michael Howarth - howarth-m@mssu.edu
The spring 2012 issue of Interdisciplinary Humanities will focus on children’s media. We will be looking for scholarly articles and nonfiction essays that explore works produced for children or works that focus predominantly on children: video games, picture books, fantasy works, hip-hop music/poetry, illustrated works, anime, film, and children's poetry, to name a few. These various media are relevant to children and have become an important part of twenty-first century scholarly study. We ask that all essays be interdisciplinary in nature and that they do not exceed 6,000 words. Please send inquiries and submissions to either Dr. Wynn Yarbrough at wynnyarbrough@hotmail.com or to Dr. Michael Howarth at howarth-m@mssu.edu by November 1, 2011.
Interdisciplinary Humanities is a refereed, scholarly journal published by HERA, the Humanities, Education, and Research Association.
Children's Media
full name / name of organization: Interdisciplinary Humanities
contact email: Dr. Wynn Yarbrough - wynnyarbrough@hotmail.com or Dr. Michael Howarth - howarth-m@mssu.edu
The spring 2012 issue of Interdisciplinary Humanities will focus on children’s media. We will be looking for scholarly articles and nonfiction essays that explore works produced for children or works that focus predominantly on children: video games, picture books, fantasy works, hip-hop music/poetry, illustrated works, anime, film, and children's poetry, to name a few. These various media are relevant to children and have become an important part of twenty-first century scholarly study. We ask that all essays be interdisciplinary in nature and that they do not exceed 6,000 words. Please send inquiries and submissions to either Dr. Wynn Yarbrough at wynnyarbrough@hotmail.com or to Dr. Michael Howarth at howarth-m@mssu.edu by November 1, 2011.
Interdisciplinary Humanities is a refereed, scholarly journal published by HERA, the Humanities, Education, and Research Association.
CFP TV Series Redux: Recycling, Remaking, Resuming Conference (France) (10/15/11)
http://call-for-papers.sas.upenn.edu/node/41978
TV Series Redux: Recycling, Remaking, Resuming. (University of Rouen, France,12-13-14 September 2012)
full name / name of organization:
Equipe de Recherche Interdisciplinaire sur les Aires Culturelles (ERIAC), University of Rouen
contact email: seriestv.rouen2012@univ-rouen.fr
This interdisciplinary conference will examine the question of recycling, remaking and resuming in TV series. Bearing in mind that this television genre can be regarded as an aesthetic, ideological, narrative and sociocultural object, we welcome paper proposals focusing on the connections between the following aspects:
Sociocultural approaches and ideological issues
- the recycling of stereotypes and clichés, potentially with a view to subverting them (contributors may address the circulation of a type of character or a type of location through several series); the recycling of external discourses (such as media discourse, academic discourse) within the context and narrative of a series;
- more generally, the ways series reflect the societies which both create and watch them by echoing, reviving and revisiting contemporary or past events (through background allusions, explicit references or the insertion of archival images, for instance). Which worldview is thus conveyed by the conjuring up of this or that collective memory?
Intertextuality and interpictoriality
- adaptation, transposition, appropriation, remake: re-mediations (such as the adaptation of a novel, a comic strip or a film into a series, and vice versa); new versions of older or successful series (cult series, foreign series); reshuffling, reworking and “re-imagining”; narrative blossoming and dissemination (sometimes resorting to other media), spin-offs, webisodes, continuations of specific sub-plots; parodies and echoes of certain TV, filmic and artistic genres;
- more pointedly, the reprocessing and integration of external cultural elements (for instance in opening and end credits): verbal and visual quotations from the literary, cinematic or television heritage; references to a shared musical culture (in the sound track, or the diegesis, through cover versions, etc.); crossovers (when one or several diegetic elements “cross over” from one series to another); re-casting of the lead actor or actress of another series or film; playful interactions with the audience (so that one may wonder whether these more or less explicit hints give birth to a form of bonding with a particular category of viewers, somehow reproducing “distinction” strategies within mass culture).
Seriality
Special attention will be paid to what differentiates the series from other visual or narrative forms, i.e. the seriality of series. The following dimensions may be explored:
- strategies meant to resume the main narrative thread after the series has been interrupted for a few minutes or a few months (by a commercial break, by the time span separating two episodes or two seasons); playing with the viewer’s memory (through intratextuality and intrapictoriality, through the use of different timelines, the manipulations of the “previously on” and motifs cropping up in the credits);
- proposals may study how TV series, whether they follow an endlessly repeated pattern (as in formulaic shows or case-of-the-week series) or belong to the more recent trend of serialised dramas, combine the reiteration of similar narrative plots, characters and locations with the necessity to insert new elements, unexpected events and revelations;
- recurrent consumption rituals: how is the seriality of TV series redefined by new modes of viewing (DVD, Video On Demand, streaming, downloading) or by the grafting and thriving of the diegetic universe in other media (and on the Internet in particular)?
- reflexive echoes: mise en abyme (TV screen within the TV screen and series within the series as self-reflexivity); the way the series pulls itself together and starts again after momentarily wandering off track to picture the hypothetical development of a given character or situation; repetition or allusion supporting a self-definition.
Papers may be given either in English or in French. Selected and peer-reviewed proceedings will be published in the journal TV/Series.
Organization board: Sylvaine Bataille (University of Rouen), Florence Cabaret (University of Rouen), Sarah Hatchuel (University of Le Havre).
Please send a 300-word abstract and a 100-word biographical note (in English or in French) to seriestv.rouen2012@univ-rouen.fr by 15 October 2011.
TV Series Redux: Recycling, Remaking, Resuming. (University of Rouen, France,12-13-14 September 2012)
full name / name of organization:
Equipe de Recherche Interdisciplinaire sur les Aires Culturelles (ERIAC), University of Rouen
contact email: seriestv.rouen2012@univ-rouen.fr
This interdisciplinary conference will examine the question of recycling, remaking and resuming in TV series. Bearing in mind that this television genre can be regarded as an aesthetic, ideological, narrative and sociocultural object, we welcome paper proposals focusing on the connections between the following aspects:
Sociocultural approaches and ideological issues
- the recycling of stereotypes and clichés, potentially with a view to subverting them (contributors may address the circulation of a type of character or a type of location through several series); the recycling of external discourses (such as media discourse, academic discourse) within the context and narrative of a series;
- more generally, the ways series reflect the societies which both create and watch them by echoing, reviving and revisiting contemporary or past events (through background allusions, explicit references or the insertion of archival images, for instance). Which worldview is thus conveyed by the conjuring up of this or that collective memory?
Intertextuality and interpictoriality
- adaptation, transposition, appropriation, remake: re-mediations (such as the adaptation of a novel, a comic strip or a film into a series, and vice versa); new versions of older or successful series (cult series, foreign series); reshuffling, reworking and “re-imagining”; narrative blossoming and dissemination (sometimes resorting to other media), spin-offs, webisodes, continuations of specific sub-plots; parodies and echoes of certain TV, filmic and artistic genres;
- more pointedly, the reprocessing and integration of external cultural elements (for instance in opening and end credits): verbal and visual quotations from the literary, cinematic or television heritage; references to a shared musical culture (in the sound track, or the diegesis, through cover versions, etc.); crossovers (when one or several diegetic elements “cross over” from one series to another); re-casting of the lead actor or actress of another series or film; playful interactions with the audience (so that one may wonder whether these more or less explicit hints give birth to a form of bonding with a particular category of viewers, somehow reproducing “distinction” strategies within mass culture).
Seriality
Special attention will be paid to what differentiates the series from other visual or narrative forms, i.e. the seriality of series. The following dimensions may be explored:
- strategies meant to resume the main narrative thread after the series has been interrupted for a few minutes or a few months (by a commercial break, by the time span separating two episodes or two seasons); playing with the viewer’s memory (through intratextuality and intrapictoriality, through the use of different timelines, the manipulations of the “previously on” and motifs cropping up in the credits);
- proposals may study how TV series, whether they follow an endlessly repeated pattern (as in formulaic shows or case-of-the-week series) or belong to the more recent trend of serialised dramas, combine the reiteration of similar narrative plots, characters and locations with the necessity to insert new elements, unexpected events and revelations;
- recurrent consumption rituals: how is the seriality of TV series redefined by new modes of viewing (DVD, Video On Demand, streaming, downloading) or by the grafting and thriving of the diegetic universe in other media (and on the Internet in particular)?
- reflexive echoes: mise en abyme (TV screen within the TV screen and series within the series as self-reflexivity); the way the series pulls itself together and starts again after momentarily wandering off track to picture the hypothetical development of a given character or situation; repetition or allusion supporting a self-definition.
Papers may be given either in English or in French. Selected and peer-reviewed proceedings will be published in the journal TV/Series.
Organization board: Sylvaine Bataille (University of Rouen), Florence Cabaret (University of Rouen), Sarah Hatchuel (University of Le Havre).
Please send a 300-word abstract and a 100-word biographical note (in English or in French) to seriestv.rouen2012@univ-rouen.fr by 15 October 2011.
CFP ZOMBOSIUM! A symposium on zombies (UK) (9/9/11)
http://call-for-papers.sas.upenn.edu/node/41981
ARGH! BRAINS! BLOOD! ARGH! ZOMBOSIUM! A symposium on zombies - 28 October 2011
full name / name of organization:
University of Winchester, Hampshire, UK
contact email:
marcus.leaning@winchester.ac.uk
Locked deep in the bowels of Winchester University a team of deranged (social) scientists from the School of Media and Film have been conducting hideous research into the living dead (clearly ignoring the guidelines of the Faculty of Arts Research Ethics committee). The research has now escaped and we invite colleagues to join us and spread your own diabolical research on Zombies at ‘ZOMBOSIUM’ - a one day symposium / conference on zombies.
The Zombie virus (if that is what caused them) has spread across the media and now infects film, television, new media (especially web 2.0 and social media), computer and video games, print media (comics and other formats) and literary texts. We welcome papers that will infect the audience with research considering zombies in the above media and with topics such as:
Zombie culture;
Aspects of Zombie films and ‘Cinema Zombie’;
Zombie B movies;
George A. Romero’s world;
Shopping malls and zombie geography;
Self help videos for the post apocalyptic world;
Zombie guides;
Zombie creatives and practitioners;
Theorising zombies;
Zombie fan fiction and fan film;
Online communal texts on zombie;
Zombie TV shows: including The Walking Dead and Dead Set;
Nazi zombies;
Zombie games and mods;
Zombies in music.
Keynote to be announced.
Abstracts of up to 250 words should be emailed to marcus.leaning@winchester.ac.uk by September 9th 2011.
The Zombosium is free to attend.
ARGH! BRAINS! BLOOD! ARGH! ZOMBOSIUM! A symposium on zombies - 28 October 2011
full name / name of organization:
University of Winchester, Hampshire, UK
contact email:
marcus.leaning@winchester.ac.uk
Locked deep in the bowels of Winchester University a team of deranged (social) scientists from the School of Media and Film have been conducting hideous research into the living dead (clearly ignoring the guidelines of the Faculty of Arts Research Ethics committee). The research has now escaped and we invite colleagues to join us and spread your own diabolical research on Zombies at ‘ZOMBOSIUM’ - a one day symposium / conference on zombies.
The Zombie virus (if that is what caused them) has spread across the media and now infects film, television, new media (especially web 2.0 and social media), computer and video games, print media (comics and other formats) and literary texts. We welcome papers that will infect the audience with research considering zombies in the above media and with topics such as:
Zombie culture;
Aspects of Zombie films and ‘Cinema Zombie’;
Zombie B movies;
George A. Romero’s world;
Shopping malls and zombie geography;
Self help videos for the post apocalyptic world;
Zombie guides;
Zombie creatives and practitioners;
Theorising zombies;
Zombie fan fiction and fan film;
Online communal texts on zombie;
Zombie TV shows: including The Walking Dead and Dead Set;
Nazi zombies;
Zombie games and mods;
Zombies in music.
Keynote to be announced.
Abstracts of up to 250 words should be emailed to marcus.leaning@winchester.ac.uk by September 9th 2011.
The Zombosium is free to attend.
CFP Indigenous Absence and Presence in Sci-Fi and Comics (SW/TX ACA/PCA) (12/1/11)
http://call-for-papers.sas.upenn.edu/node/42056
Indigenous 'Deep' Space: Indigenous Absence and Presence in Sci-Fi and Comics. SW/TX ACA/PCA February 8-11, 2012.
full name / name of organization:
Southwest/Texas Popular Culture/American Culture Association
contact email:
nativestudiespca@gmail.com
Call for Papers: "Indigenous 'Deep' Space:
Indigenous Absence and Presence in Sci-Fi and Comics"
2012 Southwest/Texas Popular Culture/American Culture Association
February 8-11, 2012
Southwest/Texas Popular & American Culture Association's
33rd Annual Conference in Albuquerque, NM
EMAIL 250-word abstract to: nativestudiespca@gmail.com
Paper proposals are now being accepted for a panel dedicated to the absence and presence of Indigenous characters and cultures in popular Sci-Fi and comics. From Star Trek Voyager's Chakotay to the X-Men's Danielle Moonstar, Sci-Fi and comic genres have capitalized on the Indigenous landscape for characters and cultures. This panel asks presenters to examine and discuss the absence and presence of Indigenous characters and cultures in these popular genres.
The deadline for submitting proposals is December 1, 2011.
Listed below are some suggestions for possible presentations, but topics not included here are welcomed and encouraged:
●Indigenous Writers of Sci-Fi and speculative fiction genres.
●Indigenous Cultures In Space (Issues of colonization that mirror Indigenous histories in Sci-Fi Deep Space Settings)
●Blue Corn Comics
●Indigenous/Native American descended characters in Sci-Fi
●Indigenous/Native American descended characters in comic and graphic novels
●Specific Sci-fi T.V. Shows incorporating Indigenous Cultures and Characters (episodes of Stargate, Angel, Buffy, Star Trek etc).
●Online Comics
●History of Indigenous Characters in Sci-fi or comics
Inquiries regarding this area and/or abstracts of 250 words may be sent to Brian Hudson and Margaret Vaughan at this email nativestudiespca@gmail.com
Please forward this information to people who would be interested in participating.
Indigenous 'Deep' Space: Indigenous Absence and Presence in Sci-Fi and Comics. SW/TX ACA/PCA February 8-11, 2012.
full name / name of organization:
Southwest/Texas Popular Culture/American Culture Association
contact email:
nativestudiespca@gmail.com
Call for Papers: "Indigenous 'Deep' Space:
Indigenous Absence and Presence in Sci-Fi and Comics"
2012 Southwest/Texas Popular Culture/American Culture Association
February 8-11, 2012
Southwest/Texas Popular & American Culture Association's
33rd Annual Conference in Albuquerque, NM
EMAIL 250-word abstract to: nativestudiespca@gmail.com
Paper proposals are now being accepted for a panel dedicated to the absence and presence of Indigenous characters and cultures in popular Sci-Fi and comics. From Star Trek Voyager's Chakotay to the X-Men's Danielle Moonstar, Sci-Fi and comic genres have capitalized on the Indigenous landscape for characters and cultures. This panel asks presenters to examine and discuss the absence and presence of Indigenous characters and cultures in these popular genres.
The deadline for submitting proposals is December 1, 2011.
Listed below are some suggestions for possible presentations, but topics not included here are welcomed and encouraged:
●Indigenous Writers of Sci-Fi and speculative fiction genres.
●Indigenous Cultures In Space (Issues of colonization that mirror Indigenous histories in Sci-Fi Deep Space Settings)
●Blue Corn Comics
●Indigenous/Native American descended characters in Sci-Fi
●Indigenous/Native American descended characters in comic and graphic novels
●Specific Sci-fi T.V. Shows incorporating Indigenous Cultures and Characters (episodes of Stargate, Angel, Buffy, Star Trek etc).
●Online Comics
●History of Indigenous Characters in Sci-fi or comics
Inquiries regarding this area and/or abstracts of 250 words may be sent to Brian Hudson and Margaret Vaughan at this email nativestudiespca@gmail.com
Please forward this information to people who would be interested in participating.
CFP Dread, Ghost, Specter, and Possession in Asian, African and Latin American Cinema (8/15/11)
http://call-for-papers.sas.upenn.edu/node/42070
CFP: “Dread, Ghost, Specter, and Possession”
full name / name of organization:
manycinemas
contact email:
manycinemas@anpa.de
For our third issue (Spring 2012) we look for articles on the topics: DREAD, GHOST, SPECTER and POSSESSION in Asian, African and Latin American Cinema. (Deadline for proposals 15/08/11).
Dread, Ghost, Specter, and Possession
in Asian, African and Latin American Cinema
"For who can wonder that man should feel
a vague belief in tales of disembodied spirits
wandering through those places which they once
dearly affected, when he himself, scarcely less
separated from his old world than they, is for
ever lingering upon past emotions and bygone
times, and hovering, the ghost of his former
self, about the places and people that warmed
his heart of old?"
(Charles Dickens: Master Humphrey's Clock)
In our third issue of manycinemas we are turning our attention to the unexplainable and the supernatural. We are looking for academic essays on films in which we get in touch with “Dread, Ghost, Specter, and Possession.”
We are interested in cinematic aesthetics of films which show these phenomena out of the view of different cultural backgrounds. Like in the other issues these should be films from Africa, Asia, and Latin America.
Dread – cinema is a modern tale. The monsters of childhood/past come alive and haunt the protagonists on the screen. How do they meet their fears? How does the film show the fear? And, is there any escape?
Ghost – what kind of ghosts are manifested in non-western cinema? How do they haunt, or do they do such things at all?
Specter - dreams, visions, how does film show these things, from where do they come from, and what kind of meaning they have?
Possession – how is a character going to be possessed by something/someone. And how is the behavior of the possessed?
There are many movies all over the world which show one of these phenomena. We are looking for essays which analyze films on one, two, or more of the issue's topics.
We are interested in:
the cultural anchors and meaning(s) of supernatural phenomena
appearance of ghosts, specters, etc.
the role of ghosts/ specters in movies (good or evil)
dread and religion
raising the dead
juju films, yokai movies, etc.
and much more
We are also looking for our rubric Beyond the Screen for an essay on this topic which is loosely connected to film like theater, music, dance, performance, visual culture, comic...
Please send us your proposal (300-500 words) with the titles of films you will include and a brief CV until 15th August 2011. Do not hesitate to mail us, if you have some questions.
The later articles should have a length of 3000 to 5000 words. For styleguide: look here http://www.manycinemas.org/styleguide.html
Please send your proposal to
Helen Staufer and Michael Christopher
manycinemas@anpa.de
or: editors@manycinemas.org
Manycinemas 01: urban/rural is now online.
Please have a look: manycinemas issue 01: urban/rural
CFP: “Dread, Ghost, Specter, and Possession”
full name / name of organization:
manycinemas
contact email:
manycinemas@anpa.de
For our third issue (Spring 2012) we look for articles on the topics: DREAD, GHOST, SPECTER and POSSESSION in Asian, African and Latin American Cinema. (Deadline for proposals 15/08/11).
Dread, Ghost, Specter, and Possession
in Asian, African and Latin American Cinema
"For who can wonder that man should feel
a vague belief in tales of disembodied spirits
wandering through those places which they once
dearly affected, when he himself, scarcely less
separated from his old world than they, is for
ever lingering upon past emotions and bygone
times, and hovering, the ghost of his former
self, about the places and people that warmed
his heart of old?"
(Charles Dickens: Master Humphrey's Clock)
In our third issue of manycinemas we are turning our attention to the unexplainable and the supernatural. We are looking for academic essays on films in which we get in touch with “Dread, Ghost, Specter, and Possession.”
We are interested in cinematic aesthetics of films which show these phenomena out of the view of different cultural backgrounds. Like in the other issues these should be films from Africa, Asia, and Latin America.
Dread – cinema is a modern tale. The monsters of childhood/past come alive and haunt the protagonists on the screen. How do they meet their fears? How does the film show the fear? And, is there any escape?
Ghost – what kind of ghosts are manifested in non-western cinema? How do they haunt, or do they do such things at all?
Specter - dreams, visions, how does film show these things, from where do they come from, and what kind of meaning they have?
Possession – how is a character going to be possessed by something/someone. And how is the behavior of the possessed?
There are many movies all over the world which show one of these phenomena. We are looking for essays which analyze films on one, two, or more of the issue's topics.
We are interested in:
the cultural anchors and meaning(s) of supernatural phenomena
appearance of ghosts, specters, etc.
the role of ghosts/ specters in movies (good or evil)
dread and religion
raising the dead
juju films, yokai movies, etc.
and much more
We are also looking for our rubric Beyond the Screen for an essay on this topic which is loosely connected to film like theater, music, dance, performance, visual culture, comic...
Please send us your proposal (300-500 words) with the titles of films you will include and a brief CV until 15th August 2011. Do not hesitate to mail us, if you have some questions.
The later articles should have a length of 3000 to 5000 words. For styleguide: look here http://www.manycinemas.org/styleguide.html
Please send your proposal to
Helen Staufer and Michael Christopher
manycinemas@anpa.de
or: editors@manycinemas.org
Manycinemas 01: urban/rural is now online.
Please have a look: manycinemas issue 01: urban/rural
CFP Children's series books and internationalism (Collection) (11/1/11)
http://call-for-papers.sas.upenn.edu/node/41769
Call for contributions to essay collection: Children's series books and internationalism
full name / name of organization:
Marietta Frank, U Pitt-Bradford, and Karen Sands-O'Connor, Buffalo State College
contact email:
marietta@penn.edu and sandsk@buffalostate.edu
The editors are currently seeking proposals for a collection of essays investigating internationalism in children’s series books. With the tenth anniversary of the World Trade Center bombings, the “Arab Spring,” and the increasing demands of non-Western countries for a voice in global politics, this is a particularly pertinent moment to examine how literature for children faces the challenges and possibilities of global interaction. Series books, with their reliance on the comfort of the familiar blended with the lure of adventure, frequently use the foreign and/or international setting as moral proving ground for the characters. We are especially interested in the attitudes taken by authors of and characters in series books toward other nations and people throughout time, and the ways in which series books have acted as explicator or advocate for a nation’s foreign policies, or as dissenting voice to either official policies or socio-cultural attitudes of the time. We welcome essays on series books for children from any perspective, but possible topics might include:
--Colonialism and imperialism and international perspectives in series books
--Comic book heroes and international “bad guys”
--Cold War politics in series books
--Science fiction and internationalism
--Gender and gender differences in series books set in foreign countries
--Environmental or other global concerns in series fiction
--Nonfiction series about global issues
--Non-Western perspectives on internationalism
Please send 500-word titled abstracts, with a brief (no more than 150 words) author biography, by November 1st, 2011, to both editors (sandsk@buffalostate.edu and Marietta@penn.com). Authors whose abstracts are accepted will be expected to produce completed (5000-7,500 words) chapters by June 1st, 2012.
Call for contributions to essay collection: Children's series books and internationalism
full name / name of organization:
Marietta Frank, U Pitt-Bradford, and Karen Sands-O'Connor, Buffalo State College
contact email:
marietta@penn.edu and sandsk@buffalostate.edu
The editors are currently seeking proposals for a collection of essays investigating internationalism in children’s series books. With the tenth anniversary of the World Trade Center bombings, the “Arab Spring,” and the increasing demands of non-Western countries for a voice in global politics, this is a particularly pertinent moment to examine how literature for children faces the challenges and possibilities of global interaction. Series books, with their reliance on the comfort of the familiar blended with the lure of adventure, frequently use the foreign and/or international setting as moral proving ground for the characters. We are especially interested in the attitudes taken by authors of and characters in series books toward other nations and people throughout time, and the ways in which series books have acted as explicator or advocate for a nation’s foreign policies, or as dissenting voice to either official policies or socio-cultural attitudes of the time. We welcome essays on series books for children from any perspective, but possible topics might include:
--Colonialism and imperialism and international perspectives in series books
--Comic book heroes and international “bad guys”
--Cold War politics in series books
--Science fiction and internationalism
--Gender and gender differences in series books set in foreign countries
--Environmental or other global concerns in series fiction
--Nonfiction series about global issues
--Non-Western perspectives on internationalism
Please send 500-word titled abstracts, with a brief (no more than 150 words) author biography, by November 1st, 2011, to both editors (sandsk@buffalostate.edu and Marietta@penn.com). Authors whose abstracts are accepted will be expected to produce completed (5000-7,500 words) chapters by June 1st, 2012.
CFP Weird Tools and Strange Investigations, Spec. Issue of Preternature (7/15/11)
Weird Tools and Strange Investigations
full name / name of organization:
Preternature: Critical and Historical Studies in the Preternatural | http://preternature.org
contact email:
kirsten@uszkalo.com
Weird Tools and Strange Investigations
Objects of all sorts have a long history of serving as bridges to the preternatural world, whether that be in terms of some intrinsic power, or as things possessed or haunted. The shaman’s beads, the saint’s bones, the astrologer’s charts, the conjurer’s circle, the scryer’s stone, the spiritualists’ crystal ball, tarot cards, Ouija boards and even holy books, all might be used in particular contexts as instruments to experience or investigate the world beyond the natural either directly or vicariously. By the same token, these objects might also be imbued with uncanny power in their own right. For those who employed them, such objects helped communicate with ethereal beings or harness their power to worldly ends. But it is also clear from the narratives constructed around them that this was a double-edged sword, for haunted or possessed objects could prove difficult to control, even dangerous, coming eventually to wield power over the user.
This issue of Preternature invites contributions that explore the relationship between objects, users and the preternatural world. How were objects construed? In what social, political and cultural contexts were they deployed, and how did the ways they were used help construct experience? How were these instruments related to crucial issues of proof and persuasion?
Abstracts of 500 words are due July 15, 2011; final papers will be due September 15, 2011. Contributions should usually be 8,000 - 12,000 words, including all documentation and critical apparatus. If accepted for publication, manuscripts will be required to adhere to the Chicago Manual of Style, 15th edition (style 1, employing footnotes).
Preternature also welcomes original editions or translations of texts related to the topic that have not otherwise been made available in recent editions or in English.
Queries about submissions, queries concerning books to be reviewed, or requests to review individual titles may be made to the Editors:
Peter Dendle
Department of English,
The Pennsylvania State University (Mont Alto)
pjd11@psu.edu
Kirsten C. Uszkalo
Department of English
Simon Fraser University
Kirsten@uszkalo.com
Inquiries about book reviews should be sent to:
Richard Raiswell
Department of History
University of Prince Edward Island
rraiswell@upei.ca
full name / name of organization:
Preternature: Critical and Historical Studies in the Preternatural | http://preternature.org
contact email:
kirsten@uszkalo.com
Weird Tools and Strange Investigations
Objects of all sorts have a long history of serving as bridges to the preternatural world, whether that be in terms of some intrinsic power, or as things possessed or haunted. The shaman’s beads, the saint’s bones, the astrologer’s charts, the conjurer’s circle, the scryer’s stone, the spiritualists’ crystal ball, tarot cards, Ouija boards and even holy books, all might be used in particular contexts as instruments to experience or investigate the world beyond the natural either directly or vicariously. By the same token, these objects might also be imbued with uncanny power in their own right. For those who employed them, such objects helped communicate with ethereal beings or harness their power to worldly ends. But it is also clear from the narratives constructed around them that this was a double-edged sword, for haunted or possessed objects could prove difficult to control, even dangerous, coming eventually to wield power over the user.
This issue of Preternature invites contributions that explore the relationship between objects, users and the preternatural world. How were objects construed? In what social, political and cultural contexts were they deployed, and how did the ways they were used help construct experience? How were these instruments related to crucial issues of proof and persuasion?
Abstracts of 500 words are due July 15, 2011; final papers will be due September 15, 2011. Contributions should usually be 8,000 - 12,000 words, including all documentation and critical apparatus. If accepted for publication, manuscripts will be required to adhere to the Chicago Manual of Style, 15th edition (style 1, employing footnotes).
Preternature also welcomes original editions or translations of texts related to the topic that have not otherwise been made available in recent editions or in English.
Queries about submissions, queries concerning books to be reviewed, or requests to review individual titles may be made to the Editors:
Peter Dendle
Department of English,
The Pennsylvania State University (Mont Alto)
pjd11@psu.edu
Kirsten C. Uszkalo
Department of English
Simon Fraser University
Kirsten@uszkalo.com
Inquiries about book reviews should be sent to:
Richard Raiswell
Department of History
University of Prince Edward Island
rraiswell@upei.ca
CFP Ecology and SF Collection (8/31/11)
http://call-for-papers.sas.upenn.edu/node/41973
edited collection: GREEN PLANETS: ECOLOGY AND SCIENCE FICTION
full name / name of organization:
Gerry Canavan and Kim Stanley Robinson
contact email:
ecologyandsciencefiction@gmail.com
edited collection: GREEN PLANETS: ECOLOGY AND SCIENCE FICTION
Editors: Gerry Canavan and Kim Stanley Robinson (ecologyandsciencefiction@gmail.com)
Abstracts due August 31, 2011
Final essays due Summer 2012
We are seeking proposals for an edited collection tentatively titled GREEN PLANETS: ECOLOGY AND SCIENCE FICTION, with completed essays due in Summer 2012. We seek contributions that touch on any aspect of the relationship between ecological science, environmentalism, and SF, with particular attention to such topics as:
* ecological futurity and ecocriticism in SF
* visions of eco-disaster, eco-catastrophe, and eco-apocalypse
* strategies for ecotopia
* "the globe" and global thinking in SF
* science fictional critiques of global capitalism, consumerism, and ecological racism
* social justice as an ecological technology
* narratives of political resistance
* SF as it figures within current public debate about ecological science (climate change, Peak Oil, etc)
* philosophies and fantasies of Nature
* narratives of evolution, extinction, and extermination
* eco-feminist SF
* reproductive futurity
* ecology and Afrofuturism
* ecology, digitality, and techno-optimism
* terraforming and other narratives of space colonization
* aliens, alien worlds, xenobiology, and exo-ecology
* ecological thinking as a strategy for cognitive estrangement
* ecological critiques of particular unscientific or anti-ecological science fictions, or critiques of the history of the genre as a whole
We hope to produce a collection that speaks to the long history of ecological SF, ranging from the climate change that prompts the Martian invasion in War of the Worlds to Oryx and Crake, The Wind-Up Girl, Avatar, and WALL-E (and everything else before, after, and between). We likewise intend "SF" in its broadest possible sense, to include fantasy and horror literature alongside "science fiction" more narrowly construed, and hope to receive submissions that properly reflect SF as a diverse and global genre.
Please direct all queries, questions, and submissions to ecologyandsciencefiction@gmail.com. Abstracts should be around 250-300 words; submissions should also include contact information and a short bio. Please plan for final essays to range between 4000-8000 words.
edited collection: GREEN PLANETS: ECOLOGY AND SCIENCE FICTION
full name / name of organization:
Gerry Canavan and Kim Stanley Robinson
contact email:
ecologyandsciencefiction@gmail.com
edited collection: GREEN PLANETS: ECOLOGY AND SCIENCE FICTION
Editors: Gerry Canavan and Kim Stanley Robinson (ecologyandsciencefiction@gmail.com)
Abstracts due August 31, 2011
Final essays due Summer 2012
We are seeking proposals for an edited collection tentatively titled GREEN PLANETS: ECOLOGY AND SCIENCE FICTION, with completed essays due in Summer 2012. We seek contributions that touch on any aspect of the relationship between ecological science, environmentalism, and SF, with particular attention to such topics as:
* ecological futurity and ecocriticism in SF
* visions of eco-disaster, eco-catastrophe, and eco-apocalypse
* strategies for ecotopia
* "the globe" and global thinking in SF
* science fictional critiques of global capitalism, consumerism, and ecological racism
* social justice as an ecological technology
* narratives of political resistance
* SF as it figures within current public debate about ecological science (climate change, Peak Oil, etc)
* philosophies and fantasies of Nature
* narratives of evolution, extinction, and extermination
* eco-feminist SF
* reproductive futurity
* ecology and Afrofuturism
* ecology, digitality, and techno-optimism
* terraforming and other narratives of space colonization
* aliens, alien worlds, xenobiology, and exo-ecology
* ecological thinking as a strategy for cognitive estrangement
* ecological critiques of particular unscientific or anti-ecological science fictions, or critiques of the history of the genre as a whole
We hope to produce a collection that speaks to the long history of ecological SF, ranging from the climate change that prompts the Martian invasion in War of the Worlds to Oryx and Crake, The Wind-Up Girl, Avatar, and WALL-E (and everything else before, after, and between). We likewise intend "SF" in its broadest possible sense, to include fantasy and horror literature alongside "science fiction" more narrowly construed, and hope to receive submissions that properly reflect SF as a diverse and global genre.
Please direct all queries, questions, and submissions to ecologyandsciencefiction@gmail.com. Abstracts should be around 250-300 words; submissions should also include contact information and a short bio. Please plan for final essays to range between 4000-8000 words.
CFP 5th International Gothic Congress (Mexico) (12/31/11)
http://call-for-papers.sas.upenn.edu/node/42005
V International Gothic Congress, FFYL, UNAM, Mexico City, March 2012
full name / name of organization:
International Gothic Congress
contact email:
coloquio_gotico@hotmail.com
V International Gothic Congress
‘Gothic Plurality’
During the last years, Gothic Literature has just begun to be accepted as a literary field worth of study among Mexican scholars. The doors remain open to deepen into the study of a style whose manifestations go beyond the barriers represented by time, culture, genre, and art modes.
Objetive: After the great response received in the previous Gothic Congresses (2008 - 2011), this time the aim is to keep encouraging the interest in the Gothic among both students and scholars at the UNAM (National Autonomous University of Mexico) and other Mexican institutions. To achieve this, we propose to start from the study of the plural presence of the Gothic in various modes of art , as well as time and space contexts.
Dates: March 26, 27 & 28, 2012 (Monday, Tuesday, and Wednesday).
Place: Salón de Actos I, Faculty of Philosophy and Literature (FFyL), UNAM (Nacional Autonomous University of Mexico), Mexico City.
Call for Papers: We are calling for papers centered upon the idea of the Gothic as a timeless and intertextual plural phenomenon in arts.
Other Possible topics:
. History and evolution of Gothic Literature
. Gothic elements in Mexican and Latin-American Literature
. National Gothic Literatures (British Gothic, Scottish Gothic, American Gothic,
etc.)
. Gothic Literature and Postmodernism
. The future of Gothic Literature
. Gothic in Film and Art
Those interested in taking part in the congress are asked to send an abstract of their paper in 200 words, including its title; as well as a short summary of their academic background (50 words) with full name of the participant.
The proposals will be received until December 31, 2011.
The participants will be given around 20 minutes to read their papers. The works can be presented in either English or Spanish.
Keynote speakers will be given 50 minutes to read, with 10 minutes to answer questions from the public.
Those whose papers get accepted to participate in the congress can send a version of the paper to be included in the congress yearbook between March 23 and April 20, 2012. Such version must include both reference footnotes and the corresponding bibliography.
All proposals, papers and questions are to be sent to:
coloquio_gotico@hotmail.com / antonio.alcala@itesm.mx
Blog: http://gothiccongress.blogspot.com/
V International Gothic Congress, FFYL, UNAM, Mexico City, March 2012
full name / name of organization:
International Gothic Congress
contact email:
coloquio_gotico@hotmail.com
V International Gothic Congress
‘Gothic Plurality’
During the last years, Gothic Literature has just begun to be accepted as a literary field worth of study among Mexican scholars. The doors remain open to deepen into the study of a style whose manifestations go beyond the barriers represented by time, culture, genre, and art modes.
Objetive: After the great response received in the previous Gothic Congresses (2008 - 2011), this time the aim is to keep encouraging the interest in the Gothic among both students and scholars at the UNAM (National Autonomous University of Mexico) and other Mexican institutions. To achieve this, we propose to start from the study of the plural presence of the Gothic in various modes of art , as well as time and space contexts.
Dates: March 26, 27 & 28, 2012 (Monday, Tuesday, and Wednesday).
Place: Salón de Actos I, Faculty of Philosophy and Literature (FFyL), UNAM (Nacional Autonomous University of Mexico), Mexico City.
Call for Papers: We are calling for papers centered upon the idea of the Gothic as a timeless and intertextual plural phenomenon in arts.
Other Possible topics:
. History and evolution of Gothic Literature
. Gothic elements in Mexican and Latin-American Literature
. National Gothic Literatures (British Gothic, Scottish Gothic, American Gothic,
etc.)
. Gothic Literature and Postmodernism
. The future of Gothic Literature
. Gothic in Film and Art
Those interested in taking part in the congress are asked to send an abstract of their paper in 200 words, including its title; as well as a short summary of their academic background (50 words) with full name of the participant.
The proposals will be received until December 31, 2011.
The participants will be given around 20 minutes to read their papers. The works can be presented in either English or Spanish.
Keynote speakers will be given 50 minutes to read, with 10 minutes to answer questions from the public.
Those whose papers get accepted to participate in the congress can send a version of the paper to be included in the congress yearbook between March 23 and April 20, 2012. Such version must include both reference footnotes and the corresponding bibliography.
All proposals, papers and questions are to be sent to:
coloquio_gotico@hotmail.com / antonio.alcala@itesm.mx
Blog: http://gothiccongress.blogspot.com/
CFP Potterwatch 2011 Conference (8/15/11)
http://call-for-papers.sas.upenn.edu/node/42065
[UPDATE] Potterwatch 2011: Accepting proposals until August 15
full name / name of organization:
Potterwatch and
contact email:
unccpotterconference@gmail.com
Harry Potter and Crossover Audiences
the 2011 PotterWatch Conference
at the University of North Carolina at Charlotte
October 1, 2011
Charlotte, NC
The Harry Potter series has been translated into more than 60 languages, inspired a multi-million dollar theme park, and prompted the creation of an “International Quidditch Association” comprised of hundreds of teams. What began as a British children’s book became an international best-selling series. Much of the success of the novels can be attributed to crossover appeal—how Harry is loved by audiences of a variety of ages, genders, and religions. How do the books speak to so many different, sometimes opposing, audiences? Why do we love Harry so much?
Together, PotterWatch, the official Harry Potter club of UNC Charlotte, and the Children's Graduate Literature Organization of UNC Charlotte will be hosting an academic conference focusing on the theme of audiences within the Harry Potter series and fandom. We invite submissions of paper and panel proposals that address the theme of audience and crossover appeal in relation to the Harry Potter series, looking at reader response from a variety of academic perspectives.
Suggested topics include:
• Harry Potter from an international perspective
• Religious responses to the series
• Generational appeal (the “crossover” novel)
• group response to Harry Potter (fan clubs, Quidditch, book/movie premieres, etc.)
• is Harry Potter a “boy’s book?”
To be considered for presentation, please submit a 500-word abstract for individual papers or panel proposals to unccpotterconference@gmail.com by August 15, 2011. Please include the paper title, your name (and names of all panel presenters if applicable), your institution, and your affiliation (faculty, student, other). Individual presentations should be 10-15 minutes in length, while panel presentations should last for 45 minutes. Graduate and undergraduate students are encouraged to submit proposals.
[UPDATE] Potterwatch 2011: Accepting proposals until August 15
full name / name of organization:
Potterwatch and
contact email:
unccpotterconference@gmail.com
Harry Potter and Crossover Audiences
the 2011 PotterWatch Conference
at the University of North Carolina at Charlotte
October 1, 2011
Charlotte, NC
The Harry Potter series has been translated into more than 60 languages, inspired a multi-million dollar theme park, and prompted the creation of an “International Quidditch Association” comprised of hundreds of teams. What began as a British children’s book became an international best-selling series. Much of the success of the novels can be attributed to crossover appeal—how Harry is loved by audiences of a variety of ages, genders, and religions. How do the books speak to so many different, sometimes opposing, audiences? Why do we love Harry so much?
Together, PotterWatch, the official Harry Potter club of UNC Charlotte, and the Children's Graduate Literature Organization of UNC Charlotte will be hosting an academic conference focusing on the theme of audiences within the Harry Potter series and fandom. We invite submissions of paper and panel proposals that address the theme of audience and crossover appeal in relation to the Harry Potter series, looking at reader response from a variety of academic perspectives.
Suggested topics include:
• Harry Potter from an international perspective
• Religious responses to the series
• Generational appeal (the “crossover” novel)
• group response to Harry Potter (fan clubs, Quidditch, book/movie premieres, etc.)
• is Harry Potter a “boy’s book?”
To be considered for presentation, please submit a 500-word abstract for individual papers or panel proposals to unccpotterconference@gmail.com by August 15, 2011. Please include the paper title, your name (and names of all panel presenters if applicable), your institution, and your affiliation (faculty, student, other). Individual presentations should be 10-15 minutes in length, while panel presentations should last for 45 minutes. Graduate and undergraduate students are encouraged to submit proposals.
CFP The Apocalypse in Literature and Film, Spec. Issue of LIT: Literature Interpretation Theory (10/1/11)
http://call-for-papers.sas.upenn.edu/node/42059
[UPDATE] The Apocalypse in Literature and Film - October 1, 2011
full name / name of organization:
_LIT: Literature Interpretation Theory_
contact email:
litjourn@yahoo.com
Alien invasion, viral outbreak, nuclear holocaust, the rise of the machines, the flood, the second coming, the second ice age—these are just a few of the ways human beings have imagined their “end of days.” And someone’s Armageddon clock is always ticking—we just dodged Harold Camping’s rapture on May 21st of this year, and the Mayan-predicted doomsday of 2012 is just around the corner. In the end, what do we reveal about ourselves when we dream of the apocalypse? What are the social and political functions of these narratives in any given historical period? How do different cultures imagine the apocalypse, and what do these differences reveal? What is particular to the narratological design and content of apocalyptic texts? LIT: Literature Interpretation Theory solicits papers for an upcoming special issue on representations of the apocalypse in literature and film across a range of genres, time periods, and cultural traditions. LIT welcomes essays that consider representations of the apocalypse in literature and film and that are theoretically grounded but also engaging and accessible. Contributions should be from 5,000-10,000 words in length.
Guest Editors: Karen J. Renner, Northern Arizona University; Joshua J. Masters, University of West Georgia.
LIT: Literature Interpretation Theory publishes critical essays that employ engaging, coherent theoretical perspectives and provide original, close readings of texts. Because LIT addresses a general literate audience, we encourage essays unburdened by excessive theoretical jargon. We do not restrict the journal's scope to specific periods, genres, or critical paradigms. Submissions must use MLA citation style. Please email an electronic version of your essay (as an MS Word document), along with a 100 word abstract, to litjourn@yahoo.com.
Deadline for submissions: October 1, 2011
LIT: Literature Interpretation Theory also welcomes submissions for general issues.
LIT: Literature Interpretation Theory
Editors: Professor Regina Barreca, University of Connecticut &
Associate Professor Margaret E. Mitchell, University of West Georgia
[UPDATE] The Apocalypse in Literature and Film - October 1, 2011
full name / name of organization:
_LIT: Literature Interpretation Theory_
contact email:
litjourn@yahoo.com
Alien invasion, viral outbreak, nuclear holocaust, the rise of the machines, the flood, the second coming, the second ice age—these are just a few of the ways human beings have imagined their “end of days.” And someone’s Armageddon clock is always ticking—we just dodged Harold Camping’s rapture on May 21st of this year, and the Mayan-predicted doomsday of 2012 is just around the corner. In the end, what do we reveal about ourselves when we dream of the apocalypse? What are the social and political functions of these narratives in any given historical period? How do different cultures imagine the apocalypse, and what do these differences reveal? What is particular to the narratological design and content of apocalyptic texts? LIT: Literature Interpretation Theory solicits papers for an upcoming special issue on representations of the apocalypse in literature and film across a range of genres, time periods, and cultural traditions. LIT welcomes essays that consider representations of the apocalypse in literature and film and that are theoretically grounded but also engaging and accessible. Contributions should be from 5,000-10,000 words in length.
Guest Editors: Karen J. Renner, Northern Arizona University; Joshua J. Masters, University of West Georgia.
LIT: Literature Interpretation Theory publishes critical essays that employ engaging, coherent theoretical perspectives and provide original, close readings of texts. Because LIT addresses a general literate audience, we encourage essays unburdened by excessive theoretical jargon. We do not restrict the journal's scope to specific periods, genres, or critical paradigms. Submissions must use MLA citation style. Please email an electronic version of your essay (as an MS Word document), along with a 100 word abstract, to litjourn@yahoo.com.
Deadline for submissions: October 1, 2011
LIT: Literature Interpretation Theory also welcomes submissions for general issues.
LIT: Literature Interpretation Theory
Editors: Professor Regina Barreca, University of Connecticut &
Associate Professor Margaret E. Mitchell, University of West Georgia
CFP It All Ended: Harry Potter and Popular Culture Conference (UK) (12/2/11)
http://call-for-papers.sas.upenn.edu/node/42038
It All Ended: Harry Potter and Popular Culture
full name / name of organization:
De Montfort University, Leicester, UK
contact email:
jrussell@dmu.ac.uk
It All Ended.
Harry Potter and Popular Culture.
A one-day conference hosted by De Montfort University, Leicester, UK.
Friday 29th February 2012.
J.K. Rowling’s Harry Potter novels and Warner Bros’ film adaptations constitute one of the most successful media franchises of the modern age. Now that both books and films have reached a spectacular conclusion, this conference aims to assess Harry Potter’s place in popular culture.
We welcome papers which look at any aspect of the Potter phenomenon, from creative, artistic or industrial evaluations, through to case studies of related products and fan communities.
Proposals (of no more than 300 words) should be sent to:
James Russell
jrussell@dmu.ac.uk
by Friday 2 December 2011.
It All Ended: Harry Potter and Popular Culture
full name / name of organization:
De Montfort University, Leicester, UK
contact email:
jrussell@dmu.ac.uk
It All Ended.
Harry Potter and Popular Culture.
A one-day conference hosted by De Montfort University, Leicester, UK.
Friday 29th February 2012.
J.K. Rowling’s Harry Potter novels and Warner Bros’ film adaptations constitute one of the most successful media franchises of the modern age. Now that both books and films have reached a spectacular conclusion, this conference aims to assess Harry Potter’s place in popular culture.
We welcome papers which look at any aspect of the Potter phenomenon, from creative, artistic or industrial evaluations, through to case studies of related products and fan communities.
Proposals (of no more than 300 words) should be sent to:
James Russell
jrussell@dmu.ac.uk
by Friday 2 December 2011.
CFP Worlds Apart: Science Fiction Conference April 2012 (11/30/11)
http://call-for-papers.sas.upenn.edu/node/41954
Call for papers: Worlds Apart: Science Fiction Conference April 2012
full name / name of organization:
University of Hertfordshire
contact email:
p.a.wheeler@herts.ac.uk
English Literature and Creative Writing Group, University of Hertfordshire, UK
contact email:
p.a.wheeler@herts.ac.uk
Keynote Speakers: TBA
Call for Papers
Potential contributors are invited to submit an abstract for a conference to be held at the University of Hertfordshire on April 2nd & April 3rd 2012. This inter-disciplinary conference will explore science fiction in all its forms both in popular culture and in the academy. Papers, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to (but not limited to) any of the following themes:
scientific romance
steampunk
cyberpunk
mundane science fiction
the pulps
comics and graphic novels
science fiction film
science fiction television
feminist science fiction
science fiction and gender
science fiction and sexuality
science fiction and race
apocalypse and science fiction
utopias and dystopias
ecocriticism and science fiction
children’s science fiction
Panels and papers on Joanna Russ particularly welcome
Panels and Papers on Doctor Who particularly welcome
300 word abstracts should be submitted by 30th November 2011. Abstracts should be submitted to the conference organizer, Dr Pat Wheeler: p.a.wheeler@herts.ac.uk. Emails should be entitled Worlds Apart Conference: Abstract and should contain the following information:
a) author(s) of paper/presentation; b) affiliation; c) title of abstract; d) body of abstract
Call for papers: Worlds Apart: Science Fiction Conference April 2012
full name / name of organization:
University of Hertfordshire
contact email:
p.a.wheeler@herts.ac.uk
English Literature and Creative Writing Group, University of Hertfordshire, UK
contact email:
p.a.wheeler@herts.ac.uk
Keynote Speakers: TBA
Call for Papers
Potential contributors are invited to submit an abstract for a conference to be held at the University of Hertfordshire on April 2nd & April 3rd 2012. This inter-disciplinary conference will explore science fiction in all its forms both in popular culture and in the academy. Papers, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to (but not limited to) any of the following themes:
scientific romance
steampunk
cyberpunk
mundane science fiction
the pulps
comics and graphic novels
science fiction film
science fiction television
feminist science fiction
science fiction and gender
science fiction and sexuality
science fiction and race
apocalypse and science fiction
utopias and dystopias
ecocriticism and science fiction
children’s science fiction
Panels and papers on Joanna Russ particularly welcome
Panels and Papers on Doctor Who particularly welcome
300 word abstracts should be submitted by 30th November 2011. Abstracts should be submitted to the conference organizer, Dr Pat Wheeler: p.a.wheeler@herts.ac.uk. Emails should be entitled Worlds Apart Conference: Abstract and should contain the following information:
a) author(s) of paper/presentation; b) affiliation; c) title of abstract; d) body of abstract
CFP A Grimm Legacy: The Impact of Grimms' Tales in the English Speaking World (1/31/12)
http://call-for-papers.sas.upenn.edu/node/41940
A Grimm Legacy: The Impact of Grimms' Tales in the English Speaking World. 6th-8th September 2012.
full name / name of organization:
Dr. Andrew Teverson, Kingston University
contact email:
a.teverson@kingston.ac.uk
2012 is the bicentenary of the publication of the first volume of the Kinder- und Hausmärchen by Jacob and Wilhelm Grimm. To mark this occasion, the Department of English Literature and Creative Writing at Kingston University (U.K.) is planning a series of open lectures and a conference assessing the impact of the Grimms’ collection upon literature and culture in the English speaking world. This will be a multi-disciplinary conference, and contributions from any disciplinary perspective will be welcome. We also welcome proposals to read creative work, screen films, mount performances and exhibit visual work.
Confirmed Keynote Speakers: Professor Donald Haase (Wayne State University) and Neil Philip (Author and Independent Scholar).
Please submit an abstract of approximately 300 words, and a brief contributor’s bio online at:
www.kingston.ac.uk/activities/conferences/abstracts/
Deadline: January 31st 2012.
Enquiries: Dr Andrew Teverson
A Grimm Legacy: The Impact of Grimms' Tales in the English Speaking World. 6th-8th September 2012.
full name / name of organization:
Dr. Andrew Teverson, Kingston University
contact email:
a.teverson@kingston.ac.uk
2012 is the bicentenary of the publication of the first volume of the Kinder- und Hausmärchen by Jacob and Wilhelm Grimm. To mark this occasion, the Department of English Literature and Creative Writing at Kingston University (U.K.) is planning a series of open lectures and a conference assessing the impact of the Grimms’ collection upon literature and culture in the English speaking world. This will be a multi-disciplinary conference, and contributions from any disciplinary perspective will be welcome. We also welcome proposals to read creative work, screen films, mount performances and exhibit visual work.
Confirmed Keynote Speakers: Professor Donald Haase (Wayne State University) and Neil Philip (Author and Independent Scholar).
Please submit an abstract of approximately 300 words, and a brief contributor’s bio online at:
www.kingston.ac.uk/activities/conferences/abstracts/
Deadline: January 31st 2012.
Enquiries: Dr Andrew Teverson
CFP Tolkien at Kalamazoo sessions for IMC 2012 (9/1/11) (Kalamazoo)
http://call-for-papers.sas.upenn.edu/node/41838
CFP: Tolkien at Kalamazoo sessions for IMC 2012
full name / name of organization:
Brad Eden
contact email:
brad.eden@valpo.edu
This is a call for papers for the 5 sessions and 1 roundtable recently approved for the 2012 International Medieval Congress in Kalamazoo, MI in May 2012. These sessions are:
Tolkien and Ideology
The Hobbit on its 75th anniversary
Tolkien's shorter poems and lyrics
Tolkien and Women
Legend of Sigurd and Gudrun
Teaching Tolkien (roundtable)
The deadline for submission of paper proposals is September 1 to Dr. Brad Eden at brad.eden@valpo.edu. If you have any questions, please send them to this email. Thanks.
CFP: Tolkien at Kalamazoo sessions for IMC 2012
full name / name of organization:
Brad Eden
contact email:
brad.eden@valpo.edu
This is a call for papers for the 5 sessions and 1 roundtable recently approved for the 2012 International Medieval Congress in Kalamazoo, MI in May 2012. These sessions are:
Tolkien and Ideology
The Hobbit on its 75th anniversary
Tolkien's shorter poems and lyrics
Tolkien and Women
Legend of Sigurd and Gudrun
Teaching Tolkien (roundtable)
The deadline for submission of paper proposals is September 1 to Dr. Brad Eden at brad.eden@valpo.edu. If you have any questions, please send them to this email. Thanks.
CFP Enchantment, Spec. Issue of Women's Studies Quarterly (10/1/11)
http://call-for-papers.sas.upenn.edu/node/41645
Women's Studies Quarterly: Enchantment
full name / name of organization:
Women's Studies Quarterly
contact email:
WSQEnchantmentIssue@gmail.com
Call for Papers
WSQ Special Issue: Enchantment
Special Editors: Ann Burlein & Jackie Orr
This issue of WSQ attempts to intervene in the present moment by conjuring the power and seductions of enchantment. How to find and create places of allure when things seem impossible, when the world seems impassable, when survival becomes a question for too many? What possibilities might be needed to imagine a world in which one could flourish? And what might be the serious and playful role of enchantments in materializing that world? In queer and feminist kinship with multiple sites of enchanted practice that already exist both inside and outside the university, we seek to intensify and proliferate transformative forms of enchantment that devise escape routes that are not escapist.
Yet enchantment is a contested strategy, whose ambivalence requires exploration and investigation. Enchantment is regularly used by the state and various civil, disciplinary, and capitalist agencies, from cultures of resistance to corporations to professors. In light of recent theorizations of “occult economies,” “the magic of the state,” “queer temporalities,” and “the enchantment of everyday life,” we invite post-disciplinary re-thinkings that move beyond social logics and political rationalities toward the magic allurements of power that captivate and capture. How to negotiate these ambivalent registers so as to enchant a different series of connections, a different scene of collective and individual possibilities?
One animating ambition of this issue is to help redefine and expand critical notions of what 19th century Anglo European societies came to call ‘the occult.’ Without an understanding of diverse historical sedimentations of “occult forces,” it is difficult to trace what is happening with religion, race, sexuality, politics, gender, militarisms, and commodity cultures at this particular moment in time. Deeper historical and contemporary accounts of the charmed vitality of ‘the occult’ in so many realms of imaginal culture provide a crucial contribution to the expanded and revised conceptions of materialism demanded by the politics of this time.
• Collective effervescence, contagious revolutions
• Enchanted icons (children, animals, the dark, secrets, divas, mermaids, saints, dungeons, hybrids, islands)
• Haunting and ghostly matters
• Allure of utopias and utopian thought
• Racialization of figures and spaces of magic
• Mysticisms—historical and contemporary, everyday and ecstatic, affective and political
• Seductions of capital (speculative finance, occult ontologies of value)
• The sacred and its popular re-purposings
• Erotics of power; powers of the erotic
• State ‘magic’ (disappearances, torture, terror, rendition, public secrets)
• Militant politics of play
• Pagan religiosities, new age spiritualities, new age Orientalisms
• Contemporary psychoanalytics of fantasy and the imaginary
• Queer practices of be/longings and bondings
• Politics of the dead and of death
• Science fiction, urban fantasy
• Imperialism, colonization, cultural appropriations and ‘enchantment’
• Politics and aesthetics of evil
• ‘When Things Speak’ (speculative realisms, agential realisms, actor network theory and other animist assemblages)
• Yoga, meditation, bodywork, alternative healing practices
• Popular cultures of secular enchantment
• Drugs and the pharmacologics of ecstasy (legal and non-legal)
• Uncanny technologies of vision and embodiment (puppets, avatars, digital animation)
If submitting academic work, please send articles by October 1, 2011 to the guest editors, Ann Burlein and Jackie Orr at WSQEnchantmentIssue@gmail.com. Submission should not exceed 20 double spaced, 12-point font pages. Full submission guidelines may be found at: http://www.feministpress.org/wsq/submission-guidelines. Articles must conform to WSQ guidelines in order to be considered for submission.
“Classic Revisited” submissions: Two of Audre Lorde’s influential essays, “Poetry is Not a Luxury” (1978), and “Uses of the Erotic: The Erotic as Power” (1981) will be the classic texts we revisit for this special issue. Please send a short commentary (1-2,000 words) on how you continue to read, teach, re-think, and re-enchant these essays to the guest editors, Ann Burlein and Jackie Orr, at WSQEnchantmentIssue@gmail.com by October 1, 2011.
Poetry submissions: Please review previous issues of WSQ to see what type of submissions we prefer before submitting poems. Please note that poetry submissions may be held for six months or longer. Simultaneous submissions are acceptable if the poetry editor is notified immediately of acceptance elsewhere. We do not accept work that has been previously published. Please paste poetry submissions into the body of the e-mail along with all contact information. Poetry submissions should be sent to WSQ's poetry editor, Kathleen Ossip, at WSQpoetry@gmail.com by October 1, 2011.
Prose submissions: Please review previous issues of WSQ to see what type of submissions we prefer before submitting prose. Please note that prose submissions may be held for six months or longer. Simultaneous submissions are acceptable if the prose editor is notified immediately of acceptance elsewhere. We do not accept work that has been previously published. Please provide all contact information in the body of the e-mail. Fiction, essay, and memoir submissions should be sent to WSQ's fiction/nonfiction editor, Jocelyn Lieu, at WSQpoetry@gmail.com by October 1, 2011.
Art submissions should be sent to WSQ’s art editor, Margot Bouman, at WSQArt@gmail.com, by October 1, 2011. After art is reviewed and accepted, accepted art must be sent to the journal's managing editor on a CD that includes all artwork of 300 DPI or greater, saved as 4.25 inches wide or larger. These files should be saved as individual JPEGS or TIFFS.
Women's Studies Quarterly: Enchantment
full name / name of organization:
Women's Studies Quarterly
contact email:
WSQEnchantmentIssue@gmail.com
Call for Papers
WSQ Special Issue: Enchantment
Special Editors: Ann Burlein & Jackie Orr
This issue of WSQ attempts to intervene in the present moment by conjuring the power and seductions of enchantment. How to find and create places of allure when things seem impossible, when the world seems impassable, when survival becomes a question for too many? What possibilities might be needed to imagine a world in which one could flourish? And what might be the serious and playful role of enchantments in materializing that world? In queer and feminist kinship with multiple sites of enchanted practice that already exist both inside and outside the university, we seek to intensify and proliferate transformative forms of enchantment that devise escape routes that are not escapist.
Yet enchantment is a contested strategy, whose ambivalence requires exploration and investigation. Enchantment is regularly used by the state and various civil, disciplinary, and capitalist agencies, from cultures of resistance to corporations to professors. In light of recent theorizations of “occult economies,” “the magic of the state,” “queer temporalities,” and “the enchantment of everyday life,” we invite post-disciplinary re-thinkings that move beyond social logics and political rationalities toward the magic allurements of power that captivate and capture. How to negotiate these ambivalent registers so as to enchant a different series of connections, a different scene of collective and individual possibilities?
One animating ambition of this issue is to help redefine and expand critical notions of what 19th century Anglo European societies came to call ‘the occult.’ Without an understanding of diverse historical sedimentations of “occult forces,” it is difficult to trace what is happening with religion, race, sexuality, politics, gender, militarisms, and commodity cultures at this particular moment in time. Deeper historical and contemporary accounts of the charmed vitality of ‘the occult’ in so many realms of imaginal culture provide a crucial contribution to the expanded and revised conceptions of materialism demanded by the politics of this time.
• Collective effervescence, contagious revolutions
• Enchanted icons (children, animals, the dark, secrets, divas, mermaids, saints, dungeons, hybrids, islands)
• Haunting and ghostly matters
• Allure of utopias and utopian thought
• Racialization of figures and spaces of magic
• Mysticisms—historical and contemporary, everyday and ecstatic, affective and political
• Seductions of capital (speculative finance, occult ontologies of value)
• The sacred and its popular re-purposings
• Erotics of power; powers of the erotic
• State ‘magic’ (disappearances, torture, terror, rendition, public secrets)
• Militant politics of play
• Pagan religiosities, new age spiritualities, new age Orientalisms
• Contemporary psychoanalytics of fantasy and the imaginary
• Queer practices of be/longings and bondings
• Politics of the dead and of death
• Science fiction, urban fantasy
• Imperialism, colonization, cultural appropriations and ‘enchantment’
• Politics and aesthetics of evil
• ‘When Things Speak’ (speculative realisms, agential realisms, actor network theory and other animist assemblages)
• Yoga, meditation, bodywork, alternative healing practices
• Popular cultures of secular enchantment
• Drugs and the pharmacologics of ecstasy (legal and non-legal)
• Uncanny technologies of vision and embodiment (puppets, avatars, digital animation)
If submitting academic work, please send articles by October 1, 2011 to the guest editors, Ann Burlein and Jackie Orr at WSQEnchantmentIssue@gmail.com. Submission should not exceed 20 double spaced, 12-point font pages. Full submission guidelines may be found at: http://www.feministpress.org/wsq/submission-guidelines. Articles must conform to WSQ guidelines in order to be considered for submission.
“Classic Revisited” submissions: Two of Audre Lorde’s influential essays, “Poetry is Not a Luxury” (1978), and “Uses of the Erotic: The Erotic as Power” (1981) will be the classic texts we revisit for this special issue. Please send a short commentary (1-2,000 words) on how you continue to read, teach, re-think, and re-enchant these essays to the guest editors, Ann Burlein and Jackie Orr, at WSQEnchantmentIssue@gmail.com by October 1, 2011.
Poetry submissions: Please review previous issues of WSQ to see what type of submissions we prefer before submitting poems. Please note that poetry submissions may be held for six months or longer. Simultaneous submissions are acceptable if the poetry editor is notified immediately of acceptance elsewhere. We do not accept work that has been previously published. Please paste poetry submissions into the body of the e-mail along with all contact information. Poetry submissions should be sent to WSQ's poetry editor, Kathleen Ossip, at WSQpoetry@gmail.com by October 1, 2011.
Prose submissions: Please review previous issues of WSQ to see what type of submissions we prefer before submitting prose. Please note that prose submissions may be held for six months or longer. Simultaneous submissions are acceptable if the prose editor is notified immediately of acceptance elsewhere. We do not accept work that has been previously published. Please provide all contact information in the body of the e-mail. Fiction, essay, and memoir submissions should be sent to WSQ's fiction/nonfiction editor, Jocelyn Lieu, at WSQpoetry@gmail.com by October 1, 2011.
Art submissions should be sent to WSQ’s art editor, Margot Bouman, at WSQArt@gmail.com, by October 1, 2011. After art is reviewed and accepted, accepted art must be sent to the journal's managing editor on a CD that includes all artwork of 300 DPI or greater, saved as 4.25 inches wide or larger. These files should be saved as individual JPEGS or TIFFS.
CFP Approaches to Adventure in the Late 19th Century (8/1/11) (NeMLA)
http://call-for-papers.sas.upenn.edu/node/41644
NEMLA: March 15-18, 2012. Call for papers – Approaches to Adventure in the Late 19th Century
full name / name of organization:
Rebekah Greene/University of Rhode Island
contact email:
Rebekah_greene@my.uri.edu
This panel examines the burgeoning interest in adventure during the years 1880-1901. Joseph A. Kestner in his recent _Masculinities in British Adventure Fiction, 1880-1915_ has suggested that adventure texts are filled with ‘codes’ such as ‘rescue, heroism, survival, courage, duty, isolation, voyaging’ for audiences to ‘live up to’ (1). Papers that scrutinize late Victorian literary treatments of these codes, in addition to tropes such as travel, sailing, mountain climbing, and camping are warmly welcomed.
Possible questions to examine include:
What is the cultural or historical significance of this attention to adventure and why should it be celebrated?
Why are the codes of adventure important, for both the individual and for the state?
How do Victorian authors of adventure texts use their works to problematize empire?
Can adventure texts function as pedagogical tools for younger readers, colonial administrators, or emigrants?
Do adventure texts function at different levels for colonizing or colonized audiences?
How do female authors treat the codes of adventure?
What does this intense engagement with adventure reveal?
Please submit 250-500 word abstracts (as an MS Word attachment, please) to Rebekah Greene, rebekah_greene@my.uri.edu, with NEMLA 2012 as the subject heading by August 1st, 2011.
Information for the convention can be found at http://www.nemla.org/convention/2012/
NEMLA: March 15-18, 2012. Call for papers – Approaches to Adventure in the Late 19th Century
full name / name of organization:
Rebekah Greene/University of Rhode Island
contact email:
Rebekah_greene@my.uri.edu
This panel examines the burgeoning interest in adventure during the years 1880-1901. Joseph A. Kestner in his recent _Masculinities in British Adventure Fiction, 1880-1915_ has suggested that adventure texts are filled with ‘codes’ such as ‘rescue, heroism, survival, courage, duty, isolation, voyaging’ for audiences to ‘live up to’ (1). Papers that scrutinize late Victorian literary treatments of these codes, in addition to tropes such as travel, sailing, mountain climbing, and camping are warmly welcomed.
Possible questions to examine include:
What is the cultural or historical significance of this attention to adventure and why should it be celebrated?
Why are the codes of adventure important, for both the individual and for the state?
How do Victorian authors of adventure texts use their works to problematize empire?
Can adventure texts function as pedagogical tools for younger readers, colonial administrators, or emigrants?
Do adventure texts function at different levels for colonizing or colonized audiences?
How do female authors treat the codes of adventure?
What does this intense engagement with adventure reveal?
Please submit 250-500 word abstracts (as an MS Word attachment, please) to Rebekah Greene, rebekah_greene@my.uri.edu, with NEMLA 2012 as the subject heading by August 1st, 2011.
Information for the convention can be found at http://www.nemla.org/convention/2012/
CFP: Paranormal Mysteries (theme issue of _Clues: A Journal of Detection_) (12/29/11)
http://www.h-net.org/announce/show.cgi?ID=185997
CFP: Paranormal Mysteries (theme issue of _Clues: A Journal of Detection_)
Call for Papers Date: 2011-12-29
Date Submitted: 2011-06-19
Announcement ID: 185997
Guest editor: A. B. Emrys (University of Nebraska–Kearney)
Paranormal mysteries often feature the usual suspects (ghosts, vampires, werewolves, and so forth) but also branch into the gothic, spirituality (as in Tony Hillerman's skinwalkers, Michael Gruber’s shaman trilogy), and other magic realism, as well as biochemical transformation (as in the Relic series) and a wide variety of mystery hybrids with horror and dark fantasy. For this theme issue of _Clues_, potential contributors are urged to think outside the normal boxes. Thematic analysis might include (but is not limited to):
• the paranormal as red herring (explained away by the end, as in Arthur Conan Doyle’s _The Hound of the Baskervilles_)
• minority culture treated as paranormal (as in depictions of voodoo as horror) in mystery texts
• whether horror/dark fantasy in general requires detection
• the paranormal dialogue with subcategories of mystery: clue-puzzle/hard-boiled/noir/private eye/spy/police procedural/etc.
• paranormal romance in relation to romantic suspense
• the mystery ingredients most affected by paranormal hybridity
• women characters as detectives and/or monsters and/or victims in paranormal mysteries
• international adaptations of British horror classics
• film/TV adaptations of paranormal mysteries
• use and/or overuse of providence and other supernatural means for mystery resolution
• the dialogue between literary and popular gothic texts
• stage adaptations of paranormal detection
• paranormal mysteries as reading tools/pedagogical resources
Submissions should include a 50-word abstract and 4-5 keywords, and be between 15 and 20 double-spaced, typed pages (approximately 3,300 to 6,000 words) in Microsoft Word with minimal formatting. Manuscripts should follow the _MLA Style Manual_ (3rd ed., 2008), including parenthetical citations in text and an alphabetized list of Works Cited. Please confirm that manuscripts have been submitted solely to _Clues_.
Submit manuscripts by email to:
Dr. Janice Allan
Executive Editor, _Clues: A Journal of Detection_
Email: J.M.Allan at salford.ac.uk
Direct questions to:
Elizabeth Foxwell
Managing Editor, _Clues: A Journal of Detection_
Email: clues at elizabethfoxwell.com
Elizabeth Foxwell
Managing Editor, _Clues: A Journal of Detection_
Email: clues@elizabethfoxwell.com
Visit the website at http://tinyurl.com/aboutclues
CFP: Paranormal Mysteries (theme issue of _Clues: A Journal of Detection_)
Call for Papers Date: 2011-12-29
Date Submitted: 2011-06-19
Announcement ID: 185997
Guest editor: A. B. Emrys (University of Nebraska–Kearney)
Paranormal mysteries often feature the usual suspects (ghosts, vampires, werewolves, and so forth) but also branch into the gothic, spirituality (as in Tony Hillerman's skinwalkers, Michael Gruber’s shaman trilogy), and other magic realism, as well as biochemical transformation (as in the Relic series) and a wide variety of mystery hybrids with horror and dark fantasy. For this theme issue of _Clues_, potential contributors are urged to think outside the normal boxes. Thematic analysis might include (but is not limited to):
• the paranormal as red herring (explained away by the end, as in Arthur Conan Doyle’s _The Hound of the Baskervilles_)
• minority culture treated as paranormal (as in depictions of voodoo as horror) in mystery texts
• whether horror/dark fantasy in general requires detection
• the paranormal dialogue with subcategories of mystery: clue-puzzle/hard-boiled/noir/private eye/spy/police procedural/etc.
• paranormal romance in relation to romantic suspense
• the mystery ingredients most affected by paranormal hybridity
• women characters as detectives and/or monsters and/or victims in paranormal mysteries
• international adaptations of British horror classics
• film/TV adaptations of paranormal mysteries
• use and/or overuse of providence and other supernatural means for mystery resolution
• the dialogue between literary and popular gothic texts
• stage adaptations of paranormal detection
• paranormal mysteries as reading tools/pedagogical resources
Submissions should include a 50-word abstract and 4-5 keywords, and be between 15 and 20 double-spaced, typed pages (approximately 3,300 to 6,000 words) in Microsoft Word with minimal formatting. Manuscripts should follow the _MLA Style Manual_ (3rd ed., 2008), including parenthetical citations in text and an alphabetized list of Works Cited. Please confirm that manuscripts have been submitted solely to _Clues_.
Submit manuscripts by email to:
Dr. Janice Allan
Executive Editor, _Clues: A Journal of Detection_
Email: J.M.Allan at salford.ac.uk
Direct questions to:
Elizabeth Foxwell
Managing Editor, _Clues: A Journal of Detection_
Email: clues at elizabethfoxwell.com
Elizabeth Foxwell
Managing Editor, _Clues: A Journal of Detection_
Email: clues@elizabethfoxwell.com
Visit the website at http://tinyurl.com/aboutclues
CFP All that Gothic (Poland) (9/10/11)
All that Gothic
http://www.h-net.org/announce/show.cgi?ID=185946
Location: Poland
Conference Date: 2011-11-17
An international, interdisciplinary conference devoted to all things Gothic. We welcome submissions of papers on various regional expressions of Gothicism (e.g. European, American, Asian) in all areas of literary, film and cultural studies. Individual papers may want to explore Gothic tropes (madness, the sublime, the uncanny, etc), Gothic topography (urban underworlds, landscape), queer Gothic and the themes of gender, race, class, sexuality, Gothic and the media, or concentrate on Gothic bodies (vampires).
Guest Speakers: Prof. Dr. Elisabeth Bronfen, University of Zurich, Prof. Yvonne Leffler, University of Gothenburg.
Abstract submission deadline: 10 September 2011
Agnieszka £owczanin, Dorota Wisniewska
University of £ódŸ
al. Kosciuszki 65
£ódŸ, Poland
(4842)6655221
Email: gothiclodz@gmail.com
Visit the website at http://ia.uni.lodz.pl/gothic2011
http://www.h-net.org/announce/show.cgi?ID=185946
Location: Poland
Conference Date: 2011-11-17
An international, interdisciplinary conference devoted to all things Gothic. We welcome submissions of papers on various regional expressions of Gothicism (e.g. European, American, Asian) in all areas of literary, film and cultural studies. Individual papers may want to explore Gothic tropes (madness, the sublime, the uncanny, etc), Gothic topography (urban underworlds, landscape), queer Gothic and the themes of gender, race, class, sexuality, Gothic and the media, or concentrate on Gothic bodies (vampires).
Guest Speakers: Prof. Dr. Elisabeth Bronfen, University of Zurich, Prof. Yvonne Leffler, University of Gothenburg.
Abstract submission deadline: 10 September 2011
Agnieszka £owczanin, Dorota Wisniewska
University of £ódŸ
al. Kosciuszki 65
£ódŸ, Poland
(4842)6655221
Email: gothiclodz@gmail.com
Visit the website at http://ia.uni.lodz.pl/gothic2011
CFP CFP MAPACA Conference 2011 SF/Fantasy Area (6/15/11)
Sorry I missed this one:
CFP MAPACA Conference 2011 SF/Fantasy Area
http://www.h-net.org/announce/show.cgi?ID=185258
Call for Papers (CFP) MAPACA 2011
PHILADELPHIA, PA
The Mid-Atlantic Popular and American Culture Association (MAPACA) invites academics, graduate and undergraduate students, independent scholars, and artists to submit papers for the annual conference, to be held in Washington, D.C. Those interested in presenting at the conference are invited to submit ONE proposal or panel to ONE of the areas listed below by June 15, 2011. Include a brief bio with your proposal. Single papers, as well as 3- or 4-person panels and roundtables, are encouraged. For further information, updates on areas and area chairs, please visit MAPACA¡¦s web site at www.mapaca.net.
Science Fiction and Fantasy
Science Fiction and Fantasy welcomes papers/presentations in any critical, theoretical, or (inter)disciplinary approach to any topic related to SF/F: art; literature; radio; film; television; video, role-playing, and multi-player online games. Though not an exhaustive list, potential presenters may wish to consider the following:
„X Fans and Fandom/Community Building
„X Gender and Sexuality
„X Race and Otherness
„X Class and Hierarchies
„X Utopia/Dystopia
„X Language and Rhetoric
„X Genre¡XSpace Opera, Cyberpunk, Dark Fantasy, etc.
„X Textual Analysis
„X Sociological or Psychological Readings
„X Archival Research/History
„X Technology¡XTextual and Literal
„X Online Identity Construction
„X Mythology and Quest Narratives
„X Creatures and Aliens
„X Science and Magic
„X Reading Other ¡§Worlds¡¨
„« SPECIAL TOPIC: GAME OF THRONES/SONG OF ICE & FIRE
Vampire Romance
Vampire Romance welcomes papers/presentations which examine any of the recent (and not so recent) representations of vampires not as blood-sucking fiends, but as romantic heroes in film, television, art, and literature. Though not an exhaustive list, potential presenters may wish to consider the following:
„X The Byronic Hero
„X Textual Analysis
„X Race and Otherness
„X Language and Rhetoric
„X Archival Research/History
„X Fans and Fandom
„X Sociological or Psychological Readings
For those who relish their vampire fiends, MAPACA also has a place for you. See our ¡§Horror¡¨ area.
Marilyn Stern Wentworth Institute of Technology sternm@wit.edu
Marilyn R. Stern
Wentworth Institute of Technology
550 Huntington Avenue
Boston, MA 02115
617-989-4371
Email: sternm@wit.edu
Visit the website at http://www.mapaca.net
CFP MAPACA Conference 2011 SF/Fantasy Area
http://www.h-net.org/announce/show.cgi?ID=185258
Call for Papers (CFP) MAPACA 2011
PHILADELPHIA, PA
The Mid-Atlantic Popular and American Culture Association (MAPACA) invites academics, graduate and undergraduate students, independent scholars, and artists to submit papers for the annual conference, to be held in Washington, D.C. Those interested in presenting at the conference are invited to submit ONE proposal or panel to ONE of the areas listed below by June 15, 2011. Include a brief bio with your proposal. Single papers, as well as 3- or 4-person panels and roundtables, are encouraged. For further information, updates on areas and area chairs, please visit MAPACA¡¦s web site at www.mapaca.net.
Science Fiction and Fantasy
Science Fiction and Fantasy welcomes papers/presentations in any critical, theoretical, or (inter)disciplinary approach to any topic related to SF/F: art; literature; radio; film; television; video, role-playing, and multi-player online games. Though not an exhaustive list, potential presenters may wish to consider the following:
„X Fans and Fandom/Community Building
„X Gender and Sexuality
„X Race and Otherness
„X Class and Hierarchies
„X Utopia/Dystopia
„X Language and Rhetoric
„X Genre¡XSpace Opera, Cyberpunk, Dark Fantasy, etc.
„X Textual Analysis
„X Sociological or Psychological Readings
„X Archival Research/History
„X Technology¡XTextual and Literal
„X Online Identity Construction
„X Mythology and Quest Narratives
„X Creatures and Aliens
„X Science and Magic
„X Reading Other ¡§Worlds¡¨
„« SPECIAL TOPIC: GAME OF THRONES/SONG OF ICE & FIRE
Vampire Romance
Vampire Romance welcomes papers/presentations which examine any of the recent (and not so recent) representations of vampires not as blood-sucking fiends, but as romantic heroes in film, television, art, and literature. Though not an exhaustive list, potential presenters may wish to consider the following:
„X The Byronic Hero
„X Textual Analysis
„X Race and Otherness
„X Language and Rhetoric
„X Archival Research/History
„X Fans and Fandom
„X Sociological or Psychological Readings
For those who relish their vampire fiends, MAPACA also has a place for you. See our ¡§Horror¡¨ area.
Marilyn Stern Wentworth Institute of Technology sternm@wit.edu
Marilyn R. Stern
Wentworth Institute of Technology
550 Huntington Avenue
Boston, MA 02115
617-989-4371
Email: sternm@wit.edu
Visit the website at http://www.mapaca.net
CFP Capturing Witches: Histories, Stories, Images. 400 years after the Lancashire Witches (12/1/11)
http://www.h-net.org/announce/show.cgi?ID=185240
Capturing Witches: Histories, Stories, Images. 400 years after the Lancashire Witches
Lancaster University
17-19 August 2012
Confirmed Keynote speakers: Diane Purkiss (UWE); Robert Poole (Cumbria)
CALL FOR PAPERS
In 2012, a year-long programme of events in Lancaster and the surrounding area will mark the 400th anniversary of the trial and execution of the first group of Lancashire Witches. A second trial occurred in 1634 and although pardoned, the accused were re-imprisoned in Lancaster Castle. The case of the Lancashire Witches and their supposed crimes interwove fact and fiction, local hostilities and more exotic ideas of witches’ sabbats that were usually associated with continental witchcraft. They became a cause célèbre, like the witches of Trier and Fulda (Germany), Torsåker (Sweden) and Salem (North America).
This interdisciplinary conference uses the Lancashire witches as a focal point to engage with wider questions about witchcraft: its definitions as maleficium (evil doing) or demonology in trials, the various traditions of witchcraft across centuries and continents, and the ways in which contemporary practice engages with these.
Capturing Witches: Histories, Stories, Images will focus particular attention on how witchcraft is theorised and represented in and through history and across cultures. We particularly encourage considerations of literary, musical, artistic and filmic representations of witchcraft.
We invite proposals for 20-minute papers and panels on witches and/or witchcraft which might address - but are not limited to - the following themes:
antiquity;
religion and belief;
Neo-Paganism;
the developing world;
human rights;
gender;
corporeality;
location;
ritual (ceremony, performance, magical practice);
childhood;
language;
law;
consumption ( dress, fashion, food);
the arts (literature, music, film, painting, dance, theatre, graphic novels);
the Gothic;
new media
Proposals for contributions which go beyond the conventional academic format are also welcome.
Proposals (paper: 250 words, panel/other format: 500 words) including a 50-word bio for each contributor should be sent to the conference team by 1 December 2011 to capturingwitches@lancaster.ac.uk. Decisions on submissions will be made by 31 January 2012.
Conference team: Charlotte Baker, Alison Findlay, Liz Oakley-Brown, Elena Semino, Catherine Spooner
The Conference Team
Capturing Witches
c/o Charlotte Baker
B46 Bowland North
Lancaster University
Lancaster
LA1 4YN
Email: capturingwitches@lancaster.ac.uk
Capturing Witches: Histories, Stories, Images. 400 years after the Lancashire Witches
Lancaster University
17-19 August 2012
Confirmed Keynote speakers: Diane Purkiss (UWE); Robert Poole (Cumbria)
CALL FOR PAPERS
In 2012, a year-long programme of events in Lancaster and the surrounding area will mark the 400th anniversary of the trial and execution of the first group of Lancashire Witches. A second trial occurred in 1634 and although pardoned, the accused were re-imprisoned in Lancaster Castle. The case of the Lancashire Witches and their supposed crimes interwove fact and fiction, local hostilities and more exotic ideas of witches’ sabbats that were usually associated with continental witchcraft. They became a cause célèbre, like the witches of Trier and Fulda (Germany), Torsåker (Sweden) and Salem (North America).
This interdisciplinary conference uses the Lancashire witches as a focal point to engage with wider questions about witchcraft: its definitions as maleficium (evil doing) or demonology in trials, the various traditions of witchcraft across centuries and continents, and the ways in which contemporary practice engages with these.
Capturing Witches: Histories, Stories, Images will focus particular attention on how witchcraft is theorised and represented in and through history and across cultures. We particularly encourage considerations of literary, musical, artistic and filmic representations of witchcraft.
We invite proposals for 20-minute papers and panels on witches and/or witchcraft which might address - but are not limited to - the following themes:
antiquity;
religion and belief;
Neo-Paganism;
the developing world;
human rights;
gender;
corporeality;
location;
ritual (ceremony, performance, magical practice);
childhood;
language;
law;
consumption ( dress, fashion, food);
the arts (literature, music, film, painting, dance, theatre, graphic novels);
the Gothic;
new media
Proposals for contributions which go beyond the conventional academic format are also welcome.
Proposals (paper: 250 words, panel/other format: 500 words) including a 50-word bio for each contributor should be sent to the conference team by 1 December 2011 to capturingwitches@lancaster.ac.uk. Decisions on submissions will be made by 31 January 2012.
Conference team: Charlotte Baker, Alison Findlay, Liz Oakley-Brown, Elena Semino, Catherine Spooner
The Conference Team
Capturing Witches
c/o Charlotte Baker
B46 Bowland North
Lancaster University
Lancaster
LA1 4YN
Email: capturingwitches@lancaster.ac.uk
CFP Transnational Boys’ Love (BL) Fan Studies, special issue of TWC (3/1/12)
http://www.h-net.org/announce/show.cgi?ID=185722
“Transnational Boys’ Love Fan Studies,” a special issue of Transformative Works and Cultures, edited by Kazumi Nagaike and Katsuhiko Suganuma, Oita University
The editors of this special issue of Transformative Works and Cultures seek papers examining the activities of transnational ‘BL’ (Boys’ Love) fans, fan communities, fandom, and the production of fan fiction beyond Japan and North America. Specifically, we are seeking contributors who are engaged in the exploration of non-Japanese and non-North American contexts (e.g. Europe, the Asia-Pacific region, Africa, and others). Transnational BL fan studies may also be incorporated into the broader socio/political critical frameworks offered by studies in economics, gender/sexuality, race/class, and other areas.
‘BL’ (Boys’ Love), a genre of male homosexual narratives (consisting of manga, novels, animations, games, films, and so forth) written by and for women, has recently been acknowledged, by Japanese and non-Japanese scholars alike, as a significant component of Japanese popular culture. The aesthetic and style of Japanese BL have also been assumed, deployed and transformed by female fans transnationally. The current thrust of transnational BL practices raises a number of important issues relating to socio/cultural constructs of BL localization and globalization.
We welcome submissions dealing with, but not limited to, the following topics:
--Case-studies and ethnographic examinations of BL fans, specifically examining fans’ sex/gender, age, occupation, class, race/ethnicity, et cetera.
--Local ethnographies relating to BL fans’ production, distribution, and use of these materials. Discussions concerning the ways in which broadly framed socio/political issues or forms of consciousness (e.g. gender/sexuality formations, authorities’ interference, censorship, and so forth) impact fans’ BL activities.
--Media and social responses to fans’ involvement in BL activities.
--Commercial aspects of BL and fans’ contribution to the development of BL economics.
--The integration of research on BL fans into a wider discussion of social theory, differing cultural discourses, and globalization.
--Discussions concerning the ways in which BL fans’ forms of production, distribution, and consumption might challenge traditional notions of Author, Reader, and Text.
--Theoretical overviews reflecting traditional/contemporary ideas of fandom, fans, fan communities, and fans’ means of communications, demonstrating how these ideas specifically relate to BL fans.
--Explorations of the ways in which BL participants are motivated to become involved in other fan-oriented activities (e.g. cosplay; female fans’ cross-dressing as male BL characters).
##Submissions##
TWC accommodates academic articles of varying scope as well as other forms that embrace the technical possibilities of the Web and test the limits of the genre of academic writing. Contributors are encouraged to include embedded links, images, and videos in their articles or to propose submissions in alternative formats that might comprise interviews, collaborations, or video/multimedia works. We are also seeking reviews of relevant books, events, courses, platforms, or projects.
--Theory: Often interdisciplinary essays with a conceptual focus and a theoretical frame that offer expansive interventions in the field. Peer review. Length: 5,000–8,000 words plus a 100–250-word abstract.
--Praxis: Analyses of particular cases that may apply a specific theory or framework to an artifact; explicate fan practice or formations; or perform a detailed reading of a text. Peer review. Length: 4,000–7,000 words plus a 100–250-word abstract.
--Symposium: Short pieces that provide insight into current developments and debates. Editorial review. Length: 1,500–2,500 words.
Submissions are accepted online only. Please visit TWC’s Web site for complete submission guidelines, or e-mail editor AT transformativeworks.org.
##Due dates##
Contributions for blind peer review (Theory and Praxis essays) are due by March 1, 2012.
Contributions that undergo editorial review (Symposium, Interview, Review) are due by April 1, 2012.
Kazumi Nagaike, nagaikeoita-u.ac.jp
Katsuhiko Suganuma, suganumaoita-u.ac.jp
Oita University, Japan
Email: nagaike@cc.oita-u.ac.jp
Visit the website at http://journal.transformativeworks.org/index.php/twc/announcement/view/19
“Transnational Boys’ Love Fan Studies,” a special issue of Transformative Works and Cultures, edited by Kazumi Nagaike and Katsuhiko Suganuma, Oita University
The editors of this special issue of Transformative Works and Cultures seek papers examining the activities of transnational ‘BL’ (Boys’ Love) fans, fan communities, fandom, and the production of fan fiction beyond Japan and North America. Specifically, we are seeking contributors who are engaged in the exploration of non-Japanese and non-North American contexts (e.g. Europe, the Asia-Pacific region, Africa, and others). Transnational BL fan studies may also be incorporated into the broader socio/political critical frameworks offered by studies in economics, gender/sexuality, race/class, and other areas.
‘BL’ (Boys’ Love), a genre of male homosexual narratives (consisting of manga, novels, animations, games, films, and so forth) written by and for women, has recently been acknowledged, by Japanese and non-Japanese scholars alike, as a significant component of Japanese popular culture. The aesthetic and style of Japanese BL have also been assumed, deployed and transformed by female fans transnationally. The current thrust of transnational BL practices raises a number of important issues relating to socio/cultural constructs of BL localization and globalization.
We welcome submissions dealing with, but not limited to, the following topics:
--Case-studies and ethnographic examinations of BL fans, specifically examining fans’ sex/gender, age, occupation, class, race/ethnicity, et cetera.
--Local ethnographies relating to BL fans’ production, distribution, and use of these materials. Discussions concerning the ways in which broadly framed socio/political issues or forms of consciousness (e.g. gender/sexuality formations, authorities’ interference, censorship, and so forth) impact fans’ BL activities.
--Media and social responses to fans’ involvement in BL activities.
--Commercial aspects of BL and fans’ contribution to the development of BL economics.
--The integration of research on BL fans into a wider discussion of social theory, differing cultural discourses, and globalization.
--Discussions concerning the ways in which BL fans’ forms of production, distribution, and consumption might challenge traditional notions of Author, Reader, and Text.
--Theoretical overviews reflecting traditional/contemporary ideas of fandom, fans, fan communities, and fans’ means of communications, demonstrating how these ideas specifically relate to BL fans.
--Explorations of the ways in which BL participants are motivated to become involved in other fan-oriented activities (e.g. cosplay; female fans’ cross-dressing as male BL characters).
##Submissions##
TWC accommodates academic articles of varying scope as well as other forms that embrace the technical possibilities of the Web and test the limits of the genre of academic writing. Contributors are encouraged to include embedded links, images, and videos in their articles or to propose submissions in alternative formats that might comprise interviews, collaborations, or video/multimedia works. We are also seeking reviews of relevant books, events, courses, platforms, or projects.
--Theory: Often interdisciplinary essays with a conceptual focus and a theoretical frame that offer expansive interventions in the field. Peer review. Length: 5,000–8,000 words plus a 100–250-word abstract.
--Praxis: Analyses of particular cases that may apply a specific theory or framework to an artifact; explicate fan practice or formations; or perform a detailed reading of a text. Peer review. Length: 4,000–7,000 words plus a 100–250-word abstract.
--Symposium: Short pieces that provide insight into current developments and debates. Editorial review. Length: 1,500–2,500 words.
Submissions are accepted online only. Please visit TWC’s Web site for complete submission guidelines, or e-mail editor AT transformativeworks.org.
##Due dates##
Contributions for blind peer review (Theory and Praxis essays) are due by March 1, 2012.
Contributions that undergo editorial review (Symposium, Interview, Review) are due by April 1, 2012.
Kazumi Nagaike, nagaikeoita-u.ac.jp
Katsuhiko Suganuma, suganumaoita-u.ac.jp
Oita University, Japan
Email: nagaike@cc.oita-u.ac.jp
Visit the website at http://journal.transformativeworks.org/index.php/twc/announcement/view/19
CFP Fragmented Nightmares: Transnational Horror across Visual Media (9/15/11)
http://www.h-net.org/announce/show.cgi?ID=186441
Call for essays for edited collection: Fragmented Nightmares: Transnational Horror across Visual Media
This anthology will investigate the horror genre across national boundaries and different media forms. Perhaps more than any other genre, horror is characterized by its ability to be simultaneously aware of the local while able to permeate national boundaries, to function on both regional and international registers. Horror, in testing the limits of identity, manifested its transnational nature early on, establishing grids of intersection between art, film, theater, and new technologies. Yet, even historically attuned theories have continued to locate the American industry at the center of most discussions, in the process ossifying a sense of the dominant and the marginal. Our book attempts to trouble the idea that horror emerges from one particular region (i.e., Hollywood) and is then disseminated to “peripheral” cultures (or cultures in development). Instead we examine horror as an integrated network that belies a center/periphery model. For example, horror has often functioned as a facade for marginal artistic or political movements, including 1960s and 70s international co-productions of horror/exploitation films, art cinema modes, feminist art installations, or post-colonial trash cinema.
This book will investigate alternative genealogies of horror: those that are not centered in the American horror industry, do not necessarily emerge from Freudian notions of the unconscious, or take into account a broader sense of horror beyond cinema. More specifically, we are interested in political models and allegories, questions of cult or subcultural media and their distribution practices, the relationship between regional or cultural networks, and the legibility of international horror iconography across distinct media. This book will stress how a discussion of contemporary international horror is not only about genre but how genre can inform theories of visual cultures and the increasing permeability of their borders.
Potential topics for the anthology include:
• analysis of transnational horror in film, television, digital media, video games, museum/art installations, photography, graphic novels, and web series
• transnational remakes and reception
• alternative theoretical models
• adaptation
• interventions from lesser-known cinemas into dominant markets
• inter/intra governmental roles in media production
• paracinema across nations
• censorship
• international, regional, or local language co-productions
Please send a 500 word proposal/abstract to Dana Och (dcost7@pitt.edu) or Kirsten Strayer (kis12@pitt.edu) by Sept 15.
Dana Och
University of Pittsburgh
501 Cathedral of Learning
5200 Fifth Ave
Pittsburgh, PA 15260
Email: dcost7@pitt.edu
Call for essays for edited collection: Fragmented Nightmares: Transnational Horror across Visual Media
This anthology will investigate the horror genre across national boundaries and different media forms. Perhaps more than any other genre, horror is characterized by its ability to be simultaneously aware of the local while able to permeate national boundaries, to function on both regional and international registers. Horror, in testing the limits of identity, manifested its transnational nature early on, establishing grids of intersection between art, film, theater, and new technologies. Yet, even historically attuned theories have continued to locate the American industry at the center of most discussions, in the process ossifying a sense of the dominant and the marginal. Our book attempts to trouble the idea that horror emerges from one particular region (i.e., Hollywood) and is then disseminated to “peripheral” cultures (or cultures in development). Instead we examine horror as an integrated network that belies a center/periphery model. For example, horror has often functioned as a facade for marginal artistic or political movements, including 1960s and 70s international co-productions of horror/exploitation films, art cinema modes, feminist art installations, or post-colonial trash cinema.
This book will investigate alternative genealogies of horror: those that are not centered in the American horror industry, do not necessarily emerge from Freudian notions of the unconscious, or take into account a broader sense of horror beyond cinema. More specifically, we are interested in political models and allegories, questions of cult or subcultural media and their distribution practices, the relationship between regional or cultural networks, and the legibility of international horror iconography across distinct media. This book will stress how a discussion of contemporary international horror is not only about genre but how genre can inform theories of visual cultures and the increasing permeability of their borders.
Potential topics for the anthology include:
• analysis of transnational horror in film, television, digital media, video games, museum/art installations, photography, graphic novels, and web series
• transnational remakes and reception
• alternative theoretical models
• adaptation
• interventions from lesser-known cinemas into dominant markets
• inter/intra governmental roles in media production
• paracinema across nations
• censorship
• international, regional, or local language co-productions
Please send a 500 word proposal/abstract to Dana Och (dcost7@pitt.edu) or Kirsten Strayer (kis12@pitt.edu) by Sept 15.
Dana Och
University of Pittsburgh
501 Cathedral of Learning
5200 Fifth Ave
Pittsburgh, PA 15260
Email: dcost7@pitt.edu
CFP A Brand of Fictional Magic: Imaginative Empathy in Harry Potter (11/15/11)
http://www.h-net.org/announce/show.cgi?ID=186435
Call for Papers:
A Brand of Fictional Magic: Imaginative Empathy in Harry Potter
A two day conference hosted by the School of English, University of St Andrews
17-18 May 2012, Kennedy Hall, St Andrews, Scotland
The relentless success of J. K. Rowling’s Harry Potter series (1997-2007) evokes words like ‘phenomenon’ and ‘catastrophe’. With the conclusion of the film franchise and the launch of Pottermore.com, the series is receiving increased academic consideration in conferences, articles, and monographs. However, relatively little work has been done directly engaging with the series as a literary text. This conference attempts to begin redressing that lack.
Rowling’s combination of fantasy and school-story genres, her use of folkloric archetypes and mythopoeic symbolism, and her social and religious messages render the Harry Potterbooks a point of interest—and controversy—to scholars from a wide range of disciplines. This conference seeks to critically explore Rowling’s concept of imaginative empathy, the ability to ‘learn and understand, without having experienced’. Of particular interest are ways in which the power of empathy, in addition to its being of socio-political necessity, might be read as Rowling’s ‘brand of fictional magic’.
We invite papers and panels that engage with the text to discuss the centrality of empathy to the economies of the creative artist. We particularly encourage submissions from scholars working in children's and YA literature; also welcome are papers from scholars interested in relating Harry Potter to their own areas of research.
Relevant topics might include:
• The poetics of empathy
• Symbolic or archetypal depictions of empathy
• Readings of the series as children’s or YA literature
• Mythopoesis and the re-appropriation of folklore
• Medievalism and depictions of the Middle Ages in the Wizarding World
• Space, landscape, or architecture
• Representations and uses of socialization or maturation
• Depictions of education and pedagogy, empathetic or bounded
• Rowling’s concepts of “mental agoraphobia” and “willful unimagination”
• Literary influences on the series
• Textual or semiotic analysis of the narrative
• Genre criticism, viz., Gothic, Fantasy, Fairy Tale, School Story, Dystopia, et al.
• Narrative voice and authority
• Political empathy, class action, or solidarity
Keynote speakers will be John Granger and Jessica Tiffin.
Papers will be 20 minutes, and may discuss any of the seven books individually or the series as a whole. Please submit a 300-word (max.) abstract in .doc, .docx., or .pdf format with a short CV to John Patrick Pazdziora (jpp6@st-andrews.ac.uk) by 15 November 2011.
John Patrick Pazdziora
School of English
Castle House
University of St Andrews
KY16 9AL
Scotland
Email: jpp6@st-andrews.ac.uk
Call for Papers:
A Brand of Fictional Magic: Imaginative Empathy in Harry Potter
A two day conference hosted by the School of English, University of St Andrews
17-18 May 2012, Kennedy Hall, St Andrews, Scotland
The relentless success of J. K. Rowling’s Harry Potter series (1997-2007) evokes words like ‘phenomenon’ and ‘catastrophe’. With the conclusion of the film franchise and the launch of Pottermore.com, the series is receiving increased academic consideration in conferences, articles, and monographs. However, relatively little work has been done directly engaging with the series as a literary text. This conference attempts to begin redressing that lack.
Rowling’s combination of fantasy and school-story genres, her use of folkloric archetypes and mythopoeic symbolism, and her social and religious messages render the Harry Potterbooks a point of interest—and controversy—to scholars from a wide range of disciplines. This conference seeks to critically explore Rowling’s concept of imaginative empathy, the ability to ‘learn and understand, without having experienced’. Of particular interest are ways in which the power of empathy, in addition to its being of socio-political necessity, might be read as Rowling’s ‘brand of fictional magic’.
We invite papers and panels that engage with the text to discuss the centrality of empathy to the economies of the creative artist. We particularly encourage submissions from scholars working in children's and YA literature; also welcome are papers from scholars interested in relating Harry Potter to their own areas of research.
Relevant topics might include:
• The poetics of empathy
• Symbolic or archetypal depictions of empathy
• Readings of the series as children’s or YA literature
• Mythopoesis and the re-appropriation of folklore
• Medievalism and depictions of the Middle Ages in the Wizarding World
• Space, landscape, or architecture
• Representations and uses of socialization or maturation
• Depictions of education and pedagogy, empathetic or bounded
• Rowling’s concepts of “mental agoraphobia” and “willful unimagination”
• Literary influences on the series
• Textual or semiotic analysis of the narrative
• Genre criticism, viz., Gothic, Fantasy, Fairy Tale, School Story, Dystopia, et al.
• Narrative voice and authority
• Political empathy, class action, or solidarity
Keynote speakers will be John Granger and Jessica Tiffin.
Papers will be 20 minutes, and may discuss any of the seven books individually or the series as a whole. Please submit a 300-word (max.) abstract in .doc, .docx., or .pdf format with a short CV to John Patrick Pazdziora (jpp6@st-andrews.ac.uk) by 15 November 2011.
John Patrick Pazdziora
School of English
Castle House
University of St Andrews
KY16 9AL
Scotland
Email: jpp6@st-andrews.ac.uk
Extrapolation 52.1
Extrapolation 52.1 (Spring 2011) arrived several weeks ago. The contents are not yet up at the journal's website, so I am including them here:
Phillip Drake, Art and Power in the Age of Empire: Greg Egan's Society of Control
T. S. Miller, The Two Kings and the Two Labyrinths: Escaping Escapism in Henson's Labyrinth and Del Toro's Laberinto
Erika Nelson, Invasion of the Body Snatchers: Gender and Sexuality in Four Film Adaptations
Jessica Johnston and Cornelia Sears, The Stepford Wives and the Technoscientific Imaginary
Christy Tidwell, The Problem of Materiality in Paolo Bacigalupi's "The People of Sand and Slag"
Reviews
Phillip Drake, Art and Power in the Age of Empire: Greg Egan's Society of Control
T. S. Miller, The Two Kings and the Two Labyrinths: Escaping Escapism in Henson's Labyrinth and Del Toro's Laberinto
Erika Nelson, Invasion of the Body Snatchers: Gender and Sexuality in Four Film Adaptations
Jessica Johnston and Cornelia Sears, The Stepford Wives and the Technoscientific Imaginary
Christy Tidwell, The Problem of Materiality in Paolo Bacigalupi's "The People of Sand and Slag"
Reviews
Friday, July 15, 2011
New Seasons on SyFy
SyFy launched new seasons of Eureka and Warehouse 13 (introducing a new agent played by Smallville's Aaron Ashmore) earlier this week and premieres the second season of Haven on Friday. The season premieres are repeated throughout the month on the network (see http://www.syfy.com/schedule/).
Saturday, July 9, 2011
Lost Studies
Reading Contemporary Television
Edited by Roberta Pearson
I.B. Tauris, March 2009
ISBN: 978-1-84511-836-5, ISBN10: 1-84511-836-7,
5 1/2 x 8 1/4 inches, 272 pages
This book is a comprehensive guide to the one of the most successful TV dramas in global television history. Created by wunderkind J.J. Abrams, the award-winning seriesLost began in 2004 and will end after its sixth season in 2010. Reading Lost delves into the aspects that attract 15 million viewers a week: cinematic visuals, complex narrative, and a diverse, international cast. Also addressed are the show's multitude of mystifying elements and plot twists including the polar bear, the four-toed statue, and the "Others." The book also includes an up-to-date episode guide.
* Introduction: Why Lost? -- Roberta Pearson * Production/audiences * How Lost Found its Audience: The Making of a Cult Blockbuster -- Stacey Abbott * The Fictional Institutions of Lost: World Building, Reality, and the Economic Possibilities of Narrative Divergence -- Derek Johnson * Television Out of Time: Watching Cult Shows On Download -- Will Brooker * The Gathering Place: Lost in Oahu -- Julian Stringer * Lost logos: Channel 4 and the Branding of American Event Television -- Paul Grainge * Text * Lost in a Great Story: Evaluation in Narrative Television (and Television Studies) -- Jason Mittell * Chain of Events: Regimes of Evaluation and Lost’s Construction of the Televisual Character -- Roberta Pearson * ‘Do you even know where this is going?’: Lost’s Viewers and Narrative Premeditation -- Ivan Askwith * Lost in Genre: Chasing the White Rabbit to Find a White Polar Bear -- Angela Ndalianis * Representation * Lost in the Orient: Transnationalism Interrupted -- Michael Newbury * We’re Not in Portland Anymore: Lost and Its International Others -- Jonathan Gray * ‘A fabricated Africanist persona’: Race, Representation, and Narrative Experimentation in Lost -- Celeste-Marie Bernier * Queer(ying) Lost -- Glyn Davis and Gary Needham * Contributors * Index *
Roberta Pearson is Professor of Film and Television Studies and Director of the Institute of Film and Television Studies at the University of Nottingham. She has authored, co-authored and co-edited numerous books and articles, including American Cultural Studies,A Critical Dictionary of Film and Television Theory and Cult Television. She is currently editing the forthcoming Companion to Television Genres.
by Sarah Clarke Stuart
Imprint: Continuum
Pub. date: 13 Jan 2011
ISBN: 9781441140807
176 Pages, paperback
World rights
Translation Rights Available
$19.95
Description
From the moment that Watership Down made its appearance on screen in season one, speculation about Lost’s literary allusions has played an important role in the larger discussion of the show. Fans and critics alike have noted the many references, from biblical passages and children’s stories to science fiction and classic novels.
Literary Lost teases out the critical significance of these featured books, demonstrating how literature has served to enhance the meaning of the show. It provides a fuller understanding of Lost and reveals how television can be used as a tool for stimulating a deeper interest in literary texts.
The first chapter features an exhaustive list of "Lost books," including the show’s predecessor texts. Subsequent chapters are arranged thematically, covering topics from free will and the nature of time to parenthood and group dynamics. From Lewis Carroll’s creations, which appear as recurring images and themes throughout, to Slaughterhouse-Five’s lessons on the nature of time, Literary Lost will help readers unravel the show’s novelistic plot while celebrating its astonishing layers and nuances of text.
Table of Contents
Introduction “What, Don’t You Read?”: Lost’s Literary Influence
Chapter 1: The Books of Lost
Chapter 2 “Are You There, God?”: Faith, Sacrifice and Redemption
Chapter 3: Who Has the “Power Over the Clay”? Purpose, Fate and Free Will
Chapter 4 Stuck and “Unstuck” in Time: a Tradition of Time Travel
Chapter 5 “Fathers, provoke not your children to wrath”: Lost Parents
Chapter 6 “We’re All Mad Here”: Dreams, Illusions and the Nature of Reality
Chapter 7 “Maybe there is a beast....maybe it's only us”: Group Dynamics and the Communities of Lost
Chapter 9 A Conclusion: The Purpose of “Stories that Aren’t Even True”
Appendix 1
Bibliography
End Notes
Author(s)
Sarah Clarke Stuart teaches composition, media studies and literature at the University of North Florida. She has been teaching and writing about Lost for several years.
Zombie Politics and Culture in the Age of Casino Capitalism
Giroux, Henry A.
Series: Popular Culture and Everyday Life - Volume 23
General Editor: Toby Miller
New York, Bern, Berlin, Bruxelles, Frankfurt am Main, Oxford, Wien, 2011. X, 168 pp.
ISBN 978-1-4331-1226-3 pb.
Year of Publication: 2011
Book synopsis
Zombie Politics and Culture in the Age of Casino Capitalism capitalizes upon the popularity of zombies, exploring the relevance of the metaphor they provide for examining the political and pedagogical conditions that have produced a growing culture of sadism, cruelty, disposability, and death in America. The zombie metaphor may seem extreme, but it is particularly apt for drawing attention to the ways in which political culture and power in American society now operate on a level of mere survival. This book uses the metaphor not only to suggest the symbolic face of power: beginning and ending with an analysis of authoritarianism, it attempts to mark and chart the visible registers of a kind of zombie politics, including the emergence of right-wing teaching machines, a growing politics of disposability, the emergence of a culture of cruelty, and the ongoing war being waged on young people, especially on youth of color. By drawing attention to zombie politics and authoritarianism, this book aims to break through the poisonous common sense that often masks zombie politicians, anti-public intellectuals, politics, institutions, and social relations, and bring into focus a new language, pedagogy, and politics in which the living dead will be moved decisively to the margins rather than occupying the very center of politics and everyday life.
Acknowledgments ix
Introduction: Zombie Politics, Democracy, and the Threat
of Authoritarianism 1
SECTION I. ZOMBIE POLITICS AND THE CULTURE
OF CRUELTY
1. Zombie Politics and Other Late Modern Monstrosities in the Age
of Disposability 31
2. The Politics of Lying and the Culture of Deceit in Obama’s America:
The Rule of Damaged Politics 41
3. Zombie Language and the Politics of the Living Dead 49
4. Everyday Violence and the Culture of Cruelty: Entertaining
Democracy’s Demise 57
5. Market-Driven Hysteria and the Politics of Death 65
6. Torturing Children: Bush’s Legacy and Democracy’s Failure:
Salvos from the Culture of Cruelty 73
SECTION II. ZOMBIE THEATER AND THE SPECTACLE
OF ILLITERACY
7. The Spectacle of Illiteracy and the Crisis of Democracy 83
8. Zombie Politics and the Challenge of Right-Wing Teaching
Machines: Rethinking the Importance of the Powell Memo 89
9. Town Hall Politics as Zombie Theater: Rethinking the Importance
of the Public Sphere 95
10. Reclaiming Public Values in the Age of Casino Capitalism 101
SECTION III. BRUTALIZING YOUTH IN THE AGE
OF ZOMBIE POLITICS
11. No Bailouts for Youth: Broken Promises and Dashed Hopes 111
12. Zero Tolerance Policies and the Death of Reason: Schools
and the Pedagogy of Punishment 123
13. Brutalizing Kids: Painful Lessons in the Pedagogy of School Violence 133
14. Tortured Memories and the Culture of War 137
15. Youth Beyond the Politics of Hope 143
SECTION IV. CONCLUSION
16. Winter in America: Democracy Gone Rogue 153
Index 163
About the author(s)/editor(s)
Henry A. Giroux holds the Global TV Network Chair in English and Cultural Studies at McMaster University in Canada. His most recent books include The University in Chains: Confronting the Military-Industrial-Academic Complex (2007), Youth in a Suspect Society: Democracy or Disposability? (2009), Politics Beyond Hope (2010), and Hearts of Darkness: Torturing Children in the War on Terror (2010).
Friday, July 8, 2011
New/Recent from McFarland
Here's another batch from McFarland:
Looking for Lost: Critical Essays on the Enigmatic Series
Edited by Randy Laist
Print ISBN: 978-0-7864-4716-9
EBook ISBN: 978-0-7864-8588-8
notes, bibliographies, index
260pp. softcover (6 x 9) 2011
Price: $38.00
About the Book
Lost has received widespread acclaim as one of the most innovative, intelligent, and influential dramatic series in television history. Central to Lost’s success has been its capacity to evoke audience interpretations of its mysteries, undiminished even with the series’ definitive conclusion.
This collection of fifteen essays by critics, academics, and philosophers examines the complete series from a diverse but interconnected array of perspectives. Complementary and occasionally conflicting interpretations of the show’s major themes are presented, including the role of time, fate and determinism, masculinity, parenthood, and the threat of environmental apocalypse.
Table of Contents
Introduction
RANDY LAIST 1
PART ONE: LOST IN TIME
“We Have to Go Back”: Temporal and Spatial Narrative Strategies
ERIKA JOHNSON-LEWIS 11
Narrative Philosophy in the Series: Fate, Determinism, and the Manipulation of Time
MICHAEL RENNETT 25
“Enslaved by Time and Space”: Determinism, Traumatic Temporality, and Global Interconnectedness
ARIS MOUSOUTZANIS 43
New Space, New Time, and Newly Told Tales: Lost and The Tempest
RYAN HOWE 59
PART TWO: LOST PHILOSOPHY
Lost and Becoming: Reconceptualizing Philosophy
JASON M. PECK 75
Lost in Theory: Everything You Always Wanted to Know About Lost but Were Afraid to Ask Lacan, Derrida, and Foucault
GIANCARLO LOMBARDI 90
“So This Is All in My Mind?” Hugo Crash-Tests the Contemporary Crusoe
MATTHEW PANGBORN 105
Primitivizing the Island: The Eclectic Collection of “Non-Western” Imagery
RENEE MCGARRY 120
PART THREE: LOST MEN AND LOST WOMEN
The Lost Boys and Masculinity Found
DAVID MAGILL 137
“It Always Ends the Same”: Paternal Failures
HOLLY HASSEL AND NANCY L. CHICK 154
Lost Children: Pregnancy, Parenthood, and Potential
DEBORAH DAVIDSON AND WAYNE JEBIAN 171
PART FOUR: LOST IN THE TWENTY-FIRST CENTURY
Lost in Capitalism: or, “Down Here Possession’s Nine-Tenths”
ELIZABETH LUNDBERG 189
“Strangers in a Strange Land”: Evading Environmental Apocalypse Through Human Choice
CARLOS A. TARIN AND STACEY K. SOWARDS 202
Securitizing the Island: The Other Others’ Defense of Environmental Management
J. L. SCHATZ 216
We Have to Go Back: Lost After 9/11
JESSE KAVADLO 230
About the Contributors 243
Index 247
About the Author
Randy Laist is an assistant professor of English at Goodwin College in Connecticut. He has published numerous articles on DeLillo, Mailer, Melville and Hawthorne, as well as on popular culture, new media, and pedagogy.
The Television World of Pushing Daisies: Critical Essays on the Bryan Fuller Series
Edited by Alissa Burger
Print ISBN: 978-0-7864-6148-6
EBook ISBN: 978-0-7864-8575-8
notes, bibliographies, index
202pp. softcover (6 x 9) 2011
Price: $40.00
About the Book
Pushing Daisies was a unique network television show. This collection of 10 essays addresses the quirky, off-beat elements that made the show a popular success, as well as fodder for scholarly inquiry. Divided into three main sections, the essays address the themes of difference, the placement of the series within a larger philosophical context, and the role of gender on the show. A consideration of Pushing Daisies’ unique style and aesthetics is a consistent source of interest across these international and interdisciplinary scholarly critiques.
Table of Contents
Introduction
ALISSA BURGER 1
Part One: Television, Difference, and Pushing Daisies
1. Spectacular Collision/Collusion: Genre, “Quality,” and Contemporary Drama
LORNA JOWETT 11
2. Pushing Daisies Away: Community Through Isolation
MATT DAUPHIN 28
3. Often Invisible: Disability in Pushing Daisies
CHRISTINE GARBETT 43
Part Two: Philosophy and Pushing Daisies
4. Consuming Grief and Eating Pie
LAURA ANH WILLIAMS 57
5. “Neophobic Ned Needs Neoteny”: Neuroses and Child’s Play
ANN-GEE LEE 73
6. “Here Lies Dwight, Here Lies His Gun. He Was Bad, Now He’s Done”: On Justice and Schadenfreude
CHRISTINE ANGELA KNOOP 92
7. “It’s a Destiny Thing—Enjoy It!”: Free Will and Determinism in Bryan Fuller’s Series
PATRICK GILL 115
Part Three: Gender and Pushing Daisies
8. The Queer, Quirky World of Pushing Daisies
DANIEL FARR 137
9. Sweet Talk in The Pie Hole: Language, Intimacy, and Public Space
TARA K. PARMITER 155
10. Fashion, Femininity, and the 1950s: Costume and Identity Negotiation in Pushing Daisies
ALISSA BURGER 174
About the Contributors 193
Index 195
About the Author
Alissa Burger is an assistant professor of English and the humanities at the State University of New York, Delhi. Her research addresses literature and popular culture, with specific focus on multiple versions of the Wizard of Oz story and American identity.
NOW IN PAPERBACK
Inside Gilligan’s Island: From Creation to Syndication
Sherwood Schwartz
Forewords by Bob Denver, Alan Hale, Jim Backus, Natalie Schafer, Tina Louise, Russell Johnson and Dawn Wells
Print ISBN: 978-0-7864-6368-8
EBook ISBN: 978-0-7864-8488-1
100 photos, appendices, index
342pp. softcover (6 x 9) 2011 [1988]
Price: $19.99
About the Book
While every new TV series has to face some problems, no show had to overcome greater obstacles than Gilligan’s Island. In spite of that, no series has achieved greater success, as measured by the fact that Gilligan’s Island has given rise to three TV movies, two animated series, and is the most rerun program in the entire history of television.
Now, Sherwood Schwartz, creator, writer, and producer of Gilligan’s Island, tells the life story of the show: from the labor pains of scripting, casting, and production to its golden years of afternoon reruns. Fascinating history that could be known only by the show’s creator is enhanced by wonderful photos, sketches, and other illustrations from the author’s personal collection, as well as the guest forewords by all seven "Castaways." An appendix lists plots, writers and directors for every episode. All this behind-the-scenes information makes the book a special treat, not only for fans, but for anyone interested in an inside look at the television industry.
About the Author
Sherwood Schwartz lives in Beverly Hills, California.
Peter Pan on Stage and Screen, 1904-2010, 2d ed.
Bruce K. Hanson
Foreword by Stewart Stern
Print ISBN: 978-0-7864-4778-7
EBook ISBN: 978-0-7864-8619-9
352 photos (14 in color), discography, appendices, notes, bibliography, index
417pp. softcover (7 x 10) 2011
Price: $45.00
About the Book
Recounting the more than century-long stage and screen history of J.M. Barrie’s play Peter Pan, Bruce K. Hanson updates and expands his 1993 volume on "The Boy Who Wouldn’t Grow Up." Hanson traces the origin of Barrie’s tale through the first London production in 1904, to various British and American theatrical and film productions up to and including the stage versions of 2010.
Included are excerpts of interviews with actresses Dinah Sheridan, Mary Martin and Sandy Duncan, all of whom portrayed Peter Pan on stage, and Betty Comden and Adolph Green, lyricists for the 1954 Broadway musical. The book features a wealth of rare photos, posters, programs and costume designs. An appendix lists virtually every actor who has performed a featured role in a London, Broadway or Hollywood production of Peter Pan from 1904 to the present.
Table of Contents
Acknowledgments ix
Foreword by Stewart Stern 1
Introduction 5
1. James Barrie: The Man Who Wouldn’t Grow Up 9
2. Nina Boucicault and the First Peter Pan 24
3. Maude Adams: Peter Pan Lands in America 52
4. Cecilia Loftus and the Mermaids 74
5. Vivian Martin and the Unknown Peter Pans 82
6. Pauline Chase and an Afterthought 86
7. Marilyn Miller: The Ziegfeld Treatment 106
8. Betty Bronson: The Silent Treatment 125
9. Jean Forbes-Robertson and Other English Lasses 143
10. Eva Le Gallienne: The Civic Repertory Theatre 166
11. Jean Arthur: A Touch of Bernstein 182
Between pages 200 and 201 are 12 color plates containing 14 photographs
12. The Disney Touch 201
13. Mary Martin: A Musical Peter Pan 210
14. Margaret Lockwood and Toots: A Family Affair 257
15. Mia Farrow and Another Musical 280
16. Sandy Duncan: Back on Broadway 285
17. Cathy Rigby: Peter Pan—A Record Breaker 294
18. A Change of Gender: Peter Pan as a Real Boy 303
Afterword: The Lasting Appeal of Peter Pan 325
Appendix A: A Selected Discography 329
About the Author
A theatre instructor and a National Board Certified teacher of Visual Arts, Bruce K. Hanson has written books, plays, articles and CD liner notes. He lives in Petersburg, Virginia.
In the Peanut Gallery with Mystery Science Theater 3000: Essays on Film, Fandom, Technology and the Culture of Riffing
Edited by Robert G. Weiner and Shelley E. Barba
Forewords by Kevin Murphy and Robert Moses Peaslee; Afterword by Mary Jo Pehl
Print ISBN: 978-0-7864-4532-5
EBook ISBN: 978-0-7864-8572-7
14 photos, notes, bibliographies, index
277pp. softcover (7 x 10) 2011
Price: $40.00
About the Book
The award-winning television series Mystery Science Theater 3000 (1988-1999) has been described as "the smartest, funniest show in America," and forever changed the way we watch movies. The series featured a human host and a pair of robotic puppets who, while being subjected to some of the worst films ever made, provided ongoing hilarious and insightful commentary in a style popularly known as "riffing." These essays represent the first full-length scholarly analysis of Mystery Science Theater 3000--MST3K--which blossomed from humble beginnings as a Minnesota public-access television show into a cultural phenomenon on two major cable networks. The book includes interviews with series creator Joel Hodgson and cast members Kevin Murphy and Trace Beaulieu.
Table of Contents
Acknowledgments xi
Foreword: Riffing and You (and Riffing ) by Kevin Murphy 1
Foreword by Robert Moses Peaslee 3
Introduction by Robert G. Weiner and Shelley E. Barba 7
PART ONE: DIRECTORS
1. There’s Been an Accident at the Studio: How We Made Hobgoblins! 18
RICK SLOANE
2. “Remember: Only you can prevent Roger Corman”: The King of the Bs Under Siege 29
CYNTHIA J. MILLER
PART TWO: SPECIFIC FILMS
3. Communists and Cosmonauts in Mystery Science Theater 3000: De-Camping East Germany’s First Spaceship on Venus/Silent Star 40
SEBASTIAN HEIDUSCHKE
4. The Semiotics of Spaceflight on the Satellite of Love 46
MATTHEW H. HERSCH
5. Resurrecting the Dead: Revival of Forgotten Films through Appropriation 55
CHERYL HICKS
PART THREE: FANDOM
6. Becoming “The Right People”: Fan-Generated Knowledge Building 66
KRIS M. MARKMAN and JOHN OVERHOLT
7. Converging Fan Cultures and the Labors of Fandom 76
MEGAN CONDIS
8. “Consume excrement and thus expire”: Conflict Resolution, “Fantagonism,” and alt.tv.mst3k 88
JEREMY GROSKOPF
9. Cinemasochism: Bad Movies and the People Who Love Them 101
DAVID RAY CARTER
PART FOUR: MEDIA TEXTS, AUDIENCES, AND THE CULTURE OF RIFFING
10. Double Poaching and the Subversive Operations of Riffing: “You kids with your hoola hoops and your Rosenbergs and your Communist agendas” 110
ORA MCWILLIAMS and JOSHUA RICHARDSON
11. Frame Work, Resistance and Co-optation: How Mystery Science Theater 3000 Positions Us Both In and Against Hegemonic Culture 120
MICHAEL DEAN
12. “Not too different from you or me”: The Paradox of Fiction, Joint Attention, and Longevity 127
MICHAEL DAVID ELAM
13. Mystery Science Theater 3000: A Media-Centered Exploration 135
ZACHARY GRIMM
14. Authorship and Text Remediation in Mystery Science Theater 3000 140
KALEB HAVENS
PART FIVE: MENTAL HYGIENE: THE MST3K SHORTS
15. “People were whiter back then”: Film Placement and In-Theater Commentary as Sociopolitical Dialogue 146
ERIN GIANNINI
16. The Endearing Educational Shorts 155
AMANDA R. KEELER
17. Writing History with Riffs: The Historiography of the “Shorts” 164
MIRANDA TEDHOLM
PART SIX: SATIRE AND GENDER
18. Robot Roll Call: Gypsy! (Hi Girls!) 172
MICHELE BRITTANY
19. What’s the Difference? Satire and Separation in That “Little Puppet Show” 178
ALANA HATLEY
PART SEVEN: TECHNOLOGY AND EPISODE COLLECTING
20. The Design and Speculative Technology of MST3K: Joel Hodgson and Trace Beaulieu at MIT 184
JASON BEGY and GENEROSO FIERRO
21. “Cambot Eye”: The Synthesis of Man, Machine and Spectatorship 197
DANIELLE REAY
22. MSTies and Mastery: Circulating the Tapes in a Digital Age 209
JOSEPH S. WALKER
PART EIGHT: HISTORY AND PRE-HISTORY
23. “Hamlet will return in Thunderball”: Historical Precedents of Riffing 220
MARK MCDERMOTT
24. From Techno-Isolation to Social Reconciliation 231
E. MITCHELL
25. Fishing with Cheese on a Blood Hook: MST3K’s Unlikely Origins on a Lake in the Woods of Wisconsin 242
ROBERT G. WEINER
Afterword by Mary Jo Pehl 253
About the Contributors 255
Index 259
About the Author
Robert G. Weiner is associate humanities librarian at Texas Tech University. His works have been published in the Journal of Popular Culture, Public Library Quarterly, Journal of American Culture, International Journal of Comic Art and Popular Music and Society. He lives in Lubbock, Texas. Shelley E. Barba has written for Texas Library Journal. She is a metadata librarian at Texas Tech University.
Heinlein’s Juvenile Novels: A Cultural Dictionary
C.W. Sullivan III Series Editor Donald E. Palumbo
Print ISBN: 978-0-7864-4463-2
EBook ISBN: 978-0-7864-8717-2
appendices, bibliography
192pp. softcover (6 x 9) 2011
Price: $40.00
About the Book
Robert A. Heinlein’s early, juvenile science fiction novels appeared between 1947 and 1963, just as America was emerging from World War II and entering the space age, and are among his richest and most warmly remembered books. This comprehensive work defines the many names, terms and cultural references that appear in Heinlein’s juvenile novels, noting where they are found, explaining their sources and tracking their occurrences throughout the series. Of particular interest is the way in which Heinlein used science fiction to parallel the exploration of outer space with the settlement of the North American continent. Appendices provide a precis of the plot of each book, and speculate on some of the names and terms for which no specific reference could be found.
Table of Contents
Heinlein’s Juvenile Novels 1
Preface 3
Introduction 7
THE DICTIONARY 13
Appendix I: Plots of Heinlein’s Juvenile Novels 169
Appendix II: Some Speculations About Terms and Names Not Found 174
Works Cited 181
About the Author
C.W. Sullivan III is Distinguished Professor of arts and sciences at East Carolina University and a full member of the Welsh Academy. He is the author of numerous books and the on-line journal Celtic Cultural Studies
Donald E. Palumbo is a professor of English at East Carolina University in Greenville, North Carolina. He lives in Greenville.
Walter M. Miller, Jr.: A Reference Guide to His Fiction and His Life
William H. Roberson
Print ISBN: 978-0-7864-6361-9
EBook ISBN: 978-0-7864-8710-3
chronology, bibliographies, index
218pp. softcover (7 x 10) 2011
Price: $40.00
About the Book
Walter M. Miller, Jr., was one of the twentieth century’s leading science fiction writers, a two-time Hugo Award winner and author of the classic novels A Canticle for Leibowitz and Saint Leibowitz and the Wild Horse Woman. This comprehensive literary guide provides more than 1,500 alphabetically arranged entries on Miller’s life and body of work. It includes summaries of his two novels and all of his shorter works, character descriptions, explanations of the literary, cultural, historical, and religious allusions found in the works, as well as translations of all foreign words and phrases. This guide is meant to inform both scholarly and popular readings of Miller’s work.
Table of Contents
Acknowledgments ix
Preface 1
Chronology 3
The Reference Guide 5
Works by Walter M. Miller, Jr. 193
Works About Walter M. Miller, Jr. 195
General Bibliography 198
Index 201
About the Author
William H. Roberson is professor and head librarian at the Brentwood Campus of Long Island University. He is the author of a number of books and his articles have appeared in Critique, Great Lakes Review, RQ, and Bulletin of Bibliography.
Richard Matheson on Screen: A History of the Filmed Works
Matthew R. Bradley
Foreword by Richard Matheson
Print ISBN: 978-0-7864-4216-4
EBook ISBN: 978-0-7864-5638-3
64 photos, bibliography, index
315pp. softcover (7 x 10) 2010
Price: $45.00
About the Book
Though innumerable biographies have been written about novelists, playwrights, and poets, screenwriters are rarely granted this distinction, even ones as prolific and successful as Richard Matheson. He has occupied a unique position in cinema as the writer or original author of films from The Incredible Shrinking Man in 1957 through I Am Legend in 2007. This book documents his rise to prominence, parallel literary career, and role in the horror and science fiction renaissance. In chronological order, the exhaustively indexed narrative examines each film written by Matheson or based on his work, with sections devoted to episodic television (including The Twilight Zone) and unproduced projects.
Table of Contents
Acknowledgments vii
Foreword by Richard Matheson 1
Introduction 3
THE FILMS
The Incredible Shrinking Man (1957) 9
The Beat Generation (1959) 17
The Twilight Zone (1959–1964) 21
Other Episodic Television 49
House of Usher (1960) 78
Master of the World (1961) 85
Pit and the Pendulum (1961) 89
Night of the Eagle (1962) 94
Tales of Terror (1962) 101
The Raven (1963) 107
The Comedy of Terrors (1963) 112
The Last Man on Earth (1964) 117
Fanatic (1965) 123
The Young Warriors (1968) 127
The Devil Rides Out (1968) 130
“It’s Alive!” (1969) 137
De Sade (1969) 141
Cold Sweat (1970) 146
The Omega Man (1971) 149
Duel (1971) 155
The Night Stalker (1972) 162
The Night Strangler (1973) 169
The Legend of Hell House (1973) 177
Dying Room Only (1973) 185
Dracula (1974) 186
Scream of the Wolf (1974) 192
The Morning After (1974) 194
Icy Breasts (1974) 197
The Stranger Within (1974) 199
Trilogy of Terror (1975) 201
The Strange Possession of Mrs. Oliver (1977) 207
Dead of Night (1977) 209
The Martian Chronicles (1980) 212
Somewhere in Time (1980) 219
The Incredible Shrinking Woman (1981) 228
Twilight Zone—The Movie (1983) 231
Jaws 3-D (1983) 239
Loose Cannons (1990) 242
The Dreamer of Oz (1990) 245
Twilight Zone: Rod Serling’s Lost Classics (1994) 248
Trilogy of Terror II (1996) 249
What Dreams May Come (1998) 252
Stir of Echoes (1999) 257
Blood Son (2006) 262
My Ambition (2006) 262
I Am Legend (2007) 265
Other Unproduced Projects 269
Bibliography 273
Index 281
About the Author
Matthew R. Bradley is a widely published authority on the work of Richard Matheson. He has written articles, interviews, and reviews for Filmfax, Fangoria, Mystery Scene, VideoScope, The New York Review of Science Fiction, and Cinema Retro. The creator of the Internet film-related blog Bradley On Film, he lives in Bethel, Connecticut.
The Lesbian Fantastic: A Critical Study of Science Fiction, Fantasy, Paranormal and Gothic Writings
Phyllis M. Betz
Print ISBN: 978-0-7864-5885-1
EBook ISBN: 978-0-7864-8614-4
appendix, notes, bibliography, index
211pp. softcover (6 x 9) 2011
Price: $40.00
About the Book
Science fiction has long been a haven for lesbian writers, allowing them to use the genre to discuss their marginalized status. This critical work examines how lesbian authors have used the structures and conventions of science fiction to embody characters, relationships and other themes that relate to their experience as the quintessential Other in the broader culture. Topics include lesbian gothic, fantasy, science fiction, mixed genre texts and historical background for the works discussed. A vital addition to the scholarship on homosexuality and culture.
Table of Contents
Acknowledgments viii
Preface 1
Introduction: Reading Lesbians Reading Fantasy 5
1. Once Upon a Time: Historical Backgrounds and Contexts 27
2. Here Be Monsters: Lesbian Gothic 70
3. In a Kingdom Far Away: Lesbian Fantasy 102
4. Beyond the Known Galaxy: Lesbian Science Fiction 132
5. Blurring the Lines: Mixed Genre 158
Conclusion: Such Stuff as Dreams Are Made On 172
Appendix: Why Would a Lesbian Writer Use Gay Characters Rather Than Lesbian Ones? 179
Notes 189
Works Cited 195
Index 201
About the Author
Phyllis M. Betz is an assistant professor of English at La Salle University in Philadelphia, Pennsylvania. She has written three books examining genre fiction written by lesbians. She lives in Burlington, New Jersey.
Edited by Randy Laist
Print ISBN: 978-0-7864-4716-9
EBook ISBN: 978-0-7864-8588-8
notes, bibliographies, index
260pp. softcover (6 x 9) 2011
Price: $38.00
About the Book
Lost has received widespread acclaim as one of the most innovative, intelligent, and influential dramatic series in television history. Central to Lost’s success has been its capacity to evoke audience interpretations of its mysteries, undiminished even with the series’ definitive conclusion.
This collection of fifteen essays by critics, academics, and philosophers examines the complete series from a diverse but interconnected array of perspectives. Complementary and occasionally conflicting interpretations of the show’s major themes are presented, including the role of time, fate and determinism, masculinity, parenthood, and the threat of environmental apocalypse.
Table of Contents
Introduction
RANDY LAIST 1
PART ONE: LOST IN TIME
“We Have to Go Back”: Temporal and Spatial Narrative Strategies
ERIKA JOHNSON-LEWIS 11
Narrative Philosophy in the Series: Fate, Determinism, and the Manipulation of Time
MICHAEL RENNETT 25
“Enslaved by Time and Space”: Determinism, Traumatic Temporality, and Global Interconnectedness
ARIS MOUSOUTZANIS 43
New Space, New Time, and Newly Told Tales: Lost and The Tempest
RYAN HOWE 59
PART TWO: LOST PHILOSOPHY
Lost and Becoming: Reconceptualizing Philosophy
JASON M. PECK 75
Lost in Theory: Everything You Always Wanted to Know About Lost but Were Afraid to Ask Lacan, Derrida, and Foucault
GIANCARLO LOMBARDI 90
“So This Is All in My Mind?” Hugo Crash-Tests the Contemporary Crusoe
MATTHEW PANGBORN 105
Primitivizing the Island: The Eclectic Collection of “Non-Western” Imagery
RENEE MCGARRY 120
PART THREE: LOST MEN AND LOST WOMEN
The Lost Boys and Masculinity Found
DAVID MAGILL 137
“It Always Ends the Same”: Paternal Failures
HOLLY HASSEL AND NANCY L. CHICK 154
Lost Children: Pregnancy, Parenthood, and Potential
DEBORAH DAVIDSON AND WAYNE JEBIAN 171
PART FOUR: LOST IN THE TWENTY-FIRST CENTURY
Lost in Capitalism: or, “Down Here Possession’s Nine-Tenths”
ELIZABETH LUNDBERG 189
“Strangers in a Strange Land”: Evading Environmental Apocalypse Through Human Choice
CARLOS A. TARIN AND STACEY K. SOWARDS 202
Securitizing the Island: The Other Others’ Defense of Environmental Management
J. L. SCHATZ 216
We Have to Go Back: Lost After 9/11
JESSE KAVADLO 230
About the Contributors 243
Index 247
About the Author
Randy Laist is an assistant professor of English at Goodwin College in Connecticut. He has published numerous articles on DeLillo, Mailer, Melville and Hawthorne, as well as on popular culture, new media, and pedagogy.
Edited by Alissa Burger
Print ISBN: 978-0-7864-6148-6
EBook ISBN: 978-0-7864-8575-8
notes, bibliographies, index
202pp. softcover (6 x 9) 2011
Price: $40.00
About the Book
Pushing Daisies was a unique network television show. This collection of 10 essays addresses the quirky, off-beat elements that made the show a popular success, as well as fodder for scholarly inquiry. Divided into three main sections, the essays address the themes of difference, the placement of the series within a larger philosophical context, and the role of gender on the show. A consideration of Pushing Daisies’ unique style and aesthetics is a consistent source of interest across these international and interdisciplinary scholarly critiques.
Table of Contents
Introduction
ALISSA BURGER 1
Part One: Television, Difference, and Pushing Daisies
1. Spectacular Collision/Collusion: Genre, “Quality,” and Contemporary Drama
LORNA JOWETT 11
2. Pushing Daisies Away: Community Through Isolation
MATT DAUPHIN 28
3. Often Invisible: Disability in Pushing Daisies
CHRISTINE GARBETT 43
Part Two: Philosophy and Pushing Daisies
4. Consuming Grief and Eating Pie
LAURA ANH WILLIAMS 57
5. “Neophobic Ned Needs Neoteny”: Neuroses and Child’s Play
ANN-GEE LEE 73
6. “Here Lies Dwight, Here Lies His Gun. He Was Bad, Now He’s Done”: On Justice and Schadenfreude
CHRISTINE ANGELA KNOOP 92
7. “It’s a Destiny Thing—Enjoy It!”: Free Will and Determinism in Bryan Fuller’s Series
PATRICK GILL 115
Part Three: Gender and Pushing Daisies
8. The Queer, Quirky World of Pushing Daisies
DANIEL FARR 137
9. Sweet Talk in The Pie Hole: Language, Intimacy, and Public Space
TARA K. PARMITER 155
10. Fashion, Femininity, and the 1950s: Costume and Identity Negotiation in Pushing Daisies
ALISSA BURGER 174
About the Contributors 193
Index 195
About the Author
Alissa Burger is an assistant professor of English and the humanities at the State University of New York, Delhi. Her research addresses literature and popular culture, with specific focus on multiple versions of the Wizard of Oz story and American identity.
NOW IN PAPERBACK
Sherwood Schwartz
Forewords by Bob Denver, Alan Hale, Jim Backus, Natalie Schafer, Tina Louise, Russell Johnson and Dawn Wells
Print ISBN: 978-0-7864-6368-8
EBook ISBN: 978-0-7864-8488-1
100 photos, appendices, index
342pp. softcover (6 x 9) 2011 [1988]
Price: $19.99
About the Book
While every new TV series has to face some problems, no show had to overcome greater obstacles than Gilligan’s Island. In spite of that, no series has achieved greater success, as measured by the fact that Gilligan’s Island has given rise to three TV movies, two animated series, and is the most rerun program in the entire history of television.
Now, Sherwood Schwartz, creator, writer, and producer of Gilligan’s Island, tells the life story of the show: from the labor pains of scripting, casting, and production to its golden years of afternoon reruns. Fascinating history that could be known only by the show’s creator is enhanced by wonderful photos, sketches, and other illustrations from the author’s personal collection, as well as the guest forewords by all seven "Castaways." An appendix lists plots, writers and directors for every episode. All this behind-the-scenes information makes the book a special treat, not only for fans, but for anyone interested in an inside look at the television industry.
About the Author
Sherwood Schwartz lives in Beverly Hills, California.
Bruce K. Hanson
Foreword by Stewart Stern
Print ISBN: 978-0-7864-4778-7
EBook ISBN: 978-0-7864-8619-9
352 photos (14 in color), discography, appendices, notes, bibliography, index
417pp. softcover (7 x 10) 2011
Price: $45.00
About the Book
Recounting the more than century-long stage and screen history of J.M. Barrie’s play Peter Pan, Bruce K. Hanson updates and expands his 1993 volume on "The Boy Who Wouldn’t Grow Up." Hanson traces the origin of Barrie’s tale through the first London production in 1904, to various British and American theatrical and film productions up to and including the stage versions of 2010.
Included are excerpts of interviews with actresses Dinah Sheridan, Mary Martin and Sandy Duncan, all of whom portrayed Peter Pan on stage, and Betty Comden and Adolph Green, lyricists for the 1954 Broadway musical. The book features a wealth of rare photos, posters, programs and costume designs. An appendix lists virtually every actor who has performed a featured role in a London, Broadway or Hollywood production of Peter Pan from 1904 to the present.
Table of Contents
Acknowledgments ix
Foreword by Stewart Stern 1
Introduction 5
1. James Barrie: The Man Who Wouldn’t Grow Up 9
2. Nina Boucicault and the First Peter Pan 24
3. Maude Adams: Peter Pan Lands in America 52
4. Cecilia Loftus and the Mermaids 74
5. Vivian Martin and the Unknown Peter Pans 82
6. Pauline Chase and an Afterthought 86
7. Marilyn Miller: The Ziegfeld Treatment 106
8. Betty Bronson: The Silent Treatment 125
9. Jean Forbes-Robertson and Other English Lasses 143
10. Eva Le Gallienne: The Civic Repertory Theatre 166
11. Jean Arthur: A Touch of Bernstein 182
Between pages 200 and 201 are 12 color plates containing 14 photographs
12. The Disney Touch 201
13. Mary Martin: A Musical Peter Pan 210
14. Margaret Lockwood and Toots: A Family Affair 257
15. Mia Farrow and Another Musical 280
16. Sandy Duncan: Back on Broadway 285
17. Cathy Rigby: Peter Pan—A Record Breaker 294
18. A Change of Gender: Peter Pan as a Real Boy 303
Afterword: The Lasting Appeal of Peter Pan 325
Appendix A: A Selected Discography 329
About the Author
A theatre instructor and a National Board Certified teacher of Visual Arts, Bruce K. Hanson has written books, plays, articles and CD liner notes. He lives in Petersburg, Virginia.
Edited by Robert G. Weiner and Shelley E. Barba
Forewords by Kevin Murphy and Robert Moses Peaslee; Afterword by Mary Jo Pehl
Print ISBN: 978-0-7864-4532-5
EBook ISBN: 978-0-7864-8572-7
14 photos, notes, bibliographies, index
277pp. softcover (7 x 10) 2011
Price: $40.00
About the Book
The award-winning television series Mystery Science Theater 3000 (1988-1999) has been described as "the smartest, funniest show in America," and forever changed the way we watch movies. The series featured a human host and a pair of robotic puppets who, while being subjected to some of the worst films ever made, provided ongoing hilarious and insightful commentary in a style popularly known as "riffing." These essays represent the first full-length scholarly analysis of Mystery Science Theater 3000--MST3K--which blossomed from humble beginnings as a Minnesota public-access television show into a cultural phenomenon on two major cable networks. The book includes interviews with series creator Joel Hodgson and cast members Kevin Murphy and Trace Beaulieu.
Table of Contents
Acknowledgments xi
Foreword: Riffing and You (and Riffing ) by Kevin Murphy 1
Foreword by Robert Moses Peaslee 3
Introduction by Robert G. Weiner and Shelley E. Barba 7
PART ONE: DIRECTORS
1. There’s Been an Accident at the Studio: How We Made Hobgoblins! 18
RICK SLOANE
2. “Remember: Only you can prevent Roger Corman”: The King of the Bs Under Siege 29
CYNTHIA J. MILLER
PART TWO: SPECIFIC FILMS
3. Communists and Cosmonauts in Mystery Science Theater 3000: De-Camping East Germany’s First Spaceship on Venus/Silent Star 40
SEBASTIAN HEIDUSCHKE
4. The Semiotics of Spaceflight on the Satellite of Love 46
MATTHEW H. HERSCH
5. Resurrecting the Dead: Revival of Forgotten Films through Appropriation 55
CHERYL HICKS
PART THREE: FANDOM
6. Becoming “The Right People”: Fan-Generated Knowledge Building 66
KRIS M. MARKMAN and JOHN OVERHOLT
7. Converging Fan Cultures and the Labors of Fandom 76
MEGAN CONDIS
8. “Consume excrement and thus expire”: Conflict Resolution, “Fantagonism,” and alt.tv.mst3k 88
JEREMY GROSKOPF
9. Cinemasochism: Bad Movies and the People Who Love Them 101
DAVID RAY CARTER
PART FOUR: MEDIA TEXTS, AUDIENCES, AND THE CULTURE OF RIFFING
10. Double Poaching and the Subversive Operations of Riffing: “You kids with your hoola hoops and your Rosenbergs and your Communist agendas” 110
ORA MCWILLIAMS and JOSHUA RICHARDSON
11. Frame Work, Resistance and Co-optation: How Mystery Science Theater 3000 Positions Us Both In and Against Hegemonic Culture 120
MICHAEL DEAN
12. “Not too different from you or me”: The Paradox of Fiction, Joint Attention, and Longevity 127
MICHAEL DAVID ELAM
13. Mystery Science Theater 3000: A Media-Centered Exploration 135
ZACHARY GRIMM
14. Authorship and Text Remediation in Mystery Science Theater 3000 140
KALEB HAVENS
PART FIVE: MENTAL HYGIENE: THE MST3K SHORTS
15. “People were whiter back then”: Film Placement and In-Theater Commentary as Sociopolitical Dialogue 146
ERIN GIANNINI
16. The Endearing Educational Shorts 155
AMANDA R. KEELER
17. Writing History with Riffs: The Historiography of the “Shorts” 164
MIRANDA TEDHOLM
PART SIX: SATIRE AND GENDER
18. Robot Roll Call: Gypsy! (Hi Girls!) 172
MICHELE BRITTANY
19. What’s the Difference? Satire and Separation in That “Little Puppet Show” 178
ALANA HATLEY
PART SEVEN: TECHNOLOGY AND EPISODE COLLECTING
20. The Design and Speculative Technology of MST3K: Joel Hodgson and Trace Beaulieu at MIT 184
JASON BEGY and GENEROSO FIERRO
21. “Cambot Eye”: The Synthesis of Man, Machine and Spectatorship 197
DANIELLE REAY
22. MSTies and Mastery: Circulating the Tapes in a Digital Age 209
JOSEPH S. WALKER
PART EIGHT: HISTORY AND PRE-HISTORY
23. “Hamlet will return in Thunderball”: Historical Precedents of Riffing 220
MARK MCDERMOTT
24. From Techno-Isolation to Social Reconciliation 231
E. MITCHELL
25. Fishing with Cheese on a Blood Hook: MST3K’s Unlikely Origins on a Lake in the Woods of Wisconsin 242
ROBERT G. WEINER
Afterword by Mary Jo Pehl 253
About the Contributors 255
Index 259
About the Author
Robert G. Weiner is associate humanities librarian at Texas Tech University. His works have been published in the Journal of Popular Culture, Public Library Quarterly, Journal of American Culture, International Journal of Comic Art and Popular Music and Society. He lives in Lubbock, Texas. Shelley E. Barba has written for Texas Library Journal. She is a metadata librarian at Texas Tech University.
C.W. Sullivan III Series Editor Donald E. Palumbo
Print ISBN: 978-0-7864-4463-2
EBook ISBN: 978-0-7864-8717-2
appendices, bibliography
192pp. softcover (6 x 9) 2011
Price: $40.00
About the Book
Robert A. Heinlein’s early, juvenile science fiction novels appeared between 1947 and 1963, just as America was emerging from World War II and entering the space age, and are among his richest and most warmly remembered books. This comprehensive work defines the many names, terms and cultural references that appear in Heinlein’s juvenile novels, noting where they are found, explaining their sources and tracking their occurrences throughout the series. Of particular interest is the way in which Heinlein used science fiction to parallel the exploration of outer space with the settlement of the North American continent. Appendices provide a precis of the plot of each book, and speculate on some of the names and terms for which no specific reference could be found.
Table of Contents
Heinlein’s Juvenile Novels 1
Preface 3
Introduction 7
THE DICTIONARY 13
Appendix I: Plots of Heinlein’s Juvenile Novels 169
Appendix II: Some Speculations About Terms and Names Not Found 174
Works Cited 181
About the Author
C.W. Sullivan III is Distinguished Professor of arts and sciences at East Carolina University and a full member of the Welsh Academy. He is the author of numerous books and the on-line journal Celtic Cultural Studies
Donald E. Palumbo is a professor of English at East Carolina University in Greenville, North Carolina. He lives in Greenville.
William H. Roberson
Print ISBN: 978-0-7864-6361-9
EBook ISBN: 978-0-7864-8710-3
chronology, bibliographies, index
218pp. softcover (7 x 10) 2011
Price: $40.00
About the Book
Walter M. Miller, Jr., was one of the twentieth century’s leading science fiction writers, a two-time Hugo Award winner and author of the classic novels A Canticle for Leibowitz and Saint Leibowitz and the Wild Horse Woman. This comprehensive literary guide provides more than 1,500 alphabetically arranged entries on Miller’s life and body of work. It includes summaries of his two novels and all of his shorter works, character descriptions, explanations of the literary, cultural, historical, and religious allusions found in the works, as well as translations of all foreign words and phrases. This guide is meant to inform both scholarly and popular readings of Miller’s work.
Table of Contents
Acknowledgments ix
Preface 1
Chronology 3
The Reference Guide 5
Works by Walter M. Miller, Jr. 193
Works About Walter M. Miller, Jr. 195
General Bibliography 198
Index 201
About the Author
William H. Roberson is professor and head librarian at the Brentwood Campus of Long Island University. He is the author of a number of books and his articles have appeared in Critique, Great Lakes Review, RQ, and Bulletin of Bibliography.
Matthew R. Bradley
Foreword by Richard Matheson
Print ISBN: 978-0-7864-4216-4
EBook ISBN: 978-0-7864-5638-3
64 photos, bibliography, index
315pp. softcover (7 x 10) 2010
Price: $45.00
About the Book
Though innumerable biographies have been written about novelists, playwrights, and poets, screenwriters are rarely granted this distinction, even ones as prolific and successful as Richard Matheson. He has occupied a unique position in cinema as the writer or original author of films from The Incredible Shrinking Man in 1957 through I Am Legend in 2007. This book documents his rise to prominence, parallel literary career, and role in the horror and science fiction renaissance. In chronological order, the exhaustively indexed narrative examines each film written by Matheson or based on his work, with sections devoted to episodic television (including The Twilight Zone) and unproduced projects.
Table of Contents
Acknowledgments vii
Foreword by Richard Matheson 1
Introduction 3
THE FILMS
The Incredible Shrinking Man (1957) 9
The Beat Generation (1959) 17
The Twilight Zone (1959–1964) 21
Other Episodic Television 49
House of Usher (1960) 78
Master of the World (1961) 85
Pit and the Pendulum (1961) 89
Night of the Eagle (1962) 94
Tales of Terror (1962) 101
The Raven (1963) 107
The Comedy of Terrors (1963) 112
The Last Man on Earth (1964) 117
Fanatic (1965) 123
The Young Warriors (1968) 127
The Devil Rides Out (1968) 130
“It’s Alive!” (1969) 137
De Sade (1969) 141
Cold Sweat (1970) 146
The Omega Man (1971) 149
Duel (1971) 155
The Night Stalker (1972) 162
The Night Strangler (1973) 169
The Legend of Hell House (1973) 177
Dying Room Only (1973) 185
Dracula (1974) 186
Scream of the Wolf (1974) 192
The Morning After (1974) 194
Icy Breasts (1974) 197
The Stranger Within (1974) 199
Trilogy of Terror (1975) 201
The Strange Possession of Mrs. Oliver (1977) 207
Dead of Night (1977) 209
The Martian Chronicles (1980) 212
Somewhere in Time (1980) 219
The Incredible Shrinking Woman (1981) 228
Twilight Zone—The Movie (1983) 231
Jaws 3-D (1983) 239
Loose Cannons (1990) 242
The Dreamer of Oz (1990) 245
Twilight Zone: Rod Serling’s Lost Classics (1994) 248
Trilogy of Terror II (1996) 249
What Dreams May Come (1998) 252
Stir of Echoes (1999) 257
Blood Son (2006) 262
My Ambition (2006) 262
I Am Legend (2007) 265
Other Unproduced Projects 269
Bibliography 273
Index 281
About the Author
Matthew R. Bradley is a widely published authority on the work of Richard Matheson. He has written articles, interviews, and reviews for Filmfax, Fangoria, Mystery Scene, VideoScope, The New York Review of Science Fiction, and Cinema Retro. The creator of the Internet film-related blog Bradley On Film, he lives in Bethel, Connecticut.
Phyllis M. Betz
Print ISBN: 978-0-7864-5885-1
EBook ISBN: 978-0-7864-8614-4
appendix, notes, bibliography, index
211pp. softcover (6 x 9) 2011
Price: $40.00
About the Book
Science fiction has long been a haven for lesbian writers, allowing them to use the genre to discuss their marginalized status. This critical work examines how lesbian authors have used the structures and conventions of science fiction to embody characters, relationships and other themes that relate to their experience as the quintessential Other in the broader culture. Topics include lesbian gothic, fantasy, science fiction, mixed genre texts and historical background for the works discussed. A vital addition to the scholarship on homosexuality and culture.
Table of Contents
Acknowledgments viii
Preface 1
Introduction: Reading Lesbians Reading Fantasy 5
1. Once Upon a Time: Historical Backgrounds and Contexts 27
2. Here Be Monsters: Lesbian Gothic 70
3. In a Kingdom Far Away: Lesbian Fantasy 102
4. Beyond the Known Galaxy: Lesbian Science Fiction 132
5. Blurring the Lines: Mixed Genre 158
Conclusion: Such Stuff as Dreams Are Made On 172
Appendix: Why Would a Lesbian Writer Use Gay Characters Rather Than Lesbian Ones? 179
Notes 189
Works Cited 195
Index 201
About the Author
Phyllis M. Betz is an assistant professor of English at La Salle University in Philadelphia, Pennsylvania. She has written three books examining genre fiction written by lesbians. She lives in Burlington, New Jersey.
Subscribe to:
Posts (Atom)