Showing posts with label Comics. Show all posts
Showing posts with label Comics. Show all posts

Saturday, May 3, 2025

CFP Transformers and SOGIE: Call for Proposals for Edited Collection (5/31/2025)

 

Transformers and SOGIE: Call for Proposals for Edited Collection

deadline for submissions: 
May 31, 2025
full name / name of organization: 
Daniel M. Look

Title: TBD, but potentials include:

  • ‘Til All Are One: Gender, Sex, Sexual Orientation, Gender Identity/Gender Expression (SOGIE) in Transformers

Editors (Collaborators): Elizabeth Sanders, Daniel M. Look

Description / Call for Papers:

We are soliciting chapters/articles for an edited academic book on topics relating to the Transformers franchise and gender, sex, sexual orientation, gender identity, and/or gender expression.Proposals from academics and independent scholars covering official continuity/properties, fanfiction, the fandom, and content creators will be considered. Proposals should be for new essays, not republications of previous works.

Since its inception in 1984, the Transformers property has had a complicated relationship with concepts relating to sex and gender. During the creation of the names and personalities for the original characters, Bob Budiansky proposed that Ratchet, the medical robot, be a female character. Hasbro rejected the idea, reportedly saying "this is a boy toy. We don't wanna have, you know, girl robots."

However, during the Sunbow animated series, we are introduced to (unfortunately, one-dimensional) ‘female Autobots’ in the episode “The Search for Alpha Trion” and, in 1986, Transformers: The Movie introduced the first recurring female transformer in Arcee.

In the US Marvel comics continuity, the transformer Cloudburst states that for transformers “there are no men, no women…no mates!” Female transformers exist in the Marvel UK comic series, but this is primarily a result of that continuity incorporating aspects from the 1986 animated movie.

Starting in the animated series Beast Wars, cast inclusion of one or more female characters became more commonplace, but they were still heavily outnumbered. Likewise, their gender and gender expression and relationships, when they existed, were cisgender and heteronormative.

The 2005 IDW comics continuity changed this landscape and moved gender identity and expression, sexual orientation, and more diverse relationships closer to the spotlight with, we add, Hasbro’s endorsement and support. We see an incredible explosion of topics ranging from homonormative societies, gender without the “biological” concept of sex, transgender robots, and concepts for close, platonic relationships (amica endura) and spouses (conjunx endura).

These topics are complex and not something expected from a ‘toy’ franchise. Further, there was a directed effort to include women and LGBTQIA+ creators and consultants to write these stories in believable and sensitive ways. That effort has continued in follow up cartoon series, including Transformers: Earthspark, which introduced the first non-binary Transformer. Although some of the expected pearl-clutching occurred, the response was, by and large, positive. However, beyond interviews with creators and fan articles, little academic attention has been paid to the Transformers franchise and its relationship to these topics.

To our knowledge, there is no published academic work relating to this material. Our hope is that this edition will not only stand on its own, but also welcome and encourage further scholarship in this field.

Contributions could include, but are not limited to, the following topics:

Potential Sections & Chapter Ideas

Why “Genderless” Means Male

  • Portrayals of Masculinity
  • Boys Toys = Boys: Hasbro specifying only wanted male character ers for G1 cartoon
  • How “Genderless” Appears in Comics: more as “sex less,” but really all monosexed/gendered as male
  • One of Those: Intimacy and emotions not being the focus (traditionally)
  • The Trouble with Gobots: Gobots had many female characters and, for the most part, you could not tell male from female from their body design
  • Monstrous Reproduction
    • Physically monstrous: Budding, Protoforms
    • Ideologically Monstrous: Made to Order, Vehicons
    • Frankenstein Approach: “Firstborn,” Dinobots, Tarantalus, Quintissons
    • Sacred Well: Vector Sigma, Quintus Prime
  • The Problem of Fembots/Femmebots
    • Arcee’s Journey as “The Only One”
    • Toys for Boys: Fembots/Femmebots as Sexual/Romantic Objects
    • All Hail the Queen: Black Arachnia / Airachnid
    • Bringing Balance: Caminus (IDW), Fan Polls (female Megatronous/Victorion) + Windblade, Mairghread Scott (author)
  • Queer Identities
    • Found Family: Conjunx Amica
    • MLM and WLW: Conjunx Endura
    • Trans-Transformers: Anode, Lug, Arcee
    • A Wonderful Experience: Nightshade, Non-binary Transformer
    • Intention vs. Interpretation: Knock Out and Breakdown
    • Frenemy or “Will they/Won’t They?”: Ratchet and Drift as a romantic partnership that would have been predicted had they been perceived as male/female
  • Humans (Fans and Creators)
    • Own Voice: Queer Creators in Transformers (writers, consultants)
    • Importance of seeing yourself in your fiction
    • Unchecked Privilege and complaints about Genderswapping: “If you want more female characters create new characters”
    • Won’t someone think of the children?: Fan reactions to themes related to gender/orientation in fiction for children
    • Fan reactions: “don’t get your politics in my toys”
    • Cultural differences in reactions from international fanbase
  • Misc.
    • Bishojou Figures
    • Kiss Players (tread carefully here)
    • TFs in love with humans, aliens, mermaids, etc. (Seaspray and Powerglide) as explorations of gender identity/sexual identity

To express interest and receive details about submitting a proposal, please contact the editors at esanders5@lamar.edu and dlook@stlawu.edu.

 This edited volume will be organized into thematic sections around these topics and others that emerge from submissions. Prospective authors should contact the editors with any questions, including potential topics not listed above.

Please submit a 300-500 word abstract of your proposed chapter contribution as a Word Document (not PDF) with a brief bio (in the same document), current position and experience with the topic, affiliation (if any), and complete contact information to editors Elizabeth Sanders and Daniel Look by May 31, 2025. Full chapters of 6000-8000 words are likely due December 2025. A publisher has shown preliminary interest.

Please share this announcement with anyone you believe would be interested in contributing to this volume. Proposals from academics and independent scholars covering official continuity/properties, fanfiction, the fandom, and content creators will be considered. 

Note: Acceptance of a proposed abstract does not guarantee the acceptance of the full chapter.


Last updated May 1, 2025

Wednesday, January 5, 2022

CFP There Can Be Only One: Critical Essays on the Highlander Franchise (proposals by 5/31/22)

 Posted on behalf of the editor (and wishing her good luck with the project).

There Can Be Only One: Critical Essays on the Highlander Franchise

Abstract submission deadline: May 31, 2022

Essays of 4,000 – 6,000 words deadline: December 10, 2022

Source: https://michelebrittany.com/?p=31

 

There Can Be Only One.  This phrase was made popular 35 years ago with the release of Highlander, a fantasy action-adventure film directed by Russell Mulcahy and starring Christophe Lambert, Sean Connery, and Clancy Brown.  While it did not turn a profit during its theatrical release, it did become a cult film inspiring several sequels, three television series, original novels, comic books, audio books, video games, a web series, collectibles, musical scores, and a loyal fandom who have successfully organized a number of Highlander fan conventions.  

Over the years, aspects of this franchise become part of popular culture’s lexicon, such as the enduring Queen album, A Kind of Magic with iconic phrases (“Princes of the Universe”/“There Can Be Only One”), and dramatic imagery (electrifying beheadings and portrayals of historic events/places). Since 2008, there have been discussions of remakes and reboots and most recently in May 2021 with Henry Cavill proposed to have a lead role.  

Interestingly, other than franchise retrospectives, soundtrack analysis, and film reviews, there are no singular books of scholarly focus.  This proposed transmedia book will seek to address this gap by collecting a series of essays that provide a focused exploration of the Highlander franchise. 

The editor seeks essays exploring any aspect of the Highlander franchise in films/television, literature, comics, video games, and any other popular culture medium such as: 

  • Films: Highlander (1986, Russell Mulcahy); Highlander II: The Quickening (1991, Russell Mulcahy); Highlander III: The Sorcerer (1995, Andy Morahan); Highlander: Endgame (2000, Doug Aarniokoski); Highlander: The Source (2007, Brett Leonard); Highlander: The Search for Vengeance (2007, Yoshiaki Kawajiri)
  • Television series: Highlander: The Series (1992-1998); Highlander: The Animated Series (1994-1996); Highlander: The Raven (1998-1999)
  • Books:  Highlander: Die Ruckkehr des Unsterblichen (Highlander: The Return of the Immortal, 1994, Martin Eisele and Hans Sommer); Highlander: The Element of Fire (1995, Jason Henderson); Highlander: Scimitar (1996, Ashley McConnell); Highlander: Scotland the Brave (1996, Jennifer Roberson); Highlander: Measure of a Man (1997, Nancy Holder); Highlander: The Path (1997, Rebecca Neason); Highlander: Zealot (1997, Donna Lettow); Highlander: Shadow of Obsession (1998, Rebecca Neason); Highlander: The Captive Soul (1998, Josepha Sherman); Highlander: White Silence (1999, Ginjer Buchanan); Highlander: An Evening at Joe’s (2002, written by cast/crew of Highlander: The Series)
  • Comics: Highlander comic book series (Dynamite Entertainment); Highlander 3030 (Emerald Star Comics)
  • Video games: Highlander (1986, PC); Highlander: The Last of the MacLeods (1995, Atari Jaguar CD)
  • Audio: Highlander: The Original Scores (1995); Queen’s A Kind of Magic (1986); Big Finish Productions’ Highlander audio stories; Highlander: A Celtic Opera
  • Web series: The Methos Chronicles (2001)
  • Collectibles: Highlander: The Card Game (La Montagnard Inc.)
  • Fan derivative works: film, fiction, etc. 

Essays that take an interdisciplinary approach to the subject matter and/or can apply a variety of lenses and frameworks, such as, but not limited to, are encouraged: 

  • Close textual analysis
  • Comparative analysis
  • Cult/secret societies
  • Cultural and ethnic
  • Fandom and fan studies
  • Film studies
  • Folklore
  • Gender/LGBTQIA+ studies
  • Historic analysis
  • Literature studies
  • Media and communications
  • Media Sociology
  • Mythological
  • Psychological
  • Racial studies
  • Semiotics
  • Theoretical

The editor will review multiple abstract submissions to assemble the most cohesive arrangement of entertaining/insightful essays that will provide a well-rounded exploration and representation of this popular franchise.  Additionally, the editor is seeking essays that balance an academic and armchair enthusiast tone to ensure the widest audience appeal. The deadlines are: 

  • 05/31/2022: Abstract of 300 – 500 words, brief CV, and preliminary draft bibliography emailed to the editor. 
  • 06/10/2022: Notification of acceptance/rejection.  Successful essayists will be sent a comprehensive style sheet.
  • 12/10/2022:  Essays of 4,000 – 6,000 words in length are due to the editor.  Earlier submissions are welcomed and encouraged.
  • 12/10/2022 – 05/10/2023: Essays will be edited and returned to each author for review and revision.  
  • 05/11/2023 – 11/11/2023: Manuscript will be peer reviewed.  The editor will work with essayists to address all peer review notes and finalize each essay.
  • 11/30/2023: Final manuscript sent to the publisher. 

IMPORTANT NOTES

  • The editor will be utilizing Microsoft Word’s Track Changes function to record all edits.  It will be the writer’s responsibility to resolve each edit and submit a final clean essay by the deadline noted above. 
  • Contributors will receive a complimentary book copy when published.  Postage will be paid by the editor.
  • For team written essays, keep to a maximum of two co-authors. 
  • The editor encourages the widest possible diverse representation to submit to this call for papers.

Please direct all correspondence to Michele Brittany, Editor, at mcbrittany@gmail.com

 

Sunday, March 15, 2020

CFP PopMeC Conference (4/5/20; Madrid 5/27-28/20)

CFP: PopMeC, Instituto Franklin–UAH (Alcalá de Henares) on May 27–28, 2020
https://www.fantastic-arts.org/2020/cfp-popmec-instituto-franklin-uah-alcala-de-henares-on-may-27-28-2020/
February 11, 2020

PopMeC Conference
Instituto Franklin–UAH (Alcalá de Henares) on May 27–28, 2020

Thanks to the pervasiveness of popular culture in everyday life, its products embody a fundamental driving force in forging the collective imaginary of both national and foreign publics. The timely construction, consolidation, and intrinsic political potential of popular representations—myths, symbols, images, and signs—has undeniably facilitated the shaping of identities, discourses, and communities. The diversity and peculiarities of the American society can therefore be traced through the analysis of popular culture and multimodal cultural expressions, conveyed by means such as film, comics and graphic novels, TV and web series, videogames, music, books, and whatnot.

PopMeC aims at providing a collaborative, engaging, and fair environment for any interested scholar, promoting the sharing of knowledge, experience, and ideas across disciplines and thematic fields. We’re also working to foster a stimulating space for early career researchers and postgraduate students in North American studies, thus we’ll warmly welcome their proposals.

The conference will approach popular media and culture products—as well as their publics and reception—from an intersectional, multidisciplinary standpoint and a diverse range of perspectives. We’re looking for engaging, fresh, interesting papers acknowledging and exploring a variety of images and narratives, their configurations and aims, as well as examining the intersectional connections between identities, politics, and history, traceable in and across cultural products.

We welcome proposals for 20 min individual papers or panels constituted of three papers, on topics including (but not limited to):

> the representation of specific ethnic / religious / gender / etc. groups in the US popular media and culture (including mainstream, alternative, and self-representations)
> the articulation of American national ethos, myths, symbols and heroes
> public history and the representation of US history for the non-specialized public
> the reception of popular culture products and their publics
> comparative studies of contrasting / similar representations
> the US society as represented through humor, caricature, and satire
> deconstruction of national storytelling and stereotyped narratives

Please, send your proposal by April 5, 2020 to popmec.call@gmail.com attaching your abstract (200-250 words), inclusive of a short bio (100-120 words), name, affiliation, and email contact in a single file. All proposals (unless differently specified by the author) will be considered for both presentation in the conference and publication on the academic blog. Feel free to check our author guidelines page and to contact us for further information.

The languages of the conference will be English and Spanish. Nonetheless, we strongly recommend limiting the use of Spanish coherently with your chosen topic.

Registration fee:
> Full 45€ for waged scholars
> Reduced 15€ for unwaged scholars (e.g. postgraduate students, independent researchers)
[Coffee breaks and light lunch will be provided]

Key dates:
> April 5 deadline for proposals
> April 14 notification of acceptation and opening of registration
[We plan on doing a first round of evaluations by March 8 so that if your proposal needs a little retouching, we let you know and you can still resubmit it!]

Further details on keynote speakers, venue and registration will be provided shortly.
Organizing committee @ Instituto Franklin–UAH:
> Daniel Bustillo
> Carlos Herrero
> Anna Marta Marini
> Joaquín Saravia

Download the full CFP here: CFP_popmec

https://popmec.hypotheses.org/

CFP Giger Conference (4/26/20; Lausanne 11/25-27/20)


CFP: Les mondes de H.R. Giger : entre littératures et arts, The Worlds of Giger : between literature and the arts
https://www.fantastic-arts.org/2020/cfp-les-mondes-de-h-r-giger-entre-litteratures-et-arts-the-worlds-of-giger-between-literature-and-the-arts/
February 19, 2020

Les mondes de H.R. Giger : entre littératures et arts
The Worlds of Giger : between literature and the arts
Colloque international

Organisé par l’Université de Lausanne (UNIL) et la Maison d’Ailleurs (Yverdon-les-Bains)
25-27 novembre 2020, Université de Lausanne

Appel à contributions / Call for papers

Hans Ruedi Giger (1940-2014) est sans nul doute l’un des artistes suisses les plus célèbres au monde, depuis qu’il a conçu les décors et les créatures, notamment des films Alien et Dune. Mais il y a un Giger d’avant Alien également. Son œuvre comprend des peintures, des dessins, des sculptures, des objets de design ou encore des bandes dessinées, sans compter les multiples déclinaisons de son univers sur le plan mondial. C’est aussi un artiste pétri de littérature fantastique et de science-fiction, qui a souvent rendu hommage à l’un des maîtres du genre, H.P. Lovecraft. C’est la première fois que son œuvre est proposée comme enseignement à l’Université en Suisse et qu’un colloque international lui est consacré dans une université. En effet, parmi les nombreuses publications consacrées à l’artistes, les études scientifiques font figure d’exception. Ce colloque se propose de commencer à combler cette lacune.

Hans Ruedi Giger (1940-2014) is no doubt the most famous Swiss artist since he has designed te worlds and/or creatures of films such as Alien or Dune. But there is a Giger before Alien too. His work includes paintings, drawings, sculptures, objects and furniture or comics, not to mention the multiple uses of his universe in other fields (tattoe, etc). He is also fascinated by fantastic literature, and especially by H. P. Lovecraft. This is the first scientific conference devoted to his work.

Some possible topics
  • Literary inspidations : Lovecraft etc
  • Dreams : from surrealism to psychedelism
  • Satire and caricature
  • Giger in films : Dune /Alien / Species …
  • Design
  • Technical inventions (aerograph…)
  • Erotism / Pornography
  • Biomecanics
  • Religion and esoterism
  • Passages and trains (ghosts)
  • Visionary architectures
  • Comics
  • Video games
  • The Museum as Gesamtkunstwerk
  • Derivatives : tattoe…
  • Etc.

Les propositions de communication sont à adresser à Marc Atallah (marc.atallah@unil.ch) et Philippe Kaenel (philippe.kaenel@unil.ch), en anglais ou en français, jusqu’au 26 avril 2020. Elles comprendront une courte biobibliographie et un abstract de la communication (1500-2000 signes).
The proposals are to be sent to Marc Atallah (marc.atallah@unil.ch) and Philippe Kaenel (philippe.kaenel@unil.ch), in english or in french until 26 april 2020.
Le colloque est soutenu par l’Université de Lausanne (Centre des Sciences historiques de la culture – SHC, et la Section de français).

Sunday, October 13, 2019

CFP Myth and Fairy Tales Area (10/31/2019; SWPACA 2/19-22/2020)

Call for Papers: Myth and Fairy Tales at Southwest Popular/American Culture Association (SWPACA) 2020
https://call-for-papers.sas.upenn.edu/cfp/2019/09/17/call-for-papers-myth-and-fairy-tales-at-southwest-popularamerican-culture-association


deadline for submissions: October 31, 2019

full name / name of organization: Southwest Popular/American Culture Association

contact email: sheila.dooley@utrgv.edu



Call for Papers

Myth and Fairy Tales

Southwest Popular / American Culture Association (SWPACA)



41st Annual Conference, February 19-22, 2020

Hyatt Regency Hotel & Conference Center

Albuquerque, New Mexico

http://www.southwestpca.org

Proposal submission deadline: October 31, 2019



Proposals for papers and panels are now being accepted for the 41st annual SWPACA conference.  One of the nation’s largest interdisciplinary academic conferences, SWPACA offers nearly 70 subject areas, each typically featuring multiple panels.  For a full list of subject areas, area descriptions, and Area Chairs, please visit http://southwestpca.org/conference/call-for-papers/



All scholars working in the areas of myth and/or fairy tales are invited to submit paper or panel proposals for the upcoming SWPACA Conference. Panels are now forming on topics related to all aspects of myths and fairy tales and their connections to popular culture. To participate in this area, you do not need to present on both myths and fairy tales; one or the other is perfectly fine. Presentations considering both genres are of course welcome and can stimulate interesting discussions. Proposals for forming your own Myth or Fairy Tale-focused panel – especially panels focused on one particular myth/tale – are encouraged.

Paper topics might include (but are certainly not limited to):


  • Where Fairy Tales and Myth Overlap
  • Non-Western Myths and Fairy Tales
  • Revised Fairy Tales
  • Fairy Tales in/as “Children’s Literature”
  • Disney
  • Urban Fairy Tales
  • Ethnic Myths and Fairy Tales
  • Gendered Readings of Myths and Fairy Tales
  • Postcolonial Myths and Fairy Tales
  • Myths and Fairy Tales in Advertising Culture
  • Reading Myths and Fairy Tales in the Popular Culture of Past Centuries
  • Performing Myths and Fairy Tales: Drama and/or Ritual
  • Genres of Myths and/or Fairy Tales: Film, Television, Poetry, Novels, Music, Comic Books, Picture Books, Short Stories, or Graphic Novels



All proposals must be submitted through the conference’s database at http://register.southwestpca.org/southwestpca



For details on using the submission database and on the application process in general, please see the Proposal Submission FAQs and Tips page at http://southwestpca.org/conference/faqs-and-tips/



Individual proposals for 15-minute papers must include an abstract of approximately 200-500 words. Including a brief bio in the body of the proposal form is encouraged, but not required.



For information on how to submit a proposal for a roundtable or a multi-paper panel, please view the above FAQs and Tips page.



The deadline for submissions is October 31, 2019. 

SWPACA offers monetary awards for the best graduate student papers in a variety of categories. Submissions of accepted, full papers are due January 1, 2020.  For more information, visit http://southwestpca.org/conference/graduate-student-awards/



Registration and travel information for the conference is available at http://southwestpca.org/conference/conference-registration-information/



In addition, please check out the organization’s peer-reviewed, scholarly journal, Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, at http://journaldialogue.org/

If you have any questions about the Myth and Fairy Tales area, please contact its Area Chair, Sheila Dooley, University of Texas Rio Grande Valley (UTRGV), Sheila.dooley@utrgv.edu



We look forward to receiving your submissions!




Last updated September 23, 2019
This CFP has been viewed 213 times.

Sunday, September 23, 2018

CFP Food and Drink in Science Fiction, Edited Volume (proposals by 11/15/2018)

CFP: Food and Drink in Science Fiction, Edited Volume
https://www.fantastic-arts.org/2018/cfp-food-and-drink-in-science-fiction-edited-volume/
August 7, 2018

CFP, edited volume: Food and Drink in Science Fiction

“But now, we must eat!”
Food and Drink in Science Fiction

Deadline for abstracts: November 15, 2018

Edited by Cindy Miller, Steve Rabitsch, and Michael Fuchs this volume will discuss food and drink in science fiction across media—movies, television shows, literature, video games, comics, etc. Of course, as forms of sustenance, food and drink are among the essential elements of life. But this is also precisely why representations of food and drink are always ripe with meaning. As this book will show, science fiction uses food and drink to explore pertinent issues ranging from the homogenization of food in a globalized economy to the exploitation of our natural resources and the attendant phenomena of water, air, and soil pollution, deforestation, and the scarcification of food.

If you are interested in contributing to this volume, please submit a 500-word proposal to science.fiction.food@gmail.com. All submissions will be acknowledged. If you do not receive a confirmation of receipt within 48 hours, you may assume that your email hasn’t reached us for some reason. In that case, please re-submit. Please also direct any questions you might have to the email address indicated above.
We will most likely first approach European university presses with this project, as they generally move ahead faster than their American counterparts.

Please check out this attached CFP for more details, and do not hesitate to drop us a line if you have any questions.

Saturday, September 8, 2018

Of Interest: Marvel's Star Wars: A New Hope—The 40th Anniversary

Also of interest:

Harrold, Jess. Star Wars: A New Hope—The 40th Anniversary. Book design by Adam Del Re with Salena Mahina. New York: Marvel Worldwide-Marvel Ent., 2018. 978-1-302-91128-7

Very much a companion to the earlier Star Wars: The Marvel Covers Vol. 1, Star Wars: A New Hope—The 40th Anniversary is a celebration of both forty years of Star War and a spotlight on Marvel’s renewed association with the franchise. The book begins by reproducing a series of forty-eight variant covers, which ran across Marvel’s new and expanded Star Wars line in 2017, retelling iconic scenes from the original film through fresh images. Each cover includes a plot synopsis (often very much indebted to the dialogue of the film) and samples of concept art or (sometimes) comic art from Marvel’s 1977 adaptation of the film that depicts a similar image. The next section (similar to Marvel’s earlier collection) allows the creators involved in the commemorative celebration to comment on their experiences with the original film and highlight their role in furthering its legacy. Another section offers a selection of other recent covers and variants from a number of Marvel’s current Star Wars series, serving as somewhat of an incomplete continuation of the material reproduced in Star Wars: The Marvel Covers Vol. 1. The final section reprints the first issue of Marvel’s 1977 comic book adaptation of the original Star Wars along with writer Roy Thomas’s introduction to the series and a further text piece (possibly a studio press release) on the film, both also from the issue.

A digital copy is available from the publisher at https://comicstore.marvel.com/Star-Wars-A-New-Hope-The-40th-Anniversary/digital-comic/47717.

Of Inteterest: Star Wars: The Marvel Covers Vol. 1

Apologies for the long absence, but here's a recent book that might be of interest:

Harrold, Jess. Star Wars: The Marvel Covers Vol. 1. New York: Marvel Worldwide-Marvel Ent., 2015. 978-0-7851-9838-3

Star Wars: The Marvel Covers Vol. 1 is focused on the Marvel re-launch of Star Wars comics in 2015. The bulk of the book is composed of reproductions of the cover art for the initial arc of the three new series Star Wars, Darth Vader, and Princess Leia, and this gallery includes the regular covers as well as all the variants. These sections also include interviews with the writers and artists involved in the project, and they reminisce about their experiences with the Star Wars franchise and comment on their contribution to its latest manifestation in the comics medium. A final section offers a selection of covers from Marvel’s original Star Wars line—including Marvel Treasury Edition Featuring Star Wars (1977), the main Star Wars series (1977-1986), and the Star Wars: Return of the Jedi limited series (1983-1984)—plus cover images from the publisher’s recent reprinting of its earlier Star Wars line books in new collected editions.

The digital version can be purchased direct from the publisher at https://comicstore.marvel.com/Star-Wars-The-Marvel-Covers-Vol-1/digital-comic/39963.

Tuesday, July 3, 2018

CFP Everything Old Is New Again: Adapting the Classics in Contemporary Young Adult Novels (9/1/2018)

A nicely written call on an important topic:

Everything Old Is New Again: Adapting the Classics in Contemporary Young Adult Novels
https://call-for-papers.sas.upenn.edu/cfp/2018/06/30/everything-old-is-new-again-adapting-the-classics-in-contemporary-young-adult-novels

deadline for submissions: September 1, 2018

full name / name of organization: Drs. Dana Lawrence and Amy L. Montz

contact email: almontz@usi.edu



CALL FOR PAPERS

Everything Old Is New Again:

Adapting the Classics in Contemporary Young Adult Novels

“An adaptation is not vampiric: it does not draw the life-blood from its source and leave it dying or dead, nor is it paler than the adapted work. It may, on the contrary, keep that prior work alive, giving it an afterlife it would never have had otherwise” (Linda Hutcheon, A Theory of Adaptation, 2006).

Linda Hutcheon’s refusal to see adaptation as “vampiric” is particularly inspiring for those who do work on adaptations. The idea of an “afterlife” of texts, of seeing what comes before as an inspiration for what comes now is, by its very definition, keeping works “alive.” Adaptations for young adults, in particular, have the added benefit of engaging the young adult reader with both then and now, past and present. The hope is, of course, that the young adult reader will approach both text and context, both original and adaptation, to explore the importance of a theme, or a writer, or a novel, and see the historical, cultural, and literary connotations presented. Linda Hutcheon defines adaptation further by noting, "If we know that prior text, we always feel its presence shadowing the one we are experiencing directly. When we call a work an adaptation, we openly announce its overt relationship to another work or works.” Adaptation is about connection, connective tissues leading from one text to another, one author to another, one time to another. We see an adaptation and we must remember the original, engage with the original, and are encouraged to visit the original for the first time, or once again.


For this proposed collection, we are most interested in essays that explore relationships between texts and contexts, that see the connections between canonical and young adult literature. As adaptation simultaneously re-imagines and reinscribes a literary canon, the engagement with the canon is a key aspect of the adaptive qualities of the text. The author’s familiarity with the original work--or, for the purposes of this collection, the original author--lends new life to the canonical text. In “Seven Types of Intertextuality,” Robert S. Miola understands adaptations as “literary progeny that bear direct and immediate descent from originary texts and that exist in a very conscious counterpoise of tribute and criticism…If an author’s revision of his or her own work asserts his or her power and domination, then the reviser of another’s work enacts a rebellion and usurpation.” What remains unique about the adaptation is this tension between tribute and criticism, particularly when issues of race, gender, and other aspects of diversity are brought into play. Seeing the past through new eyes means we must examine the past in all its defects. It means engaging with our predecessors and the rights, and wrongs, of their literatures.


“Everything Old Is New Again: Adapting the Classics in Contemporary Young Adult Novels” will explore the “afterlife” of texts and contexts. These historical and literary phenomena will argue that adapting the classics is a way to engage young adult readers with their cultural past, and to see how that past can be rewritten in order to best present what can be changed, what benefits from change, and how they, too, can be agents of change. These adaptations empower young readers to make them more culturally, historically, and socially aware through the lens of literary diversity.

Topics may include:
  • Authenticity
  • Authorship and Authority
  • Fan fiction
  • Graphic Novel Adaptations
  • Sequels and prequels
  • Rewrites of canonical texts

Of particular interest are essays about texts that diversify race, sexuality, gender, and ability in adaptations.

Interested authors will need to submit a 500-word abstract and 150-200 word bio by September 1, 2018. Selected abstracts will be included in a book proposal to a peer-reviewed publisher. 6,000 to 8,000 word essays will due early in 2019. Please submit abstracts to both Dr. Amy L. Montz at almontz@usi.edu and Dr. Dana Lawrence at lawrende@mailbox.sc.edu. Questions can be addressed to both, as well.

CFP International Journal of James Bond Studies (11/30/2018)

An interesting call from a new open-access journal:

International Journal of James Bond Studies 2(1)
https://call-for-papers.sas.upenn.edu/cfp/2018/06/08/international-journal-of-james-bond-studies-21

deadline for submissions: November 30, 2018

full name / name of organization: International Journal of James Bond Studies

contact email: ian.kinane@roehampton.ac.uk



The International Journal of James Bond Studies is now accepting submissions for Volume 2.


The International Journal of James Bond Studies is an academic peer-reviewed journal dedicated to publishing interdisciplinary scholarship on all aspects of Ian Fleming’s James Bond franchise. The journal aims to develop contemporary critical readings of Ian Fleming’s James Bond across literary, filmic, and cultural history, and offers broader criticism of the popular appeal of Fleming’s creation and its relation to the spy genre. The journal will appeal to scholars, academics, and cultural critics whose work focuses on Ian Fleming and James Bond, as well as to fans of the James Bond franchise who wish to supplement their knowledge in this area.


Possible topics include, but are not limited to:

  • the James Bond novels (both original and continuation);
  • the James Bond films;
  • the music of James Bond;
  • James Bond computer games;
  • television, radio, and comic adaptations;
  • James Bond parodies and/or spin-offs;
  • James Bond merchandise;
  • the cultural impact of James Bond;
  • James Bond and spy fiction;
  • other academic works on James Bond


Articles of 6,000-8,000 words and reviews of 2,000 words will be considered.


For full details on the style guide and journal conventions, please see our submissions page: http://jamesbondstudies.roehampton.ac.uk/about/submissions/



You can also connect with the International Journal of James Bond Studies on Facebook (@JamesBondStudies) and Twitter (@IJJBS).

Monday, July 2, 2018

CFP Speculative Souths (1/1/2019)

An intriguing idea for a collection:

Speculative Souths
https://www.theasa.net/jobs-opportunities/cfps/speculative-souths

Deadline: Tuesday, January 1, 2019

Review Begins: Tuesday, January 1, 2019



Speculative Souths

Ed. Amy Clukey, Erich Nunn, & Jon Smith

Edited Collection CFP


In the early years of science fiction, space frequently figured as the American West writ large—the final frontier. In the genre’s darker, grittier reboot era, however, it often looks more like the final plantation, from Blade Runner’s updated slavecatchers to the transnationally and transtemporally exploited Appalachians of William Gibson’s The Peripheral to Atlanta architect John Portman’s abstracted plantation-house columns looming over the Hunger Games films. And even as some white writers, in the twilight of American empire, set their dystopian survivalist fantasies in the region (The Road, The Walking Dead), self-consciously “southern” varieties of Afrofuturism and speculative blackness, ranging from OutKast to novels such as Kiese Laymon’s Long Division and Jesmyn Ward’s Sing, Unburied, Sing, represent it as a site of vibrant black futurity contesting and sometimes transcending both the nation’s plantation past and its carceral present. Meanwhile, cli-fi and ecofiction set in the South, from Barbara Kingsolver’s Flight Behavior to Jeff VanderMeer’s Southern Reach trilogy, is on the rise as the region’s coasts begin to sink.


This collection seeks to make sense of these and other“southern turns” in speculative fiction, broadly defined across multiple media and subgenres, and of earlier southern turns that, because they didn’t fit with dominant models, earlier scholarship may have missed or misread. What happens when speculative fiction goes from western to southern, for example, and/or when our understanding of “the South” shifts its gaze from past to future? How does the speculative allow writers to conceive of the South in ways that transcend the black/white binary that has long shaped how the region is imagined?


Send abstracts by January 1st, 2019 to Amy.Clukey@gmail.com. Final papers of 4000-5000 words will be due by January 1st, 2020.



Possible topics might include

  • Southern Afrofuturisms in literature and music from Sun Ra to Outkast and beyond
  • Speculative Souths in comic and graphic narratives: Swamp Thing, Black Panther, Bitch Planet, Kindred
  • Nineteenth-century literature and speculative Souths: Edgar Allan Poe and lesser known southern innovators/imitators of the genre
  • Southern iconographies that serve as sci-fi prop, backdrop, mood enhancers: architect John Portman
  • Southern retro-futurism, futurity, and future’s futures
  • Transnational, transtemporal, weird, queer, fantastic, or dystopian speculative Appalachias: The Hunger Games, The Peripheral
  • The South and the (Old and/or New) Weird (e.g., Southern Reach)
  • The presence or weird absence of “the South” in theorizations of science fiction, such as the work of Darko Suvin or North Carolinian Fredric Jameson
  • Octavia Butler and the South, beyond Kindred
  • Speculative fictions (e.g., Laymon’s Long Division) as counter-politics
  • Alt-histories: Henry Turtledove’s white nationalist rehashes of the Civil War, more recent treatments like Omar El Akkad’s American War
  • Cli-fi of or in the South
  • Speculative poetry of or in the South
  • Voodoo/hoodoo fantasy
  • Time-traveling revisions of southern temporalities from Kiese Laymon’s Long Division to Diana Gabaldon’s Outlander series
  • Native southern speculative reclamations of space and time
  • Even more Undead Souths
  • Speculative southern modernisms
  • NASA’s ties to Southern cultures or locales (Huntsville, Houston, Cape Canaveral)
  • Southerners in space (e.g., Edgar Rice Burroughs’s A Princess of Mars)
  • The construct of U.S./Global/Planetary “Souths” on Mars, Venus, and beyond (such as the appearance of the Jim Crow South in golden age SF like Ray Bradbury and Robert Heinlein’s work, or the icy southern polar settlements of Kim Stanley Robinson’s Mars Trilogy, the agricultural terrains of The Expanse)
  • Treatments of plantation agriculture, slavery, and incarceration in space
  • Speculative southern camp in 60s and 70s sci-fi television



Monday, April 18, 2016

CFP Frankenstein and the Fantastic (Themed Session) (6/15/16; NEPCA Keene, NH 10/21-22/16)

FRANKENSTEIN AND THE FANTASTIC
CALL FOR PAPERS FOR A THEMED-SESSION OF THE
FANTASTIC (FANTASY, HORROR, AND SCIENCE FICTION) AREA

Visit us at NEPCA Fantastic: http://nepcafantastic.blogspot.com

2016 Conference of The Northeast Popular Culture/American Culture Association (NEPCA)
Keene State College in Keene, New Hampshire
21 and 22 October 2016
Proposals by 15 June 2016

Michael A. Torregrossa
Fantastic (Fantasy, Horror, and Science Fiction) Area Chair
NEPCAFantastic@gmail.com

Formed in 2008, the Fantastic (Fantasy, Horror, and Science Fiction) Area celebrates its ninth anniversary in 2016, and, this year, we hope to commemorate the 200th-anniversary of the composition of Frankenstein by seeking proposals from scholars of all levels for papers that explore any aspect of Mary Shelley’s novel and its relationship to texts of the ongoing Frankenstein tradition. We are especially interested in papers that explore underrepresented works and media.

Please see our website NEPCA Fantastic (http://nepcafantastic.blogspot.com) for further details and ideas. Presentations will be limited to 15-20 minutes in length (depending on final panel size).

Potential presenters should be aware that studies of Frankenstein in popular culture do not exist in a vacuum, and, in pitching their ideas, will be expected to be familiar with previous discussions of the Frankenstein tradition, including Donald F. Glut’s The Frankenstein Catalog (McFarland, 1984) and The Frankenstein Archive (McFarland, 2002) and Susan Tyler Hitchcock’s Frankenstein: A Cultural History (Norton, 2007).


If you are interested in proposing a paper, please address inquiries and send your biography and paper abstract (each of 500 words) to the Fantastic (Fantasy, Horror, and Science Fiction) Area Chair at nepcafantastic@gmail.com, noting “Frankenstein and the Fantastic Proposal 2016” in your subject line. Do also submit your information, under the “Fantastic (Fantasy, Horror, and Science Fiction) Area,” on NEPCA’s official Paper Proposal Form accessible from https://nepca.wordpress.com/2016-conference/.


Please submit inquiries and/or proposals for complete panels directly to the Fantastic (Fantasy, Horror, and Science Fiction) Area Chair at nepcafantastic@gmail.com.


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

Membership in NEPCA is required for participation and annual dues are included in conference registration fees. Further details are available at http://nepca.wordpress.com/membership-information/.

Tuesday, September 1, 2015

CFP Fictional Maps International Conference (10/30/2015; Poland 1/21-23/2016)

Thanks to IAFA-L for the head's up:

Fictional Maps International Conference 2016 ~ January 21st-23rd, Katowice (Poland)
http://fictionalmaps.org/

Mapping the imaginary has always been a challenge for world-building and storytelling alike. Map of the fictional world subverts the very essence of an actual cartography: it represents a territory that cannot be discovered or traversed in a non-fictional realm and yet it delivers much more than a usual map: a promise of the journey into unknown. An exquisitely quotable phrase coined by J. R. R. Tolkien, who claimed to “start writing with a map and [then] make the story fit” is only reprising what have always been evident to cartographers and creators of imaginary worlds: maps precede territories and are inevitably becoming the most essen­tial part of modern and postmodern storyworlds. Ambrosius Holbein’s wood­cut in the first edition of Thomas More’s Utopia, collectors editions map in video games, atlases of fictional universes, animated map routes in online reportages, or even interactive maps outlining the worlds of blockbuster TV shows—these are all indications of a significant shift in contemporary storytelling that looks for creating many and more access points to the fictional storyworld. Hence conference atten­dees will be asked to submit abstracts of presentations or posters’ descriptions revolving around:


  • fictional topography and geopotics;
  • map theory & theorists;
  • the dichotomy of a map and a territory;
  • ways of mapping the imaginary;
  • fictional cartography (maps, atlases, mini-maps, plans, charts, etc.)
  • maps of secondary, imaginary, fictional, possible or impossible worlds;
  • relationship between world-building and map-making;
  • function of maps: between navigating and augmenting the world;
  • navigating the actual and the imaginary: Tim Ingold’s trail-following and wayfaring;
  • case studies in literature;
  • case studies in video games;
  • case studies in movies and TV shows;
  • case studies in comic books, graphic novels and other media;
  • case studies in transmedia storytelling and transmedial franchi­ses;
  • case studies in fictional worlds;


Confirmed keynote speaker:

STEFAN EKMAN (University of Gothenburg, Sweden), author of the book Here Be Dragons. Exploring Fantasy Maps & Settings (Wesleyan UP 2013).

The conference language shall be English. 600-words abstracts of presentations or posters featuring (1) the title of pre­sentation or poster, (2) a concise bio-note, (3) current affiliation, and (4) all necessary contact information should be submitted until October 30th 2015 at fictionalmaps@gmail.com. Notifications on both accepted and rejected submissions shall be sent no sooner than in two weeks from the deadline. Poster presentations will be displayed during the poster session and accompanied by a general discussion with the presenters.

The conference fee will be 150€ (125€ for students) for the full coverage of English editions of printed conference materials and all other essentials. Polish attendees will be kindly asked to transfer the equivalent of the fee in local currency (600 PLN, 400 PLN for students). For more detailed information please follow to “Registration”.

Any further details regarding the venue, accommodation and transportation will be continuously updated at the website http://www.fictionalmaps.org. Organisers are also open to answering all questions and requests at fictional­maps@gmail.com.

The conference will be followed by a peer-reviewed monograph, published by Facta Ficta Research Centre and licenced under Creative Commons BY-SA 3.0 as an ebook sto­red in a globally accessible repository (CeON Center for Open Science).

We look forward to seeing you in Katowice!

Krzysztof M. Maj
Ksenia Olkusz
on behalf of Organising Committee

CFP Collection on Nationalism and Popular Culture (proposals by 11/15/2015)

One last call for the night:

Call for Chapter Proposals - Nationalism and Popular Culture
full name / name of organization:
Tim Nieguth
contact email:
tnieguth@laurentian.ca
http://call-for-papers.sas.upenn.edu/node/63374

Our world is a world of nations. The existence and fundamental importance of nations, national identities, or national boundaries is rarely questioned. Yet, the scholarly literature on nationalism has shown that national communities are socially constructed, that national identities are fluid, and that national boundaries are constantly contested. Clearly, maintaining nations requires a great deal of collective effort. How is it that this effort is rendered invisible? How have nations come to be seen as natural? Why do individuals buy into the idea of national identity?

In order to fully answer these questions, we need to examine the links between nationalism and popular culture. Movies, TV series, popular music, sport, video games, comics and other elements of everyday culture are intimately involved in the production (and contestation) of nationhood. Showtime’s hit series Homeland, for example, closely reflects American values and sensibilities; Britpop played a prominent role in British nation-branding; and the Beijing Olympics offered an important venue for the dissemination of official Chinese nationalism.

This volume will focus on three themes in analyzing nationalism and popular culture:


  • Communities (e.g., what are the links between nationalism and social inequality? What, if anything, do members of the nation owe one another? What are the core beliefs, myths, and values of the nation? What are the origins of the nation, and what is its future?)
  • Limits (e.g., what are the borders of the nation? Who belongs to the nation and who does not? Who are the nation’s “Others”? Are national boundaries secure or under threat?)
  • Sovereignty (e.g., who is seen to rule the nation? What is the relationship between nations, states, and markets? Where does the nation fit in the global order? What actors, rules, or power structures govern the production of national identity and popular culture?)


The editor invites proposals for chapters that address one of these broad themes. The volume is primarily designed as an examination of empirical cases, but theoretically oriented chapter proposals are welcome as well. The editor aims to include case studies from a wide range of geopolitical contexts, covering both the Global North and Global South.

Please email chapter proposals of about 300-500 words to tnieguth@laurentian.ca by November 15, 2015, together with your full contact information and a short biographical statement. The editor will review proposals by early December. If accepted for inclusion in the volume, chapters should be completed and submitted to the editor by April 30, 2016. Chapters should be 7,000-8,000 words in length, must be original work, and must not be under review or accepted for publication elsewhere. Please note that it is the responsibility of individual contributors to secure permissions for any copyrighted material included in their chapter.

For further information, please feel free to contact the editor at:

Tim Nieguth
Associate Professor
Department of Political Science
Laurentian University - Barrie
130 Bell Farm Road, Suites 2 & 3
Barrie, Ontario
Canada L4M 5G6
Email: tnieguth@laurentian.ca
URL: https://laurentian.ca/faculty/tnieguth


By web submission at 08/10/2015 - 19:01

CFP Motherhood/Fatherhood and Popular Culture Area (10/1/2015; PCA/ACA Seattle 3/21-25/2016)

Motherhood/Fatherhood and Popular Culture, Seattle, March 21-25, 2016
full name / name of organization: Popular Culture Association/American Culture Association (PCA/ACA)
contact email: lpodniek@ryerson.ca
http://call-for-papers.sas.upenn.edu/node/63266

I am looking for papers for multiple panels for the PCA/ACA Motherhood/Fatherhood Area on any aspect of motherhood and or fatherhood in popular culture.

Possible topics to consider include, but are not limited to, the following:

  • TV shows, including talk shows, family dramas, sitcoms, and animation
  • print and electronic journalism and gossip rags; magazines
  • celebrity culture
  • the internet and digital technologies
  • advertising and marketing
  • visual art including photography, scrapbooking, mixed media
  • film; performance; music
  • graphic fiction/memoir
  • best-selling literatures including mommy lit, momoirs, and dadlit
  • pregnancy manuals and “expert” parenting guides/literature
  • fashion
  • politics
  • reproductive technologies
  • law and policy; maternal and paternal activism/organizations


For information on the PCA/ACA, please see: http://pcaaca.org/
Abstracts (200-250 words) will be accepted on a continuing basis up to October 1, 2015. Abstracts (and a short, 50-word author bio) must be submitted online at: http://ncp.pcaaca.org/.

Please send any inquiries to the Area Chair:
Liz Podnieks, Associate Professor
Department of English and
Graduate Studies in Communication and Culture
Ryerson University, Toronto
lpodniek@ryerson.ca


By web submission at 08/04/2015 - 13:54

CFP A Critical Companion to Tim Burton (proposals by 9/30/2015)

I seem to have missed this:

A CRITICAL COMPANION TO TIM BURTON (Abstr. by 30 September) [REMINDER]
full name / name of organization:
Prof. Adam Barkam, Dr. Antonio Sanna
contact email:
adam_barkman@hotmail.com isonisanna@hotmail.com
http://call-for-papers.sas.upenn.edu/node/63475

A Critical Companion to Tim Burton
Edited by Adam Barkman and Antonio Sanna

Tim Burton is certainly one of the most popular directors of contemporary Hollywood. His oeuvre includes blockbuster films such as Batman (1989), Planet of the Apes (2001) and Alice in Wonderland (2010) as well as less profitable– but still highly recognizable - films such as Ed Wood (1994). His work with stop motion, evident in Tim Burton’s The Nightmare Before Christmas (1993), Tim Burton’s Corpse Bride (2005) and the recent Frankenweenie (2013) has further popularized and updated a technique that has been fundamental in cinema since the silent era. His distinctive and personal touch, a visionary style that is now referred to as “Burtonesque”, and his frequent collaborations with Johnny Depp, Helena Bonham Carter and Danny Elfman (to mention merely a few) has contributed to establish a unique and identifiable brand. All of his achievements have offered (and still offer) an incredibly fertile ground for critical examination, analysis and discussion. Indeed, in recent years the scholarship on Burton has proliferated and a number of distinct theoretical approaches that analyze the director’s visual texts and their philosophical and cultural weight have emerged.

This anthology will explore Burton’s multi-medial oeuvre from multidisciplinary perspectives. This volume seeks previously-unpublished essays that explore the American director’s heterogeneous career, from short films such as Vincent (1982) and Frankenweenie (1984) and his direction of commercials and music videos to his drawings, paintings and photographs. We are particularly interested in interdisciplinary approaches to the subject that can illuminate the diverse facets of the director’s work and his unique visual style. We do not yet have a publisher, but are very confident in finding one soon.
There are several themes worth exploring when analyzing Burton’s works, utilizing any number of theoretical frameworks of your choosing. We request that chapters based on formal analysis cover a maximum of three films to allow for reasonably close readings. Contributions may include (but are not limited to) the following topics:


  • Burton and philosophy
  • Burton and the visual arts
  • Humour, Black Humour and the Macabre
  • Burton and fairy tales
  • Gender and queer readings
  • Neo-Victorian art
  • Exploration of dreams and the subconscious
  • Fascination with machines and ecocriticism
  • Mob mentality
  • Alienation and misperception, conformity/nonconformity
  • Disfigurement, deformity and (dis)ability
  • Death and the afterlife
  • Intertextuality
  • Adaptations, Remakes and Appropriations
  • Music and Danny Elfman
  • Tim Burton in/and translation
  • Evil Clowns
  • Fan practice and fan communities


The anthology will be organized into thematic sections around these topics and others that emerge from submissions. We are open to works that focus on other topics as well and authors interested in pursuing other related lines of inquiry. Feel free to contact the editors with any questions you may have about the project and please share this announcement with colleagues whose work aligns with the focus of this volume.
Submit a 300-500 word abstract of your proposed chapter contribution, a brief CV and complete contact information to Prof. Adam Barkam (adam_barkman@hotmail.com) and Dr. Antonio Sanna (isonisanna@hotmail.com) by 30 September, 2015. Full chapters of 5000-7000 words would be due by 1 January, 2016. Note: all full chapters submitted will be included subject to review.

By web submission at 08/18/2015 - 00:43

Wednesday, August 19, 2015

CFP Sea Literature, History & Culture Area (10/1/015; PCA Seattle 3/22-25/2015)

Of potential interest:

Call for Proposals, Session, and Panels on SEA LITERATURE, HISTORY & CULTURE

Announcement published by Stephen Curley on Tuesday, August 18, 2015
Type: Call for Papers
Date: March 22, 2016 to March 25, 2016
Location: Washington, United States

For the joint national conference (22-25 March 2016 in Seattle, WA) of the Popular Culture & American Culture Associations (PCA/ACA), we invite proposals of individual papers or special panels.

Presentations related to fresh-water or sea-water may include topics like

 Literature, comics, art, music, television & movies
 History, politics, war & peace
 Culture, anthropology & ecology
 Folklore, mythology, legends & hoaxes
 Ships, boats, etc.
 Aquatic life
 Recreation, travel, tourism & festivals

DEADLINE: 1 Oct. 2015 to submit your 100-250 word proposal or abstract online to http://ncp.pcaaca.org

Contact Info:
Stephen Curley, Area Chair
Sea Literature, History & Culture
Dept. of General Academics
Texas A&M University at Galveston
Galveston, TX 77553-1675
(409) 740-4501
Contact Email:
curleys@tamug.edu
URL:
http://pcaaca.org

Monday, July 20, 2015

CFP Crank up the Resolution: Cyberpunk in Visual/Virtual Media (abstract by 8/1/15)

A reminder from the SFRA Listserv:

Call for Contributions
Crank up the Resolution: Cyberpunk in Visual/Virtual Media

“The sky above the port was the color of television, tuned to a dead channel.”
William Gibson, Neuromancer (1984)

Contributions are invited for a critical anthology focusing on cyberpunk beyond its literary dimension, its presentation in visual/virtual media, and its ongoing relevance in the 21st century.

Cyberpunk, that immensely popular form of 1980s science fiction (SF), was shaped by the innovative and highly stylized literary works of writers such as William Gibson, Bruce Sterling, Pat Cadigan, Rudy Rucker, John Shirley, and Lewis Shiner, to name a few. Gibson’s debut novel Neuromancer is the ur-text of cyberpunk, and as the opening line quoted above reveals, it is a genre that relied strongly on visual motifs for its brushed-chrome literary splendor. The cyberpunk imaginary is richly saturated with computer-generated worlds, video games, music videos, simulated stimuli, consensual hallucinations, and many other technologies that highlight the visual and/or the virtual. As a result, the importance of the visual/virtual component readily translated cyberpunk into contemporaneous film, television, and video games, such as Blade Runner (1982), Tron (1982), Videodrome (1983), Max Headroom (1985; 1987), Wasteland (1987), Akira (1988), and so forth.

It is in no small part due to this visual/virtual form that cyberpunk survived many pronouncements of its demise over the years and decades that followed its initial popularity. Cyberpunk has evolved beyond the original cadre of eighties-era authors and undergone transformations in successive waves with increasingly varied thematic and political interests and goals; in other words, as Thomas Foster remarks in The Souls of Cyberfolk, cyberpunk “didn’t so much die as experience a sea change into a more generalized cultural formation.”

Visual and virtual embodiments of cyberpunk have continued to resonate well into the new millennium, in media as varied as film, television, video games, comic books/graphic novels, and art (photography, painting, design, fashion, etc.); yet, monographs and anthologies tend to focus overwhelmingly on literary cyberpunk with little attention paid to its visual/virtual offspring. Crank up the Resolution: Cyberpunk in Visual/Virtual Media seeks to redress this oversight by focusing on the ‘sea changes’ of cyberpunk in visual/virtual media, including (but not limited to) the following:

Cyberpunk in Film and Television

·     Aeon Flux
·     Akira
·     Almost Human
·     Avalon
·     Blade Runner
·     Dollhouse
·     Elysium
·     Gamer
·     Ghost in the Shell
·     Hackers
·     Hardwired
·     Johnny Mnemonic
·     Lawnmower Man
·     RoboCop
·     Sleep Dealer
·     Strange Days
·     TekWar
·     Terminator
·     The Matrix
·     Total Recall
·     Tron
·     Ultraviolet
·     Videodrome
·     Virtuosity

Cyberpunk in Video Games

·     Beneath a Steel Sky
·     Cyberpunk 2077  
·     Cypher
·     Deus Ex
·     Far Cry 3: Blood Dragon  
·     Fear Effect
·     Metal Gear Solid
·     Neocron
·     Remember Me  
·     Shadowrun  
·     Shin Megami Tensei
·     Syndicate
·     System Shock
·     Wasteland
·     Watch Dogs

Cyberpunk in Comic Books/Graphic Novels

·     Transmetropolitan
·     The Resistance
·     Hard Boiled
·     Heavy Liquid
·     Singularity 7
·     Channel Zero
·     Hard Drive
·     Ballistic
·     Doktor Sleepless
·     The Surrogates


Cyberpunk in art/photography/design/fashion/advertisement 

The visual/virtual in Cyberpunk-derived genres 

Theoretical approaches to visual/virtual cyberpunk

Aesthetics of visual/virtual cyberpunk

Crank up the Resolution: Cyberpunk in Visual/Virtual Media seeks to highlight visual and virtual forms of cyberpunk with outstanding academic scholarship and new critical approaches in an anthology that can be readily accessible to academics, scholars, teachers, and students alike. 1-2 page abstracts (Word or RTF) and brief biographies are invited by August 1st, 2015.

The projected timeline for the anthology is: Abstracts due by August 1st , 2015; participants notified by Sep 1st 2015; finished papers due Jan 1st , 2016; revisions in spring 2016; publication in fall 2016 (pending publisher timelines).

Submissions and queries can be sent to the editors Graham J. Murphy (Seneca College, Toronto, Canada) and Lars Schmeink (Hans Bredow Institute for Media Research, Hamburg, Germany) via email. Regular mail addresses will be provided upon request.

Graham J. Murphy: gjamurphy@gmail.com
Lars Schmeink: lars@wortraub.com


Thursday, June 18, 2015

CFP UNApocalypse: Exploring Dystopianism in Texts (Grad Conf) (12/1/15; Alabama 2/26-27/16)

Looks like a great idea:

UNApocalypse: Exploring Dystopianism in Texts
http://call-for-papers.sas.upenn.edu/node/62588
full name / name of organization:
University of North Alabama English Department
contact email:
ehughes@una.edu

Call for Papers:
The University of North Alabama English Department
Announces the 7th Annual Alabama Regional Graduate Conference in English
February 26-27, 2016

UNApocalypse: Exploring Dystopianism in Texts

Recently, there has been a resurgence of critical interest in dystopianism, which is mirrored by dystopic themes in contemporary literature and pop culture like The Walking Dead, The Hunger Games series, and dystopian graphic novels. The University of North Alabama’s Department of English invites proposals for scholarly papers which investigate any aspect of dystopianism or its converse, utopianism, in language, literature, or other media. For example, topics might include readings of works within the genre of utopic or dystopic literature, but we also welcome examinations of these themes in texts. We are interested in receiving examinations of texts from any time period or country of origin, but we are particularly interested in contemporary and nontraditional texts or media.

Possible topics and representative texts may include (but are not limited to):
Film and film adaptations
Brave New World by Aldous Huxley
YA literature and novels
Fahrenheit 451 by Ray Bradbury
Television shows
Nineteen Eighty-Four by George Orwell
Comics and graphic novels
Divergent series (novels and film adaptations)
Studies of fan fiction
V for Vendetta (graphic novel or film adaptation)
Contemporary and classic literature
The Republic by Plato
Marxist and neo-Marxist criticism
Utopia by Thomas More
Gender studies and feminist theory
Zombie genre films, TV shows, novels, and graphic novels
Postcolonial theory
Science fiction and fantasy
Queer theory
Satire and political commentary
Diversity in dystopian texts
Post-apocalyptic texts

The keynote speaker for this conference will be announced at a later date.

We welcome proposals from current students and recent graduates (within the last five years) of MA or PhD programs in English, Film Studies, or Cultural Studies. Presentations should be twenty-minutes in length and may explore a range of topics addressing our theme in relation to literature, film, or other new media. Presentations that utilize audiovisual presentations are encouraged.

Proposals:
Please upload proposals of 250-300 words by December 1, 2015 to the conference website at www.una.edu/englishgradcon. You may also send proposals directly to Eric Hughes at ehughes@una.edu. Suggestions for panels are also welcomed. All proposals will receive a decision on acceptance by January 15, 2016.

Travel Scholarships:
A limited number of travel scholarships for out-of-town presenters are available and must be made at time of proposal submission. Presenters will be notified of travel scholarship award when they are notified of acceptance. More information and the application can be found on our website: www.una.edu/englishgradcon

Prize for Best Paper:
At the closing session of the conference, presenters will be asked to vote on the three best papers presented at the conference. Following the conference, a panel of judges will award first, second, and third place standing to these three papers with a cash prize awarded to the top paper.

Information:
Further information on the conference, the University of North Alabama, our department, and the Florence area is available on our website: www.una.edu/englishgradcon.

By web submission at 06/17/2015 - 19:35

CFP Animation Conference Theme (no deadline; Columbus, OH 6/9-11/16)

Came across the following by accident today. It sounds like a great venue. Source: http://www.childlitassn.org/index.php?option=com_mc&view=mc&mcid=72&eventId=435346&orgId=chla.

2016 Conference of the Children's Literature Association
Hosted by The Ohio State University
Sponsored by the Department of Teaching and Learning, College of Education and Human Ecology

June 9 - 11, 2016
Columbus, OH
The Sheraton Columbus at Capitol Square
Conference Theme:  “Animation”
The theme for ChLA 2016 is “Animation.”  This concept reflects new developments in both the aesthetic creation and the critical analysis of children’s and YA literature.  The idea of “Animation” has a special significance for OSU, given the campus’ well-known comics collection and cartoon museum, its Wexner Center for the Arts, and its Advanced Computing Center for Art and Design (ACCAD).  Moreover, we feel that the theme “Animation”— defined variously as “inspiration, vivacity and liveliness” as well as “continuous motion or shape change”—will inspire a wide variety of possible paper topics.  These might include:
  • picture books and illustration
  • graphic novels for young readers
  • Jerry Griswold’s notion in Feeling Like a Kid of “aliveness” as a key feature in texts for young readers:  toys coming to life, anthropomorphized animals, etc.
  • Comics and cartoons for young people
  • critical practice as an animating act, bringing historically neglected authors and texts to the attention of current readers
  • birth, aging, and the life cycle
  • Animation from the standpoint of science and technology:  in the form of machinery, mechanics, and energy in books for young readers
  • Shape shifting and morphing
  • children’s media: film, cartoons, television, video games
  • the animation of texts that occurs in classroom settings through activities like read-alouds
  • electronic books and digital storytelling
  • children’s and YA literature in performance:  stage plays, musicals, book trailers, etc. 

The conference organizers are pleased to announce that Gene Luen Yang will be a featured speaker.  He will be giving a talk and book signing on the evening of Thursday, June 9!
Gene Luen Yang began drawing comic books in the fifth grade. In 1997, he received a Xeric Grant for Gordon Yamamoto and the King of the Geeks, his first comics work. He has since written and drawn a number of titles, includingDuncan’s Kingdom, The Rosary Comic Book, Prime Baby and Animal Crackers.American Born Chinese, his first graphic novel from First Second, was a National Book Award finalist, as well as the winner of the Printz Award and an Eisner Award. He also won an Eisner for The Eternal Smile, a collaboration with Derek Kirk Kim. Recently, he has been working on the comics series Avatar: The Last Airbender. Yang lives in the San Francisco Bay Area.


The 2016 Francelia Butler lecture, "Children's Comics, Past and Present," will be co-presented by:
Charles Hatfield - Professor of English at California State University, Northridge, author of Alternative Comics (2005) and the Eisner Award-winning Hand of Fire: The Comics Art of Jack Kirby (2011) and co-editor of The Superhero Reader (2013). He has served on the boards of the International Comic Arts Forum (1997-2009) and MLA Discussion Group on Comics and Graphic Narratives (2010-2013). His essays on children’s comics have appeared in The Lion and the Unicorn, Children’s Literature Association Quarterly, Oxford Handbook of Children’s Literature (2011), and Keywords for Children’s Literature (NYU Press, 2011). Charles is currently curating a Kirby exhibition and co-editing The Cambridge Companion to Comics.

Joe Sutliff Sanders - Associate Professor in the Children's Literature track of the English Department at Kansas State University.  He is the author of a book about classic orphan girl novels (Johns Hopkins UP, 2011) and the co-editor, with Jackie C. Horne, of a collection of essays about The Secret Garden (Scarecrow, 2011).  In 2011, Joe received a fellowship from the National Endowment for the Humanities and in 2013 he was the Fulbright fellow to the University of Luxembourg.  Joe is the editor of a collection of essays about the Belgian cartoonist Hergé (University Press of Mississippi, 2016) and the author of new and forthcoming essays on picture books, manga, digital comics, and the history of children's comics.

Location: The Sheraton Columbus, Ohio

For more information:

Contact: Association Manager
Phone: 630-571-4520
Email:  conference@childlitassn.org