Showing posts with label Fantastic. Show all posts
Showing posts with label Fantastic. Show all posts

Thursday, March 7, 2024

CFP Geographies of the Fantastic and the Quotidian (Spec Issue of Pacific Coast Philology) (06/05/2024)

Call for Submissions to “Geographies of the Fantastic and the Quotidian”: Special Issue of Pacific Coast Philology


For this special issue, we seek essays that engage the theme of “Geographies of the Fantastic and the Quotidian.” Particularly fascinating might be explorations of the extraordinary, the exemplary, the “out of this world” sorts of places, real and figurative: the spaces of the fantastic and the bizarre. Anything pertaining to the surreal city of Los Angeles would be encouraged. The lived and experienced environments of the banal might spark equally fertile archaeologies of the everyday. Paper proposals of particular interest include explorations of all varieties of heterotopologies; explorations of fictional domains; Borgesian labyrinths; road narratives; enclaves of digital introspection or connection; theme parks; elision, caesura, and other grammatological openings; migration/border crossings; psychedelic “trips” of all sorts; native practices of tending the land; mirrors and projections; choreography and dance; exteriority/interiority; the politics or rhetorics of dispossession; theatrical staging; embodiment and disembodiment; panopticism; the family and/or spaces of domesticity; museums and archives; homelessness and houselessness; communities and cliques; as well as both paroxysmal places and quiet passages.



Please contact Special Issue Editor Jeremiah B.C. Axelrod at pamla@axelrod.info if you have questions.



Essay proposals should include the following, and should be emailed to Jeremiah B.C. Axelrod at pamla@axelrod.info by June 5, 2024: cover page with author’s name, affiliation, and a brief biography, plus the title of the essay; also a 4,000 to 7,000 word separate document with a brief abstract, a list of four to seven keywords, and the proposed paper, following the guidelines of the MLA Style Manual, 9th edition. Important: Please include Geographies of the Fantastic and Quotidian Special Issue Proposal in your email subject line to ensure prompt processing

Thursday, February 29, 2024

CFP New York Tolkien Conference 2024 (4/30/2024; New York 6/15/2024)

New York Tolkien Conference


deadline for submissions: April 30, 2024

full name / name of organization: New York Tolkien Conference

contact email: christopher.tuthill@baruch.cuny.edu

main site: https://nyctolkienconference.wordpress.com/2024/01/16/call-for-papers-20...



The organizers of the 2024 New York Tolkien Conference are seeking proposals related to the following:

  • Presentations on Tolkien and the Inklings, their literary work, or related issues.
  • Papers on fantastic fiction–this can include anything from books heavily influenced by Middle-earth to other genres of fantasy. Examples of authors we’re interested in include George RR Martin, Octavia Butler, Tad Williams, Ursula K. LeGuin, Gene Wolfe, Susanna Clarke, Terry Pratchett, Tim Powers, J.K. Rowling, and Nnedi Okorafor.
  • Fantasy that preceded Tolkien, or presentations dealing with Tolkien’s influences.
  • Presentations on (or demos of) board and tabletop games dealing with Middle-earth or other fantasy realms.
  • Discussions of Tolkien’s scholarly work

If you are wondering whether your topic might fit with the conference, please ask! We are open to different approaches.

If you are interested in presenting at the conference, please upload your paper proposal at the link below. Proposals are now open, and we will make decisions for scheduling by mid-April. https://baruch.az1.qualtrics.com/jfe/form/SV_8cUCJKsREiLqV0i

For further information about previous conferences and the organizers, please see the conference page and archive below. The conference will take place Saturday, June 15, 2024 at Baruch College in New York.

If you have any other questions, please contact Christopher Tuthill at christopher.tuthill@baruch.cuny.edu


Last updated January 17, 2024
This CFP has been viewed 677 times.


Thursday, March 17, 2022

CFP Fantasy Literature: A Companion (6/1/2022)

One more cfp for today:


Fantasy Literature: A Companion

source: https://call-for-papers.sas.upenn.edu/cfp/2022/01/03/fantasy-literature-a-companion

deadline for submissions:
June 1, 2022

full name / name of organization:
Editor Dr. Charul ("Chuckie") Palmer-Patel

contact email:
c.palmerpatel@gmail.com



While fantasy fiction has become incredibly popular and prolific in these last few decades, the appeal of fantastical literature dates back to antiquity, as mythologies, legends, and encounters with the supernatural have formed a large part of narrative traditions in every culture and language. This companion seeks to update and address underexamined areas of fantasy fiction, with the chief aim to provide a global introduction to English-language and English-translation fantasy fiction. This collection will focus on the contemporary written word (narrative prose) produced in late 20th and early 21st century. However, given the range and scope of fantasy (poetry, paintings, sculptures, plays, ballets, operas, films, television shows, graphic novels, animation, video games, tabletop games, etc), the editor will consider proposals which incorporate other mediums as comparisons, adaptations, or lineages, so long as the focus on the written word is apparent.



The companion will be divided into 3 sections:



Historical Influences and Lineage, including (but not limited to) considerations of:

- Mythological or oral roots (evolution, transmission, and/or dissemination,)

- Legends and representations of heroic ideals

- Considerations of influential writers, past and present (note that this topic previously read "challenges to and considerations of influential writers," but based on the responses to the section, I have taken the first steps in creating a companion that focuses on this topic. Please see the CFP for Forgotten Fantasists for details



Poetics and Aesthetics of Genre, including (but not limited to) considerations of:

- Discussions of significant tropes or common images (either across the fantasy genre, specific to a subgenre)

- Adaptations and movement between mediums

- Development of the genre/genre boundaries



Current Social Concerns, including (but not limited to):

- Challenges to or affirmations of gender binaries and heteronormative relationships

- Issues of decolonization, including unpacking the villain as Other or dissolving the binary of good and evil

- Global anxieties such as climate change or late-stage capitalism



The editor Dr. C. Palmer-Patel invites abstracts of 500 words with 100-word bionotes to be submitted to c.palmerpatel@gmail.com by 1 June 2022. Early expressions of interest encouraged. Abstracts will be considered with emphasis on the primary objective of the collection as a whole (as an updated first-stop introduction to fantasy criticism to be used by teachers, students, and scholars), alongside the fit of the proposed chapter for each section. Bionotes should include details of primary research interests along with recent and relevant contributions to the field.



The collection has been pitched to Peter Lang's Genre Fiction and Film Companions series. Final chapters will be 4000 words (including bibliography) and will be due 2023/2024.




Last updated March 15, 2022

CFP Young Adult Literature and Culture (In-Person panel) (5/15/2022; PAMLA 11/2022)

Young Adult Literature and Culture (In-Person panel)

Source: https://call-for-papers.sas.upenn.edu/cfp/2022/03/05/young-adult-literature-and-culture-in-person-panel

deadline for submissions:
May 15, 2022

full name / name of organization:
Pacific and Ancient Modern Language Association (PAMLA)

contact email:
melaniemarotta@yahoo.com



This session is open to all papers that explore some aspect of Young Adult literature and/or culture. The panel is particularly interested in papers attuned to some facet of the conference theme, " Geographies of the Fantastic and the Quotidian.” How does space impact YA literature and/or culture? How is the Anthropocene represented in YA fantasy? Further, presentations that examine diverse voices in media are encouraged. This panel welcomes submissions about young adult literature, film, television, etc. Feel free to submit an abstract pertaining to the conference theme or otherwise. If you have any questions, please email.



Please submit abstracts via the PAMLA submission portal: PAMLA CFP (ballastacademic.com)

Conference site: https://www.pamla.org/conference/2022-conference-theme/

Location of conference: UCLA Luskin Conference Center and Hotel



Last updated March 8, 2022

CFP SAMLA 2022: Speculative Fiction (5/31/2022; SAMLA Jacksonville 11/11-13/2022)

SAMLA 2022: Speculative Fiction

source: https://call-for-papers.sas.upenn.edu/cfp/2022/03/14/samla-2022-speculative-fiction

deadline for submissions: May 31, 2022

full name / name of organization: Mary Ann Gareis / Middle Georgia State University

contact email: mary.gareis@mga.edu



Speculative fiction covers a broad range of narrative styles and genres. The cohesive element that pulls works together under the category is that there is some “unrealistic” element, whether it’s magical, supernatural, or a futuristic/technological development: works that fall into the category stray from conventional realism in some way. For this reason, speculative fiction can be quite broad, including everything from fantasy and magical realism to horror and science fiction—from China Miéville to Margaret Atwood to Philip K. Dick. This panel aims to explore those unrealistic elements and all their varied implications about society, politics, economics, and more.



Please submit a 250-300 word abstract, a brief bio, and any A/V needs by May 31, 2022 to Mary Ann Gareis, Middle Georgia State University, at mary.gareis@mga.edu.

SAMLA’s 94th annual conference, Change, will be held at the Hyatt Regency Jacksonville Riverfront Hotel in Jacksonville, FL this year from November 11-13. Those accepted must be members of SAMLA to present.




Last updated March 14, 2022

CFP Forgotten Fantasists: A Companion to Fantastic Literature (10/1/2022)

Forgotten Fantasists

Source: https://call-for-papers.sas.upenn.edu/cfp/2022/03/15/forgotten-fantasists.

deadline for submissions: October 1, 2022

full name / name of organization: Forgotten Fantasists: A Companion to Fantastic Literature

contact email: c.palmerpatel@gmail.com



Who are the unsung heroes of fantastical literature? Who deserves to be recognised for their significant contribution to contemporary Anglophone Fantastika literature but are pushed out of the limelight? This edited companion to fantastical literature hopes to address gaps in research by bringing together considerations of important but underexamined authors and artists. Depending on the number of abstracts received, the collection may be further divided into separate sections – or even individual volumes – taking into consideration different media:

  • Textual (novels, short stories, essays, poems, magazines/fanzines, etc)
  • Artistic (paintings/illustrations, animation, sculptures, etc)
  • Performance (game-playing, plays, opera, ballet, etc)

as well as under-represented voices:

  • Female fantasists
  • POC and/or non-Anglo fantasists
  • LGBTQIA+ fantasists
  • Fantasists with disabilities

The editor Dr. C. Palmer-Patel invites abstracts of 500 words with 100-word bionotes to be submitted to c.palmerpatel@gmail.com by 1 October 2022. Early expressions of interest encouraged. Please include in your bionote details of your primary research interests along with recent and relevant contributions to the field.

The collection has been pitched to Bloomsbury Academic. Abstracts should make a clear defense for the importance of the author’s work. Final chapters will be due in 2025 and must take into consideration any previous or relevant critical works on the author.

Note that this CFP is related-to but distinct from the CFP for Fantasy Literature: A Companion. After receiving a number of submissions for one of the suggested topics – challenges to or considerations of influential writers – it was apparent that there is enough interest in the area to warrant a separate collection. Any submissions made for the Fantasy Literature Companion which fall under the remit of the Forgotten Fantasists CFP will be advised to submit their piece to the latter.


Last updated March 15, 2022

Wednesday, November 24, 2021

CFP PAMLA 2022 Call for Special Sessions (2/2022-4/30/2022; Los Angeles 11/11-13/2022)

 GEOGRAPHIES OF THE FANTASTIC AND THE QUOTIDIAN:

PAMLA 2022 CALL FOR SPECIAL SESSIONS

Source: https://www.pamla.org/pamla-2022-call-for-special-sessions/


PAMLA welcomes special session proposals for the 2022 PAMLA conference at the UCLA Luskin Conference Center and Hotel in Los Angeles, California (early morning Friday, November 11 through Sunday night, November 13, 2022) on topics of scholarly interest that are not too close to the topics of our general (standing) sessions (go to https://www.pamla.org/about/constitution-bylaws/ and search for “general sessions” to find a list of PAMLA’s standing sessions). Our system for paper proposals will open in February 2022, with April 30th as the submission deadline.


While we welcome special session proposals on a wide variety of topics, we are particularly interested in special session proposals that engage with the 2022 PAMLA Conference Theme: Geographies of the Fantastic and Quotidian.


As we converge on the magnificent, incomprehensible megalopolis of Los Angeles in November of 2022, it would be timely to consider the many “ecologies” of our lived spaces and places. [1] We might think dialectically in terms of clear, dynamic oppositions: exterior and interior spaces, for instance, or those we would categorize as real or surreal—or, perhaps to return to Los Angeles, “hyperreal.”[2] Within those texts we like to dwell—metaphorically at least, for the longue durée or for brief, eccentric interludes—as we discover that time intersects with space in surprising and contradictory ways.


The 2022 Special Theme invites our scholarly community to consider the overdetermined landscapes both of the imagination and of everyday experience. In the process, we hope collectively to interrogate the multiple topographies and topologies of our cherished narratives, for as Michel de Certeau reminds us, “stories … carry out a labor that constantly transforms places into spaces or spaces into places.”[3]


Los Angeles itself would certainly offer fertile ground for scholarly excavation, but we strongly encourage submissions that explore what Gaston Bachelard termed the “poetics of space” within texts of all sorts, as well as all sizes and varieties of context. Particularly fascinating might be explorations of the extraordinary, the exemplary, the “out of this world” sorts of places, real and figurative: the spaces of the fantastic and the bizarre. Conversely, the lived and experienced environments of the banal might spark equally fertile archaeologies of the everyday. For that is the allure of the often inscrutable or illegible cities of the imagination: they open up new territories.


We welcome special session proposals (due January 31, 2022) on any topic for our 2022 annual conference. Those that harmonize with our special theme might include all varieties of heterotopologies; explorations of fictional domains; Borgesian labyrinths; road narratives; enclaves of digital introspection or connection; theme parks; elision, caesura, and other grammatological openings; migration/border crossings; psychedelic “trips” of all sorts; native practices of tending the land; mirrors and projections; choreography and dance; exteriority/interiority; the politics or rhetorics of dispossession; theatrical staging; embodiment and disembodiment; panopticism; the family and/or spaces of domesticity; museums and archives; loitering; Zoom and other hauntings; homelessness and houselessness; settler colonialism; communities and cliques; as well as both paroxysmal places and quiet passages.


—


[1]    To borrow a fitting phrase from the famed British/American architectural critic Reyner Banham, whose Los Angeles: Architecture of the Four Ecologies, when read today, projects an alluring, smog-shrouded palimpsestual map of a city which has been repeatedly rewritten over the half-century since its publication.

[2]    Interestingly, both Umberto Eco’s 1973 “Travels in Hyperreality” and Jean Baudrillard’s 1981 Simulations reveal a fascination with Los Angeles, and particularly Disneyland, as the epicenter of a [seemingly] quintessentially American tendency to sanctify the fantastic.

[3]    It might seem outlandish to evoke Michel De Certeau’s spatial rhetorical practice of “walking in the city” within the paradigmatic autopia of Southern California (The Practice of Everyday Life, 118, 91), at least in the shadow of the New Wave/Punk pop eloquence of Missing Persons’ 1982 slightly vicious ditty. But, as Jane Jacobs teaches us in The Death and Life of Great American Cities, the intricate “sidewalk ballet” of neighborhoods, large and small, routinely transcends the pedestrian (66).


Sunday, March 15, 2020

One last cfp for the day:

CFP: Mythmoot VII: Defying and Defining the Darkness, June 25–28, 2020, Leesburg, VA, USA
https://www.fantastic-arts.org/2020/cfp-mythmoot-vii-defying-and-defining-the-darkness-june-25-28-2020-leesburg-va-usa/
February 1, 2020

Mythmoot VII: Defying and Defining the Darkness
“Look at how a single candle can both defy and define the darkness.”
— attributed to Anne Frank
When: June 25–28, 2020
Where: The National Conference Center
Leesburg, VA
USA
What is Mythmoot VII?

Mythmoot VII, with the theme of “Defying and Defining Darkness,” combines an academic conference, creative writing meet-up, and fan convention for a unique experience. Here at Mythmoot, we have room for serious scholarship in fields such as science fiction, high fantasy, horror, gothic, mythology, children’s literature, folklore.. .the list goes on. We also appreciate less academic, but no less enthusiastic, pursuits of all the above—such as demonstrations of how to knit the best fake candle ever, presentations theorizing the exact recipe for Peruvian Instant Darkness Powder, or papers dissecting the cultural background of Baron Harkonnen!

Call for Proposals:

Where there is light there is darkness—the two play off of each other. This concept appears throughout literature all over the world in yin and yang, good and evil, two sides of the same coin, and even in the literal sun rising and setting. How does one define the darkness? Can darkness only be defied once it is known? Should darkness even be defined or defied? We want to hear how you believe defining and defying the darkness interacts with the stories you love and how you would approach the topic.

We are accepting proposals for Papers, Panels, Workshops, and Creative Presentations about defying or defining the darkness (or tangential topics) in the following areas of study:

● Imaginative Literature (ex: Harry Potter, Dune, The Call of Cthulhu, Star Wars, Lord of the Rings, The Dresden Files, etc.)
● Tolkien and Inklings Studies
● Classic Literature from ancient times to the present
● Philology

If you are unsure whether your topic fits, send your proposal or a description of your idea to the listed submissions email, and we will let you know.

Individual presentations, whether creative or critical, will have 30 minutes—20 minutes for presentation and 10 for Q&A. (N.B. The “creative” category is not limited to original works but could include presenting or performing art, music, drama, or dance. If you have any questions about what you can present, please contact the submissions email.)

Panels must contain at least 3 papers and/or presenters and will be allocated 90 minutes total for presentations and Q&A.

Workshops must identify their own length (either 30 min, 60 min, or 90 min) and include justification for the requested time. Workshops may be run individually, but it is recommended that a workshop have at least two leaders. (Workshop examples: the knitting of Smaug hats, an interactive discussion on dragon species, etc.)

Papers will be presented in 90-minute sessions of 1 – 3 presenters. Each presenter will have 30 minutes (20 minutes for presentation and 10 minutes for questions) to present their paper.

Proposal Submittal:
Your submission to events@signumu.org must contain the following in the email: the type of submission, a title, a 300-word abstract or description, the name(s) of the presenter(s), and a two-sentence biography for each presenter. Title your email “Mythmoot VII Proposal”. All submissions must be received by 11:59 pm EST on March 13th, 2020.

No presentations will be given in absentia, and your submission to Mythmoot VII is considered an agreement to attend and present should your proposal be accepted. Each room will have a projector for presenter use.

CFP SFRA Conference (3/31/20; Bloomington 7/8-11/20)


CFP: SFRA 2020
https://www.fantastic-arts.org/2020/cfp-sfra-2020/
February 19, 2020


DEADLINE EXTENDED TO 3/31/20 (details at http://www.sfra.org/Coronavirus-News)


SFRA 2020
Wednesday, July 8th – Saturday July 11th
Indiana University, Bloomington IN
Conference Theme: Forms of Fabulation

Keynote Speakers:
Tavia Nyong’o
Kate Marshall
Special Guest: John Crowley (author of Little, Big)

The Science Fiction Research Association invites proposals for its 2020 annual conference, to be held on the campus of Indiana University in Bloomington, Indiana.

The SFRA is the oldest scholarly association for the study of science fiction and related genres. It brings together important writers of speculative fiction with premiere scholars of speculative fiction to discuss and debate timely and relevant themes. The annual conference also recognizes important contributions to the field through the Pioneer and Pilgrim Awards for excellence in scholarship.

This year we take FABULATION as our key term. Fabulation is a potent political force as well as an emerging genre convention. Ranging from fantasy fiction and the New Weird to fictional sciences and prefigurative politics, fabulation centers the importance of imagining otherwise in the construction of reality as a scholarly as well as a fictional action.

Fabulation is a future-oriented practice that draws from the energies of the past and the perspectives of the oppressed. Keynote speaker Tavia Nyong’o writes that Afro-fabulation resurfaces from the historical archive those untimely ideas that were “never meant to appear” (3) in majoratian culture and so could only be articulated by way of minor genres and obscure gestures—in performance art, speculative fiction, gossip and legend. Building on the critique of imperial sciences by Indigenous scholars and imaginative writers that were the focus of the 2019 conference, this year’s conference asks what subjugated knowledges can be found in the speculative fiction archives and how they might be surfaced in the present toward multispecies thriving and antiracist worlding. At the same time, reality-production as a form of fictionality has become the principle characteristic of politics in the 21st-century. In addition to asking how we can make fabulations, the conference theme also asks participants to consider the ethics of fiction in the post-truth era.

Topics related to the conference theme include:

● prefigurative politics, visionary fiction, & speculative futurisms
● the weird and the New Weird
● fantasy fiction, fairy stories, magic
● Afro-futurism, indigenous futurisms, and related genres
● post-truth politics and fabulation
● fabulation and Afro-fabulation
● insurgent research, fictional sciences, and related methods
● decolonial speculative fiction
● fabulation and the occult
● aesthetic warfare, feminist witchcraft, meme magic
● aesthetics as a technology of resistance
● European mythology and the problem of white supremacism
● fabulation, environmental ethics, and eco-eroticism
● fabulation and the nonhuman
● fabulation in games, videos, and other non-print media
● fabulation, cosplay, cons, and fan cultures
● science fiction, fantasy and the Midwest
● African, Afro-caribbean, and Indigenous cosmologies
● technology and magic
● children’s literature and magic
● Posthumanism, speculative realism, and fabulation

We also welcome papers on topics relevant to science fiction research broadly conceived that are not specifically related to the conference theme, including proposals for preconstituted panels & roundtables.

300-500 word abstracts should be sent to SFRA2020IU@gmail.com by March 15 2020. Acceptance notices will be returned by April 1.

Questions concerning this call for papers, preconstituted panels, & roundtables can be directed to SFRA2020IU@gmail.com with the subject line “CFP QUESTION,” or to the conference’s local organizers, Rebekah Sheldon (rsheldon@indiana.edu) and De Witt Douglas Kilgore (dkilgore@indiana.edu).

Graduate students are encouraged to submit abstracts & to attend, regardless of whether they plan to present.

Some conference travel grants will be made available. Applications will be posted soon and due on 15 April 2020.

You will also need to join SFRA (or renew your membership) in order to register for the conference. Conference Registration information will be posted soon.

http://www.sfra.org/

CFP Transmediality and Interactivity in the Fantastic (Spec Issue of Brumal) (6/15/2020)

CFP: Transmediality and interactivity in the fantastic, monographic issue coordinated for Brumal by Miguel Carrera Garrido (CIESE-Comillas, University of Cantabria)
https://www.fantastic-arts.org/2020/cfp-transmediality-and-interactivity-in-the-fantastic-monographic-issue-coordinated-for-brumal-by-miguel-carrera-garrido-ciese-comillas-university-of-cantabria/
February 12, 2020

Transmediality and interactivity in the fantastic, monographic issue coordinated for Brumal by Miguel Carrera Garrido (CIESE-Comillas, University of Cantabria)
Deadline: June 15, 2020

One of the characteristics that define fictional production in the 21st century is its tendency to distribute itself among numerous media of expression: television, cinema, literature, comic-books, theater, video games, role-playing games, etc. Far from leading to dispersion or to the proliferation of watertight compartments, such inclination – also present in other communicative practices – has led to the convergence of all these areas. As a result, it is becoming increasingly difficult, even inappropriate, to limit the focus of attention to a single medium and ignore the rest: stories expand to two, three or more of these environments, aspiring to preserve the unity of sense in heterogeneity. Thus, to get to a thorough and complete understanding of the message, the recipient – and, there-fore, the critic – has to consider different creative domains and apply several reading codes. This agent is simultaneously endowed, in contemporary creation, with a much more active and decisive role than he/she used to possess. Expected to interact with fictional products, as a member of a participatory and empowered culture, his/her intervention – often essential – oscillates between the interpellation and analysis from various discussion forums – especially the Internet and social networks – and direct participation in the imaginary universes, either expanding them in media different from than the one where they originated, or immersing themselves effectively in those worlds and influencing – either as an avatar, or playing a character – the course of the action.

These two complementary trends point to the terms on which the proposed monograph is based: transmedia(lity) and interactivity. Its goal: to trace the importance of these realities in the fantastic genre or mode, both in theoretical formulations and practical realizations.

Widely addressed in akin modalities such as science fiction or medieval fantasy (think, for example, of successful franchises, and recurring objects of analysis, such as Star Wars, A Song of Ice and Fire or Lord of the Rings, which transcended their original medium long ago, and where the interference of fans has become the norm), the concept of transmedial, or transmedia, has not had, to date, much repercussion in studies on the fantastic, at least as Brumal conceives it (that is, as the irruption of the impossible into a world in appearance similar to ours, in tune with Caillois’s and Roas’s theories). As for interactivity, it also has not received the due attention yet, despite the interest raised in recent years by expressions rarely considered artistic in the past, like video games, haunted attractions, fan fiction, “choose your own adventure” novels, etc. That is why it is urgent to undertake a project like the current one, in which we analyze, among other things, how speeches and stories have migrated from one medium to another – if that was not designed like that from the beginning –, to what extent inter-dependence be-tween the different media has been promoted, and how, in this process, the community of readers, spectators, players or, in general, fans has played an increasingly active and crucial role. It is at this junction, or convergence, between the transmedia(l) and the interactive towards which we want the participants of the issue to look.

Some of the proposed thematic axes, with which we want to cover both extremes, are:

• Originally, or strategic, transmedia(l) narratives of the fantastic.
• Expanded universes of the fantastic (or tactical transmedia).
• Appropriation, reworking and expansion of figures, motives and other references of the fantastic at the hands of fans.
• Theoretical relations between the concepts of transmedia(lity), intermedia(lity) and multimedia(lity) in the fantastic.
• Reflections on the concept of authorship in the fantastic transmedia(lity).
• New interactive modes of the fantastic (video games, haunted attractions, role-playing games, escape rooms, etc.) and their relationship with other media.
• Interactions, in social networks and in other forums, between fictional productions and fans of the fantastic.

For more information on submissions, format, length and so on, please visit the journal’s webpage or contact the coordinator on mcarreragarrido@gmail.com.

Saturday, October 12, 2019

CFP The Velveteen Rabbit, Forever Real (11/30/19)

This sounds intriguing:

The Velveteen Rabbit, Forever Real
https://call-for-papers.sas.upenn.edu/cfp/2019/08/27/the-velveteen-rabbit-forever-real

deadline for submissions: November 30, 2019

full name / name of organization: Lisa Rowe Fraustino
contact email: fraustinolr@hollins.edu

This will be an edited collection to be proposed for publication in the ChLA Centennial Studies series, which celebrates classic children’s texts, books that have stood the test of time and played a significant role in the development of the field.  The editor invites chapter proposals of 350-500 words from a range of theoretical perspectives about The Velveteen Rabbit: Or How Toys Become Real by Margery Williams.

First published in 1922, The Velveteen Rabbit has never been out of print. Besides multiple editions issued with different illustrators, it has been adapted for film, television, and theatre, in a range of mediums including animation, claymation, live action, musical, and dance. A poll of the National Education Association ranked it in the “Teachers’ Top 100 Books for Children” in 2007.

Proposals should be for original works not previously published (including in conference proceedings) and that are not currently under consideration for another edited collection or journal. If the essay is accepted for the collection, a full draft (5000-7000 words) will be required by May 15th, 2020. The editor is happy to discuss ideas prior to the deadline.


Last updated August 30, 2019
This CFP has been viewed 417 times.


Tuesday, July 9, 2019

CFP Vampires, Zombies, Bodices, and Perps: Genre in Creative Writing (9/30/19; NeMLA 2020)

Vampires, Zombies, Bodices, and Perps: Genre in Creative Writing
https://call-for-papers.sas.upenn.edu/cfp/2019/06/04/vampires-zombies-bodices-and-perps-genre-in-creative-writing

deadline for submissions: September 30, 2019
full name / name of organization: Northeast Modern Language Association (NeMLA)
contact email: abbybardi@gmail.com

Genre fiction (such as fantasy, sci-fi, suspense and mystery, thrillers, historical romance) has often been discouraged in creative-writing courses, even outlawed. However, in recent years, the popularity of genre fiction in the marketplace has challenged the boundaries of literary writing. This panel will consider some of the following questions: How do challenges to the traditional boundaries of genre impact the teaching of creative writing? How might fiction, drama, and even poetry address these challenges? How can the conventions and tropes of genre fiction be used fruitfully in literary writing? Both writers who work in or with particular genres and writers who have resisted the lure of genre are encouraged to share their work and ideas.


Last updated June 5, 2019

Monday, April 15, 2019

Survey for MLA Approaches Volume on the Epic of Gilgamesh

Contribute to an MLA Approaches Volume on the Epic of Gilgamesh

Posted 11 March 2019

https://news.mla.hcommons.org/2019/03/11/contribute-to-an-mla-approaches-volume-on-the-epic-of-gilgamesh/


The volume Approaches to Teaching the Epic of Gilgamesh, edited by David Damrosch and Sophus Helle, is now in development in the MLA series Approaches to Teaching World Literature. Instructors who have taught this work are encouraged to contribute to the volume by completing a survey about their experiences. Information about proposing an essay is available at the end of the survey.



At the end of the survey are details to propose articles for the volume:

15. If you would like to propose an original essay for this volume, please submit an abstract of approximately 500 words in which you describe your approach or topic and explain its usefulness for both students and instructors. The focus of your essay should be pedagogical, and the abstract should be as specific as possible. Please attach a short CV.

If you plan to quote from student writing in your essay, you must obtain written permission from the student. Proposed essays should not be previously published.

Abstracts and CVs should be sent to the volume editors by 1 May 2019. Please send electronic submissions, comments, or queries to David Damrosch (ddamrosc@fas.harvard.edu) and Sophus Helle (sophushelle@cc.au.dk). Send any supplemental materials (e.g., course descriptions, course plans, syllabi, assignments, bibliographies, or other relevant documents) as separate attachments. Surface mail submissions can be sent to David Damrosch, Dana-Palmer House 201, Harvard Univ., 16 Quincy St., Cambridge, MA 02138.

Sunday, April 14, 2019

Special Issue of Mythlore: Mythopoeic Children's Literature (deadline extended to 4/15/2019)

Special Issue of Mythlore: Mythopoeic Children's Literature
https://www.academia.edu/36864712/Special_Issue_of_Mythlore_Mythopoeic_Childrens_Literature

Special Issue of Mythlore, Fall 2019
Guest Edited by Donna R. White
** Deadline Extended: April 15, 2019 ** Final paper deadline: June 30, 2019 **


Mythlore, a journal dedicated to the genres of myth and fantasy (particularly the works of J.R.R. Tolkien and C.S. Lewis), invites article submissions for a special issue focused on children’s literature. Children’s fantasy has always been a part of mythopoeic literature, and Mythlore
has occasionally published articles about myth-building children’s writers such as J.K. Rowling and Nancy Farmer; however, this special issue will focus specifically on mythopoeic literature for children.


As always, we welcome essays on The Chronicles of Narnia and The Hobbit, but we also encourage articles that discuss the works of other mythopoeic writers for young readers.Classic works like
Peter Pan and The Wind in the Willows have clear mythopoeic elements,as do modern fantasies by Philip Pullman, Diana Wynne Jones, Lloyd Alexander, and many others. Studies of lesser-known writers like Carol Kendall are also welcome. 

To get an idea of the range of topics covered in Mythlore, visit the online archive at https://dc.swosu.edu/mythlore/ and consult the electronic index, which can be downloaded free at http://www.mythsoc.org/press/mythlore-index-plus.htm. Submission guidelines can be found at http://www.mythsoc.org/mythlore/mythlore-submissions.htm. 

Send queries and questions to Donna R. White, dwhite@atu.edu. Drafts and final papers should be submitted via https://dc.swosu.edu/mythlore/. 


Sunday, November 4, 2018

Mythcon 50 First Notice

Just came across the following on the Mythopoeic Society website. I'm hoping the formatting comes through okay.

Mythcon 50
August 2-5, 2019



Mythcon 50

Looking Back, Moving Forward
DRAFT logo by Sue Dawe

San Diego, California
August 2-5, 2019





Registration and Room & Board

The Mythopoeic Society's final celebration of our three fiftieth anniversary celebrations: our 50th Annual Mythopoeic Conference!

Theme: Looking Back, Moving Forward

Our theme is a head-nod to Roman mythology's Janus, the god of beginnings and endings, gates and doorways, transitions and passages and duality. So we are moving forward into the future while also, at least for this Mythcon, looking backward toward the place from where we've come.

Call for Papers will be available soon.

Local artist and Mythcon favorite Sue Dawe has agreed to run the art show and is currently working on our logo; she gave permission to share this draft image at the top of the page.


Guests of Honor


John Crowley - Author Guest of Honor

John Crowley was born in December, 1942, in Presque Isle, Maine, where his father, an Army Air Corps doctor, was stationed. He spent the war years (of which he remembers nothing) in Greenwich Village, in a family of women: his mother, older sister, aunt and grandmother, and baby sister. After the war his father resumed his medical practice in Brattleboro, Vermont, and then in 1952 took the family to Martin, Kentucky (pop. 700) to be medical director of a small Catholic hospital. John read Sherlock Holmes and Thomas Costain and Gods, Graves and Scholars, and decided to be an archeologist.

Two years later Doctor Crowley got a better job — head of the student infirmary at Notre Dame College (now University). John taught himself to write blank verse, composed the beginnings of tragedies, and planned for a career in the theater. He went to Indiana University, where he dropped that idea, majored in English and wrote poetry. Upon grduation, he went to New York City. There he planned to make films, wrote screenplays that were not produced, and began working on documentary films. He also began writing novels, beginning with a science fiction tale (The Deep, 1975)and then another (Beasts, 1977). But he had also begun writing a much larger and odder work, which would not be finished for ten years: Little, Big was published in 1981 and won the Mythopoeic Fantasy Award in 1982. By then he had moved to the Berkshires in western Massachusetts, where he met a woman he hired, on their first date, to do research for him on a documentary. After some years of friendship, courtship, collaboration, they married and had twin daughters. In 1992, through the intervention of Yale professors who had come to admire his work, he got a job teaching Creative Writing as an adjunct and later a half-time Senior Lecturer, from which eminence he retired in June of 2018.

John won his second Mythopoeic Fantasy Award in 2018 for KA: Dar Oakley in the Ruin of Ymr. We include the closing paragraph from his acceptance remarks here: “When he was in his eighties, the English writer Leonard Woolf, husband of Virginia, said at a literary dinner set out for him that the way to gain honor in British literary life is simply to live long enough. I don't think that that's the American standard. Which makes me doubly happy at the age I have reached to receive again this honor that once before came to me, close to the beginning of my career. My thanks to all who brought this about.”

Meanwhile he has all along continued to write books and stories, some magical, most historical in one way or another, none of them very much like any of the others. They are described on the pages of his website, which also includes his blog.




Verlyn Flieger - Scholar Guest of Honor

Verlyn Flieger is a specialist in comparative mythology with a concentration in J.R.R. Tolkien. She teaches undergraduate and graduate courses in Tolkien, Celtic, Arthurian, Native American, and Norse myth. She holds an M.A. (1972) and Ph.D. (1977) from The Catholic University of America, and has been associated with the University of Maryland since 1976. Retired from teaching at the University of Maryland in 2012, she is Professor Emerita in the Department of English at UMD. She teaches courses online at Signum University.

Her best-known books are Splintered Light: Logos and Language in Tolkien's World (1983; revised edition, 2002); A Question of Time: J. R. R. Tolkien's Road to Faerie, which won the 1998 Mythopoeic Award for Inklings Studies; and Interrupted Music: The Making of Tolkien's Mythology (2005). She won a second Mythopoeic Award for Inklings Studies in 2002 for Tolkien's Legendarium: Essays on The History of Middle-earth, which she co-edited with Carl Hostetter, and a third Mythopoeic Award for Inklings Studies in 2013 for Green Suns and Faërie: Essays on J.R.R. Tolkien.

With David Bratman and Michael D. C. Drout, she is co-editor of Tolkien Studies: An Annual Scholarly Review.

Verlyn has also written Pig Tale and The Inn at Corbies’ Caww, a novella, Avilion in The Doom of Camelot, an anthology of Arthurian fiction edited by James Lowder, and a short story, “Green Hill Country” in Doug Anderson's fantasy anthology, Seekers of Dreams.


Location

Please join us in San Diego, California, for Mythcon 50. San Diego is a wonderful "destination city" where Mythcon has been held only once before in 1991 (Mythcon 22) and is well worth the return. Early Mythopoeic conferences were held primarily at colleges and universities, a more-affordable option back in the late 1960s through the 1980s; in the last decade Mythcons have been primarily hotel-based and we find this to be a kind of two-edged sword: hotels are almost always more comfortable in which to stay but much more challenging for shared meals, which many of us really enjoy. They are more expensive housing but sometimes less expensive function space (we must guarantee a high-enough number of room nights and spend a lot of money on food and beverage) but very expensive audio/visual support. These choices are always the challenge in planning every Mythcon.

For Mythcon 50, we are harkening back to our roots and will be on a university campus with very nice meeting space.

Registration and Room & Board

Registration is now open here.

Specific details and room & board packages will be available soon. Our plan will include breakfast and dinner (Friday and Saturday) or banquet (Sunday) in the room & board package; lunch will be on our own with many close options from which to choose. For people who aren't able or willing to stay in a dorm, there are several hotels on the trolley line, to which we'll link in the future.




Wednesday, October 24, 2018

Mythlore 132 Contents

Catching up again. Here are the details of the Spring/Summer 2018 issue of Mythlore. Ordering information at http://www.mythsoc.org/mythlore/mythlore-132.htm.


Mythlore 132 Volume 36, Issue 2
Spring/Summer 2018


Editorial
— Janet Brennan Croft

Tyrion Lannister: A Fulcrum of Balance in George R.R. Martin’s A Song of Ice and Fire
— Patricia Monk

“Love of Knowledge is a Kind of Madness”: Competing Platonisms in the Universes of C.S. Lewis and H.P. Lovecraft
— Guillaume Bogiaris

Allegorical Reference to Oxford University through Classical Myth in the Early Poetry of Dorothy L. Sayers: A Reading of “Alma Mater” from OP. I.
— Barbara L. Prescott

On Superhero Stories: The Marvel Cinematic Universe as Tolkienesque Fantasy
— A.G. Holdier

Bilbo Baggins and the Forty Thieves: The Reworking of Folktale Motifs in The Hobbit (and The Lord of the Rings)
— Giovanni Carmine Costabile


Notes and Letters

Ursula K. Le Guin: An Appreciation, David Bratman
Ursula K. Le Guin in Mythlore, Janet Brennan Croft
“The Valley of the Na,” Pat Wynne, from Mythlore #56 (Winter 1988)
Reviews
J.R.R. Tolkien: Romanticist and Poet by Julian Eilmann, Kris Swank
C.S. Lewis and Christian Postmodernism by Kyoko Yuasa, Peter G. Epps
Owen Barfield: Philosophy, Poetry, and Theology by Michael Vincent Di Fucca, Tiffany Brooke Martin
Scotland’s Forgotten Treasure: The Visionary Romances of George MacDonald by Colin Manlove, Bonnie Gaarden
English People by Owen Barfield, Narnia and the Fields of Arbol by Matthew Dickerson and David O’Hara, and The Mythic Dimension by Joseph Campbell, Phillip Fitzsimmons
C.S. Lewis and the Art of Writing by Corey Latta, Tiffany Brooke Martin
C.S. Lewis and the Arts: Creativity in the Shadowlands, edited by Rod Miller, Michael David Prevett
Game of Thrones Versus History: Written in Blood by Brian Pavlac, Joseph Young
Detecting Wimsey: Papers on Dorothy L. Sayers’s Detective Fiction by Nancy-Lou Patterson, edited by Emily E. Auger and Janet Brennan Croft, Joe R. Christopher
Goddess and Grail: The Battle for Arthur’s Promised Land by Jeffrey John Dixon, Kris Swank





SPECIAL SECTION ON DIVINATION IN FANTASY

Introduction: Divination and Prophecy in Mythopoeic Fantasy
— Emily E. Auger

Letting Sleeping Abnormalities Lie: Lovecraft and the Futility of Divination
— Carol S. Matthews

Tarot and T.S. Eliot in Stephen King’s Dark Tower Novels
— Emily E. Auger

The Unlikely Milliner and the Magician of Threadneedle-street
— K.A. Laity


Notes
An Annotated List of Fantasy Novels Incorporating Tarot (1968-1989), Emily E. Auger
Divination and Prophecy in The Lord of the Rings: Some Observations, Robert Field Tredray

Reviews
Divination and Human Nature by Peter T. Struck, Larry Swain
The Tarot of the Future by Arthur Rosengarten, Emily E. Auger 

Mythlore 131 Contents

Catching up. Here are the contents to the Fall/Winter 2017 number of Mythlore. The issue can be purchased from the Mythopoeic Society at http://www.mythsoc.org/mythlore/mythlore-131.htm.


Mythlore 131 Volume 36, Issue 1
Fall/Winter 2017
Table of Contents

Editorial
— Janet Brennan Croft

Treasure in the Archives: A Celebration of Archival Collections
— Laura Schmidt

“Things That Were, and Things That Are, and Things That Yet May Be”: The J.R.R. Tolkien Manuscript Collection at Marquette University
— William M. Fliss

Into the Wild Woods: On the Significance of Trees and Forests in Fantasy Fiction
— Weronika Łaszkiewicz

“Countries of the Mind”: The Mundane, the Fantastic, and Reality in the Landscapes of Diana Wynne Jones’s Hexwood and Garth Nix’s Old Kingdom Series
— Brittani Ivan

“Morning Stars of a Setting World”: Alain de Lille’s De Planctu Naturæ and Tolkien’s Legendarium as Neo-Platonic Mythopoeia
— Christopher Vaccaro

“A Warp of Horror”: J.R.R. Tolkien’s Sub-creation of Evil
— Richard Angelo Bergen

“Your Mother Died to Save You”: The Influence of Mothers in Constructing Moral Frameworks for Violence in Harry Potter
— Margaret S. Mauk

J.R.R. Tolkien and the 1954 Nomination of E.M. Forster for the Nobel Prize in Literature
— Dennis Wilson Wise

Maleldil and Reader Response in C.S. Lewis’s Out of the Silent Planet
— Thomas Rand

Three Rings for the Elven-kings: Trilogizing Tolkien in Print and Film
— Robert T. Tally


Notes and Letters
Hugo Dyson: An Update, David Bratman
Robert E. Havard: A Closer Look at the “Medical Inkling,” Sarah O’Dell
Memories of Clyde Kilby, Mike Foster
A Note on a Name, Verlyn Flieger
Letter to the Editor, J. Aleksandr Wootton

Reviews
Beren and Lúthien, Katherine Neville
Tolkien’s Theology of Beauty, Phillip Irving Mitchell
The Fantastic of the Fin de Siècle, Douglas A. Anderson
Laughter in Middle-earth, Janet Brennan Croft
Celtic Myth in Contemporary Children’s Fantasy, Glenn R. Gray
From Peterborough to Faery, David Emerson
The Ravenclaw Chronicles and Harry Potter for Nerds II, Jennifer W. Spirko
Deeper Magic, Diane Joy Baker
The Invention of Angela Carter, Dennis Wilson Wise
Forgotten Leaves: Essays from a Smial, Cait Coker
Tolkien Studies v.XIII, North Wind v.35, and VII v.33, Janet Brennan Croft

Briefly Noted, Janet Brennan Croft, Mike Foster

Sunday, September 23, 2018

CFP: Articles and Reviews on Robert Holdstock’s Writing, Spec. Issue of Gramarye (9/21/2018)

(Apologies if this is a repeated post.)

CFP: Articles and Reviews on Robert Holdstock’s Writing
https://www.fantastic-arts.org/2018/cfp-articles-and-reviews-on-robert-holdstocks-writing/
June 15, 2018

Call for Submissions: Articles and reviews on Robert Holdstock’s writing

Robert Holdstock – a celebration of ‘Mythago Wood’

‘No other author has so successfully captured the magic of the wildwood’, Michael Moorcock

Call for Submissions: Articles and reviews on Robert Holdstock’s writing

With the tenth anniversary of Robert Holdstock’s death approaching, the Sussex Centre for Folklore, Fairy Tales and Fantasy seeks articles and reviews with a focus on the author’s Mythago Wood series for publication in Gramarye, its peer-reviewed journal published by the University of Chichester.

Neil Gaiman considers Mythago Wood to be a ‘classic of the literature of fantasy.’ In this spirit we are looking for scholarly and imaginative submissions that will once more take readers in to the heart of the British mythic landscape.

The deadline for this issue is 21 September 2018, and the Guest Editor will be Dr Steven O’Brien.

General Gramarye submissions information

Gramarye is an international, multidisciplinary, peer-reviewed academic journal examining folk narratives, fairy tales and fantasy works, both as independent genres and also in terms of the resonances and dissonances between them and other cultural forms.

There is no charge or fee for submitting an article or abstract.

Articles should be 5,000 – 7,000 words, book reviews c.1,000 words, and submitted as a Word .doc or .rtf attachment to the editor (Email: info@sussexfolktalecentre.org).

All submissions should be accompanied by a 100-word abstract and 100-word biographical note.

Relevant colour image files, along with copyright permission, must also be supplied by the deadline.

For contributions that include any copyrighted materials, the author must secure written permission (specifying “non-exclusive world rights and electronic rights”) to reproduce them. The author must submit these written permissions with their final manuscript. Permission fees are the responsibility of the author.

The deadlines are always 21 March for the summer issue and 21 September for the winter issue. If you would like to receive a complimentary e-book of the most recent issue to check content and style, please request one from assistant Heather Robbins (h.robbins@chi.ac.uk).

Only original articles that are not simultaneously under consideration by another journal will be considered. Unrevised student essays or theses cannot be considered.

Submissions must include all quotations, endnotes, and the list of works cited. References should follow the Chicago Manual of Style.

The copyright for a submission remains with the author at all times.

The peer-review process for Gramarye is as follows:

The paper, edited to fit Gramarye’s house style, will first be sent to the editorial board to approve it for peer review if they find it to be original, interesting, and of value to Gramarye’s readers.
One or two experts in the field of the paper will then be chosen as peer reviewers, in a double-blind process in which neither reviewer nor author identity will be made available to the other.
The reviewers will ascertain the relative strengths and weaknesses of the paper, including but not limited to:

a. whether it is properly referenced,

b.whether any opinion or evidence is presented clearly and is relevant to the overall argument,

c. and whether the language and purpose of the paper and its conclusion are clear and comprehensible.

This takes one to two weeks.

The reviewers’ comments will be returned to the editor, who will ensure the reviewers’ anonymity and return them to the author if any revisions are necessary.
If the author resubmits their revised article to the editor after peer-review and some queries haven’t been addressed, the editorial board will make the final decision on whether the article should be returned to the author to address the remaining issues, or whether it should be published or discarded. The author will be informed about this decision as soon as possible.

CFP “Hobgoblins of Fantasy: American Fantasy Fiction in Theory,” Special Feature in The New Americanist (expired)

(Sorry to have missed this earlier.)

CFP: “Hobgoblins of Fantasy: American Fantasy Fiction in Theory,” Special Feature in The New Americanist
https://www.fantastic-arts.org/2018/cfp-hobgoblins-of-fantasy-american-fantasy-fiction-in-theory-special-feature-in-the-new-americanist/
June 8, 2018

The New Americanist would like to announce a general call for papers for its third issue (Fall 2019). The New Americanist is an interdisciplinary journal publishing scholarly work on the United States and the Americas broadly considered. We are especially interested in work which includes a global perspective, introduces new critical approaches, and proposes theoretical frameworks to the study of the US. We welcome contributions from scholars from around the world and across the humanities and social sciences.

“Hobgoblins of Fantasy: American Fantasy Fiction in Theory”

Special feature in The New Americanist

In association with the American Studies Center, University of Warsaw

“A frightful hobgoblin stalks through Europe. We are haunted by a ghost, the ghost of Communism.” The Communist Manifesto (1850)

A frightful hobgoblin stalks through genre fiction, too. Fantasy is haunted by that same ghost, the ghost of critical theory. The fantastic, the hobgoblin, and fantasy literature as we know it were “always already” present in the early articulations of critical theory. Fantasy, though, does not merely echo within, or from, Marx and Engels. It presents unique challenges to critical theory, both to readers and to literary critics, not least because of its seeming opposition to realism, materialism, and history itself. That is to say, critical theory’s ostensible rationalism confronts fantasy’s vision of itself as myth. Even the word “myth” carries such different meanings in the theories of Horkheimer and Adorno, Barthes, or Lacan, rather than in fantasy, that the two can barely understand each other. That instability roots fantasy in a “negative capability,” possibly even an antifoundationalist tendency, when it comes to theorizing it. Suvin or Jameson, for example, set it in opposition to science fiction, its twin genre. So while fantasy finds more traction than SF in political allegory or feminist critique, that very capability clashes with the class theory of history, the critique of neoliberalism, that SF ostensibly contains. The result is that fantasy vacillates between Marxist critique, with its determinism and false consciousness, and social commentary, with its direct representation and even accusation.

What are readers to do? Must the hobgoblin be exorcised, or do we find a medium through which to communicate? Is the hobgoblin itself a product of the struggle between fantasy and rationality? As a special feature in the newly-relaunched The New Americanist, and in association with the American Studies Center at the University of Warsaw, “Hobgoblins of Fantasy: American Fantasy Fiction in Theory” seeks articles on critical approaches to American fantasy fiction. The special feature section is open to articles from any critical paradigm and of any period in American fantasy but is particularly interested in readings of fantasy that draw on the conflicts among competing critical methods. This collection reflects debates around definitions, sub-genres (urban fantasy vs. heroic fantasy, or high & low fantasy, etc.), periodization, historicization, gender & sexuality in reading communities, reception theory, and so forth. Portals into the critical fantastic include (but are not limited to) some suggestive tensions:

  • China Miéville observes in Red Planets that the SF project had begun subtitled “Marxism, Science Fiction, Fantasy.” Whence fantasy and why this trend?
  • Jameson and Suvin welcome fantasy into history with the departure of magic, or precisely when it ceases to be fantastical. Are other historicizations of fantasy possible?
  • Urban fantasy has flourished through identity politics (gender, LGBTQ+, “minority” communities), but what of concepts of consolation, inoculation, or cultural appropriation that question foundational works in the sub-genre?
  • The rise of Afrofuturism in SF suggests a parallel Afrofantastic. What of other communities find voice through (or represented in) fantasy? What voices do Indigenous, Latinx, Asian American, and other fantasy communities find in the genre?
  • Reader response and reception theory in pulp fiction has largely related to romance reading communities—in what ways is fantasy divergent from (or contiguous with) this established critical project?
  • Other questions might include (but are not limited to):
  • Is there a “Hard Fantasy,” and is it complicit in the potential toxic masculinity of demands for a Hard SF?
  • Fanfic studies have concentrated on SF, often in relation to identity and communities of resistance in underground publications, yet S/K echoes very differently in the commercial success of Fifty Shades responding to Twilight. What are the sexual politics of fantasy fanfic? What are its genders and communities?
  • What are fantasy’s nationalisms? Is there a manifest destiny stalking American fantasy?
  • Is “Cli-Fi” necessarily a subset of SF’s cognitive estrangements, or is a fantastic confrontation with nature “always already” allegorizing anthropogenic climate change?
  • Do Animal Studies or human/non-human networks find unique representations or opportunities in fantasy and/or in fantasy audiences?
  • Do we confront, through Klein, Lacan, Žižek, et al., the “phantasy” in fantasy, linking it to desire, the Other, and radical transformation, or must we also remain discontent with metonymic substitutes as a function of fantasy?

Please submit 1-page abstracts and a short biographical note for proposed articles to James Gifford (gifford@fdu.edu) and Orion Kidder (okidder@sfu.ca) by 31 July 2018. Selected articles (6,000–8,000 words) will then be due by 31 December 2018 for peer-review. The third issue of The New Americanist will be published in Fall 2019 with “Hobgoblins of Fantasy: American Fantasy Fiction in Theory” as its special feature.

CFC Fantasy/Animation Research Network


Fantasy/Animation Research Network, Call for Contributors
https://www.fantastic-arts.org/2018/fantasy-animation-research-network-call-for-contributors
September 10, 2018

Following the recent publication of Fantasy/Animation: Connections Between Media, Mediums and Genres (Routledge, 2018), we are pleased to announce the arrival of the Fantasy/Animation Research Network that pursues further the relationship between fantasy cinema and the medium of animation. We are hoping that the network will open out a critical conversation on the study of the rich legacy and complexity of animated fantasy media, in whatever form this might take, and provide a space for discussion and debate among like-minded academics, practitioners, special interest groups and fans of fantasy and/or animation. This will, we hope, lead to the building of a much-needed scholarly community that will continue, develop and complicate some of the ideas put forward in the anthology. The website has recently gone live, so visit https://www.fantasy-animation.org/ to read all our news/events and collection of blog posts, as well as listening to our associated Fantasy/Animation podcast.

We are also delighted to open out a call for contributors to write short pieces or posts for the website. These blog posts can take several forms, but we anticipate starting off with 500-1000 word written blog posts that might come together as either:

– a short editorial (movie analysis/critical reflection on an idea or concept)
– event/conference reports
– film reviews
– book reviews

Potential methodological/critical approaches within individual contributions are varied, and our concern is not necessarily how animation operates as fantasy or how fantasy operates through animation, but rather how both ideas can be productively considered in dialogue with one another. This methodology allows fantasy and animation to function as a dialectic that critically examines a relationship that has, to date, been assumed, pre-supposed or obfuscated within both popular and critical discourse.

If potential contributors have ideas for blogs, or want to suggest other possible formats for content (interviews/Q&As, pieces to camera, video essays), then please do send them over and let us know the type of post under which it fits, as well as 3-4 keywords that relate to your post. We would welcome any ideas submitted either to us directly (christopher.Holliday@kcl.ac.uk and asergeant@bournemouth.ac.uk) or through the ‘Contact Us’ Tab on the network’s website.

Best wishes, and many thanks,

Christopher Holliday and Alexander Sergeant