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Monthly Archives: April 2016

Applications are invited for a fully-funded PhD scholarship in the Department of Literary Studies at Ghent University, Belgium, tenable for a period of up to four years. The successful candidate will participate in the research project “Imagining Climate Change: Fiction, Memory, and the Anthropocene,” sponsored by a grant from the Research Foundation Flanders (FWO-Vlaanderen) and directed by Prof.Stef Craps. S/he will research Anglophone climate change fiction within the context of the project’s three interrelated strands. The first, formalist strand explores the literary innovations demanded by climate change, a phenomenon whose magnitude and complexity challenge conventional modes of representation. The second, historicist strand links climate change fiction to literary responses to earlier crises that radically altered humanity’s relationship to the past, present, and future: the discovery of geological time in the early nineteenth century and the Cold War threat of nuclear annihilation. The third, postcolonial strand investigates to what extent and in what ways climate change fiction addresses inequalities in the global distribution of responsibility for and vulnerability to climate change, which the developing Anthropocene narrative risks obscuring.

Candidates should have:

  • a Master’s degree or equivalent qualification in a relevant field, such as English, Comparative Literature, or Environmental Humanities (candidates near to completion may also submit applications, indicating the expected date of the degree);
  • an outstanding academic record;
  • excellent writing and speaking skills in English;
  • an aptitude for original, independent, and creative work. 

Conditions of employment:

  • The position begins 1 October 2016 or as soon as possible thereafter but no later than 31 December 2016.
  • The scholarship is initially offered for a period of two years and can be renewed for another two-year period upon positive evaluation.
  • The net amount of the scholarship will be approximately 1900 EUR per month, gradually rising to approximately 2100 EUR per month in the fourth year. The PhD student will also receive a holiday allowance and an end-of-year bonus, and enjoy full social security coverage. Additional financial support is available for conference and workshop attendance.
  • The PhD student will be based at Ghent University.
  • The PhD student will complete the doctoral training programme offered by the Doctoral School of Arts, Humanities, and Law. 

Applications should include:

  • a cover letter, in which you specify why you are interested in this position and why you consider yourself a suitable candidate;
  • a current CV;
  • transcripts of your qualifications to date (degrees and grade lists);
  • a writing sample (excerpt from your Master’s thesis, article, etc.);
  • names and full contact details of two referees.

The application deadline is 20 May 2016 or until a suitable candidate is found.

The position announcement may be found here.

Further information about the position can be obtained from Prof. Stef Craps (stef.craps@ugent.be).

Applications should be submitted as a single PDF file via email to stef.craps@ugent.be.

 

The newly established Goldsmiths Press will be publishing a collection of essays on the topic of ‘economic science fictions’. The volume will be edited by Will Davies, Co-Director of PERC, and encompass various disciplinary perspectives, writing styles, including fiction and non-fiction. This builds on PERC’s launch event, at which Professor Ha-Joon Chang spoke on the topic ‘what can economics learn from science fiction?‘.

We are inviting proposals for additional contributions to this volume. Proposals should be no more than 300 words, and offer an overview of what the chapter will explore, what style and approach it will adopt, and which of the themes outlined below it will address. We particularly welcome contributions from designers and design theorists which reflect on how economic institutions are amenable to (re)design. If you are interested in contributing, please email Will Davies with an outline by 20th May. If proposals are accepted, full drafts will be required in late September.

About the book

Contemporary capitalism suffers from a grave shortage of alternative futures. While the dominant models of markets, of property, of money, of regulation no longer inspire much confidence, let alone enthusiasm, our contemporary fate is to repeat them regardless. Blank repetition of the status quo signals a society without the capacity to exercise economic imagination or economic design. The function of debt is precisely to ensure that such possibilities remain unexplored, creating bonds to the past, rather than blueprints for the future.

What we lack is ‘economic science fiction’, that is, the capacity to inject a modernist design ethos into institutions and practices which have come to feel permanent. This may also enable us to reconsider the present as the effect of past ‘science fictions’, and the on-going fictions as repeated by economists, financial services, accountants and managers. This is not simply about the need to revive utopian thinking, but also about the value of prosaic acts of institutional re-design, which go on in everyday situations. It is also about the need to open up the expert discourse of economics to a broader range of voices and styles, and to explore the overlap between economic ‘science’ and economic ‘fiction’. And it is an effort to re-capture the meaning of economic ‘creativity’ from its repetitive business usage.

This collection will bring together around 15-20 short chapters (circa 2,000-5,000 words each) from contributors inside and outside of Goldsmiths, from across economics and other social sciences, and also from creative and artistic spheres, such as creative writing and design.

Chapter topics could include:

  • What is ‘economic science fiction’?
  • Orthodox economics as a ‘science fiction’
  • Designing alternative futures: what do economic blueprints look like?
  • The art of writing an ‘economic science fiction’
  • Enclaves of utopian thinking: where (and by whom) will economic science fictions be crafted?
  • Alternative currencies or alternative property rights as ‘economic science fictions’
  • Postcapitalist organisations as ‘economics science fictions’
  • Economic science fictions of the past: excavating dead utopias
  • Prosaic acts of everyday fiction-building

Ha-Joon Chang’s PERC lecture will be included. We can also confirm contributions from Miriam Cherry, Mark Fisher, Judy Thorne, Owen Hatherley, amongst others.

Contributors are encouraged to write for a general readership and to explore ideas and opinions from a diversity of cultures and standpoints.

About the editor

Will Davies is a Senior Lecturer in Politics at Goldsmiths and Co-Director of the Political Economy Research Centre. He is author of The Limits of Neoliberalism: Authority, Sovereignty and the Logic of Competition (Sage, 2014) and The Happiness Industry: How the Government and Big Business Sold Us Wellbeing (Verso 2015). He blogs at www.potlatch.org.uk

Type: Call for Papers
Date: May 31, 2016
Location: Germany
Subject Fields: American History / Studies, Cultural History / Studies, Film and Film History, Literature, Popular Culture Studies

 

Series or movies on vampires, werewolves, zombies, and monsters are en vogue again and have experienced a revival on the big and small screens and in novels. Zombies are marching through the United States in The Walking Dead and provide a new image of coolness iniZombie, while vampires have established a new life in the American South in True Blood (TB) or are in the process of saving a small town by unravelling its mysteries in The Vampire Diaries (TVD). Hollywood productions like Underworld have also attracted countless fans around the world. Although monster movies, series, and novels are not a new phenomenon, what has changed is the representation and the image of these monsters. While vampires, for example, used to be vile creatures literally sucking the life out of their human prey, we now encounter domesticized versions of these former monsters who more than once also save human lives instead of threatening them.

While all depictions of zombies, werewolves, etc. somehow link their monsters to historical aspects of a region or a broader historical or social context, the reception and acceptance of these monsters has changed with time. The editors of the edited volume Monster Media in their Historical Contexts consequently ask for different perspectives:

1) How is the depicted monster historically explained?
2) How is it historically linked to the depicted environment?
3) How has the reception of monster media changed throughout history?

Please send a short chapter proposal (300 words) on specific case studies (film, series, novel, short stories etc.), or broader theoretical approaches, to Verena Bernardi (verena.bernardi@gmail.com) and Frank Jacob (fjacob@qcc.cuny.edu) by May 31, 2016. Final chapters ranging from 6,000-9,000 words are due on February 15, 2017. Style guides will be provided by the editors in case of acceptance of a proposal.

Contact Info:

Verena Bernardi (Saarland University, Germany)

Frank Jacob (City Unversity of New York, NY)

Contact Email:

Studies in the Fantastic invites submissions for issue 4 of our peer-reviewed academic journal. Issue 3, which is available online through Project MUSE, covered reboots in a variety of incarnations. For issue 4, set for publication in late 2016, we seek contributions that examine the role of history (real and invented) as a fantastic mode in contemporary media. Analyses of works that employ historical or pseudo-historical methods as modes for fantastic narratives are especially encouraged, including examinations of faux chronicles, alternative histories, manufactured ephemera, epistolary and diary forms, and invented philology. Essays investigating the fantastic from other perspectives are also welcome. For consideration for issue 4, please send submissions to fantastic@ut.edu by August 1, 2016.

Submitted articles should conform to the following guidelines:
1. 6,000-12,000 words
2. MLA style citations and bibliography
3. A separate title page with author information to facilitate peer review
4. 1” margins, 12 point serif font, page numbers

Studies in the Fantastic is an annual journal publishing refereed essays, informed by scholarly criticism and theory, on both fantastic texts and their social function. Although grounded in literary studies, we are especially interested in articles examining genres and media that have been underrepresented in humanistic scholarship. Subjects may include, but are not limited to weird fiction, science/speculative fiction, fantasy, video games, architecture, science writing, futurism, and technocracy.

All current student members of the IAFA are encouraged to vote for their new representatives!

You have 3 wonderful candidates to choose from! To vote, please rank all candidates from 1-3 and email your selections to Skye Cervone at scervone@fau.edu no later than Monday, May 9th. The candidate with the most votes for first place will serve as the Student Caucus Representative, and the runner-up will serve as Student Caucus Vice-Representative. You will find the bios and pictures of the 3 candidates below.

Amandine Faucheux

Amandine is a second-year PhD student in English and Women’s and Gender Studies at Louisiana State University, where she studies feminist and queer science fiction, with a strong interest in alternative futurisms.

Throughout my graduate career I have helped organize conferences, workshops, and other events in various groups or organizations. I have been a member of the Writing Program Administration Graduate Organization (WPA-GO), a national organization, for over two years, and I serve as one of their grant readers. I am currently the President of the Women’s and Gender Studies Graduate Organization (WGSGO) at my university, which has given me the opportunity to work with a group of students across the disciplines and organize multiples events on and off campus. I also attend regular faculty meetings where I am in charge of representing the interests of the members of this group. Although relatively new to the ICFA community, my extensive experience with student organizations makes me a strong candidate for the job of SCIAFIA Representative.

Amandine

 

Sarah Fish

I am currently a PhD Candidate in English and American Literature at the University of Houston.  I am ABD, finishing my dissertation about national security and education framed through ideas developed while working with discourses about “zombie students.”  I will graduate in May 2017, so I will not be a student for the full term, but I see myself as a good fit as Rep because I have been a member of IAFA and attended ICFA since 2014.  Since the 2015 conference, I’ve made a bigger effort to connect with my student and professor colleagues (especially through social media), and I have a broader interest in working with graduate student development.  At UH, I have organized TA classroom training and been a part of graduate student professional development panels.  IAFA and ICFA have been a major part of my development as a scholar, and I would be happy to serve my fellow student members.

Sarah

 

Amanda Rudd

Amanda Rudd is a PhD Candidate in British and American Literature at the University of Houston, specializing in Science Fiction and Globalization. She is working on her dissertation tentatively titled “Globalization and the Evolution of Science Fiction.” She is currently an adjunct lecturer at University of Houston-Downtown, and has taught First-Year Writing courses and Introduction to Science Fiction courses. In the Summer of 2016 she will be teaching two courses (Time Travel Narratives and The Art of Satire) at the prestigious Duke University Talent Identification Program. She has presented at many conferences including the International Conference for the Fantastic in the Arts (2014, 2015, 2016), and the ACA/PCA Conference (2015). She has been published in Brigham Young’s Literature and Belief journal (2012). Her article “Paul’s Empire: Imperialism and Assemblage in Frank Herbert’s Dune” was recently published in the inaugural issue of the Museum of Science Fiction’s publication The Journal of Science Fiction, in January 2016. And her book chapter “‘Shut up and take my money!’: Exposing the Realities of Hyper-Consumerism and Consumption Through Parody in the World of Futurama” is forthcoming in the collection Neoliberalism and Television, currently in negotiation with Lexington Books.

I believe I am a good fit for Student Caucus representative because I have experience both in the field of science fiction and in planning and managing events. As both a PhD student and as a teacher, I have years of experience working in the science fiction field. In addition, I have presented at ICFA for the last three years, which gives me familiarity with the event and the community. Furthermore, I have been highly involved in running a conference: the Coastal Plains Graduate Liberal Arts Conference at the University of Houston, for which I was head of publicity in 2012, Assistant Chair of the Planning Committee in 2013, and finally Chair of the Planning Committee in 2014, during which I made the conference the biggest it has yet been. This position gave me experience in managing and working in collaboration with many people, coordinating with speakers, and fundraising. All of this demonstrates that I am very invested in being involved in and of service to the communities I care about.

Amanda

SECOND CALL FOR PAPERS

NINTH-ANNIVERSARY SESSIONS 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 we seek proposals from scholars of all levels for papers that explore any aspect of the intermedia traditions of the fantastic (including, but not limited to, elements of fairy tale, fantasy, gothic, horror, legend, mythology, and science fiction) and how creative artists have altered our preconceptions of these subtraditions by producing innovative works in diverse countries and time periods and for audiences at all levels.

 

Special topics: Given the proximity of the conference to Halloween, we are always interested in proposals related to monsters and the monstrous, and, in anticipation of the two hundredth anniversary of the publication of Mary Shelley’s Frankenstein in 2018, we are especially hoping for proposals that address aspects of the Frankenstein tradition and the fantastic.

 

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).

 

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 “NEPCA Fantastic Proposal 2016” in your subject line. Do also submit your information 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 atnepcafantastic@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/.

 

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 atnepcafantastic@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/.

 

Type:
Call for Papers
Date:
June 1, 2016
Location:
Massachusetts, United States
Subject Fields:
Religious Studies and Theology, Popular Culture Studies, Literature, Political History / Studies, World History / Studies

How do we understand ourselves as human beings?  Historically, we have considered where we are in time and place and in relation to others.  Throughout history, humans have wondered about their origins and about their futures.  Charles Darwin gave some a foundation of understanding where human beings came from and how we evolved.  The greater question now is how we will change; will human beings continue to evolve and adapt in response to the changes in the natural world?  Or will the changes be more deliberate?  In what ways will human beings be responsible for the ways we change in the future?  Considering the speed with which technology advances, how might we be plunging headlong into a future we might have only imagined?  Will future humans evolve naturally or will we change deliberately being combined with technology and becoming “cyborgs”?  Will the nature that shapes our evolution be the one we created through climate change?  Will our present world be changed in order to shape a future we are more comfortable anticipating?  In short, human beings have consistently been preoccupied with the future; considering some of the visions of the future presented in novels and movies, what has gone by the wayside and what has shown prescience?  How might we use these predictions of the future as bellwether so we might change course and shape a future that’s more to our liking?

These are some of the questions we would like to address in a proposed book.  This book proposes to examine literature, film, television, history and popular culture.  Abstracts due by June 1st, 2016.

Contact Info:

Louisa MacKay Demerjian, lmdemerjian@gmail.com

Contact Email:
Type:
Call for Papers
Date:
May 31, 2016
Subject Fields:
Childhood and Education, Popular Culture Studies, Literature, Film and Film History, Cultural History / Studies

Since Bram Stoker’s seminal vampire novel, Dracula, published in 1897, the figure of the vampire has been a persistent presence in Western popular culture. Though largely the remit of adult audiences since the 1970s, the vampire has become increasingly present in narratives (books/films/television) for younger children. In fact, in the 21st century, one might even venture to say it is a staple of the genre. During this time the meaning of the vampire itself has drastically changed from a symbol of otherness and potential danger to one that accepts difference and offers agency to all young readers. This shift within young children’s narratives is largely a reflection of the changing positioning of the undead within adult and young adult narratives that have seen an increasing romanticization of the vampire, which constructs it as both inspirational and aspirational within, or indeed outside of, an increasingly consumerist and globalized world. This volume will examine the continuing presence of vampires within children’s literary and visual narratives in relation to contemporaneous representations in popular narratives and the social environment that creates them.

 

Abstracts/proposals are invited for chapters that look at narratives featuring vampire characters, as either main protagonist or incidental role, in books, film, television, comics, toys, games, etc. aimed at children of 12 years old or younger (not YA). Chapters can be either an overview of a particular medium or focus on a few titles that example certain themes or topics.

 

Possible subjects include but are not limited to:

  • Child vampires, male/female vampires, animal vampires, non-human vampires
  • Scary vampires, stranger danger, warnings against non-normative behaviour
  • Queer vampires, individual identity positions, role models
  • Historical precedents from folk/fairy tales or classic children’s literature
  • Franchises that cover many media that feature vampires, Monster High, Mona the Vampire, Disney (characters such as Maleficent/Ursula etc)
  • Vampires in games, Lego, activity books, pop-up books etc
  • Vampires in children’s advertising/products such as Count Chocula, Oreo adverts, Kinder adverts etc.
  • Children’s vampires in relation to their YA and adult contemporaries
  • Any of the above in relation to gender, sexualities, minorities, ethnicity, class etc.
  • Non-bloodsucking vampires: veggie vamps and those that drink washing liquid, or energy etc.
  • Vampires that are not vampires, i.e. Scooby Doo, Araminta Spook etc.

 

Abstract of no more than 350 words with “Growing up with the Vampire” in the subject line,  should arrive by 31st May, 2016.

Final manuscripts of 5,000-8,000 will be expected by 28th August, 2016, manuscripts to be formatted MLA-style with a separate works cited page section, for publication by Universitas Press in Montreal (www.universitaspress.com) by the end of 2016/start 2017.

Abstracts and enquiries should be sent to Simon Bacon at: baconetti@googlemail.com

Type:
Call for Papers
Date:
May 15, 2016
Location:
Kentucky, United States
Subject Fields:
Art, Art History & Visual Studies, British History / Studies, Childhood and Education, Cultural History / Studies, Women’s & Gender History / Studies
full name / name of organization:
Joseph Michael Sommers, CMU, and Kyle Eveleth, U-Kentucky
contact email:

Call for submissions to an edited collection requested by publisher

Since his seminal writing on The Sandman (1989-present) and long since before and after on works such as Batman, Miracleman, The Books of Magic, The Endless, Stardust, The Graveyard Book, etc. from adult graphic novels (Neverwhere) to voluminous amounts of children’s graphic novels and illustrated texts (Coraline, Chu’s Day, Fortunately, the Milk, Hansel and Gretel etc.), Neil Gaiman has established himself as one of the most prominent, if not prolific, writers in the medium of sequential art in the late twentieth and twenty-first century.

Interestingly enough, Gaiman’s work is oft classified along regularized perceptions (by age, by tone, etc.) while he himself resists that particular ideological breakdown proclaiming that his work is meant to be read and seen by everyone, muddying those clear constructs and bracketing of his work. This volume seeks to examine Gaiman’s broadly illustrated corpus (picture books, comics, graphic novels, video games, etc.) along those lines of the dark, the light, and those that are particularly difficult to classify and define by the fact that they are seemingly both—the shadowy genre-bending work. However an essayist for this collection might seek to interpret those constructs (optimism, pessimism, pragmatism, for example) or whether a writer would seek to only write on a particularly evident construct from the three (Chu’s Day doesn’t seem to possess many dark portents; however Blueberry Girl, by comparison, articulates a life far more complex than simple optimism) is open for discussion and welcomed.

This volume will investigate the comics and graphic novel work of Neil Gaiman broadly. Proposals are welcomed for critical essays that approach the subject from any of a variety of methodological/ theoretical perspectives such as: aesthetic or textual, historical, philosophical, cultural, psychoanalytic, semiotic, post-structural, post-colonial, gendered, feminist, etc.

Essays might include (but are by no means limited to) the following topics:

-Adaptation of Gaiman’s prose works to comics and comics to films and television
-Gaiman’s work in video games (Wayward Manor)
-Gaiman’s comics connection to music, greater literary movements, etc.
-Gaiman’s literary antecedents and referents in comics
-Gaiman’s work with regular artists (McKeon, Bachalo, Dringenberg, Riddell, Buckingham etc.)
-Historical comparisons and intertextualization of Gaiman with his contemporaries and influences
-Gaiman’s light-hearted/ serious fare for children and adults alike
-Major Gaiman work (The Sandman) and comparably minor works or one-shots (Cerberus #147, Spawn #9, Angela #1-3 etc.)
-Comparisons of Gaiman’s ostensibly “adult” works and/ to his ostensibly “children’s” works (not to mention his supposed YA work)
-Gaiman’s work in other visual storytelling media (his writing for Doctor Who, his screenplay of Princess Mononoke for example)
-Gaiman’s influences on character/series/comics as a medium’s traditions (Swamp Thing, The Sandman, comics readership)
-Gaiman’s influences on other literary traditions (fantasy, sci-fi, etc)
-Gaiman-as-character, both inside his comics and outside his comics
-Gaiman and cultural capital, Gaiman as commodity
-Naughtiness, puns, double-entendres/double-consciousness/doublespeak, dual meanings, sidelong glances, subtle jabs, subversions, sublimations, and slips of the tongue
-Memory and remembering, forgetting and misremembering in Gaiman’s work
-Humor and seriousness, gravitas and mirth, bathos and pathos in Gaiman.
-Etc.

Abstracts of approximately 250-500 words (with author’s affiliation and brief biography) are due 15 May 2016 with first drafts of essays running 5000-5500 words due 15 October 2016. Please send any inquiries and proposals to Joseph Michael Sommers and Kyle Eveleth atsommerseveleth@gmail.com .

cfp categories:
american
childrens_literature
classical_studies
film_and_television
gender_studies_and_sexuality
general_announcements
interdisciplinary
journals_and_collections_of_essays
medieval
modernist studies
poetry
popular_culture
postcolonial
religion
romantic
theory
twentieth_century_and_beyond
victorian
Contact Info:

Please send correspondences to Joseph Michael Sommers and Kyle Eveleth.

Contact Info:

Joseph Michael Sommers, somme1jm@cmich.edu; Kyle Eveleth, k.w.eveleth@uky.edu; shared CFP account, sommerseveleth@gmail.com

Contact Email: