Copyright 2020 - Gesellschaft für Fantastikforschung

Deadline: 15 April 2020


Fantastic Texts and Where to Find Them

- Approaching Fantasy Literature, from Fairy Tales to Harry Potter

Apply now (applications close 15 April 2020)

This course will introduce you to fantasy and the fantastic, often defined as the "literature of the impossible".

We will survey key texts across different media (e.g. by J.R.R. Tolkien and Ursula K. Le Guin, as well as cinematic and TV fantasy), while exploring critical approaches and recent theoretical debates. You will also have an opportunity to try your hand at writing fantasy.

Deadline: 26 april 2020


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

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

Deadline: 15. April 2020


Mythos & Postmoderne – Mythostransformation & mythische Frauen in zeitgenössischen Texten

In mythologischen Narrativen aller Art und Kulturen spielen Frauenfiguren eine zentrale Rolle – wenn auch oftmals nicht als Protagonistinnen in den Tragödien, die sich um sie herum abspielen, sondern als allegorische Katalysatorinnen, nonkonformistische Rebellinnen oder Unheilvolle, die die bestehende Gesellschaftsordnung ins Chaos stürzen. Insbesondere in der antiken griechischen Vorstellung gelten sie, so Mary Beard, häufig als Monströse, als sich unrechtmäßig Bemächtigende, als „abusers of power“ – und doch erscheint gerade dieses, ihr wirkungsvolles Handeln logisch, nachvollziehbar und evoziert nicht selten Empathie. Trotzdem – oder vielleicht gerade deswegen – stellen Frauen wie Medea, Kassandra, Antigone, die Furien und Göttinnen und alle ihre Schwestern bis heute ein Faszinosum dar. Die sie umgebenden Mythen werden verschiedentlich rezipiert, ent- und remythifiziert, ihre Schicksale von der antiken in eine neue Zeit eingeschrieben; die Figuren durchleben Transformationen, die sie entweder als eindeutige Weiterentwicklungen ihrer Vorgängerinnen markieren, bestimmte Eigenschaften, Mytheme, Mythologeme ausstellen oder aber nur noch ein leises Echo einer Verwandtschaft anklingen lassen. Ihre Form, Allegorisierung und ästhetische, mediale Ausgestaltung sind mannigfaltig, der Mythosbegriff mit seinen sich immer wandelnden Zuschreibungen ist zunehmend komplex und bedarf im Kontext einer zeitgenössischen Auseinandersetzung mit mythischen Figuren und deren Nachleben dezidierten Weiterdenkens. Wo Agency und Performance von Frauenfiguren sich wandeln, geschieht eine narrative Arbeit am Mythos, die (Be-)Deutungsebenen verschiebt, Traditionen aufbricht und neue Diskursformen schafft.

Deadline: April 2, 2020


Alternative Futurisms can be thought of as one response to the self-conscious, perplexed state of mind that confronts many discussions of race, gender, nations, and social justice today, especially those that grow from traditional “first contact” scenarios between Indigenous peoples and invading Empires. Naturally, realizing a difference in attitude between a now and a then leads one to question pasts, to expose presents, and to imagine futures. This handbook explores visions of our possible futures arising from non-Western cultures and ethnic histories that disrupt the “imperial gaze.” Alternative Futurisms takes back the narrative, discards the imperial gaze, and replaces it with a vision of the authentic experiences of people who historically have survived domination and conquest as told and retold from those lived experiences. In this respect, the collection will survey the origins and proliferation of Alternative Futurisms texts, to include print, online, film, games, television, comics, graphic novels, poems, plays: in short, any of the myriad genres that artists working within the Alternative Futurisms aesthetic experiment with. Alternative Futurisms is global in reach, and thus represents a solid opportunity to survey the similarities and variations in how artists enact the movement. The editors, Grace Dillon, Isiah Lavender III, Taryne Jade Taylor, and Bodhisattva Chattopadhyay seek contributors who would like to imagine what the future holds from the viewpoint of the colonized (ethnic, alternative, Indigenous).

Deadline: May 29, 2020


Science Fiction and Fantasy International Conference

School of Arts and Humanities, University of Lisbon

November 26-27, 2020


Science Fiction and Fantasy are acknowledged fields of inquiry that for long have allowed us to put to the test our contemporary perceptions of the world. As privileged means to question issues of aesthetic, ethical, political, social, economic, historical and environmental nature with great impact on contemporary societies, they have also promoted cutting edge approaches and rich critical debate in literature as well as cinema, TV and videogames among other media. Given the relevance of these fields in (and out) the academic field, the University of Lisbon Centre for English Studies (ULICES) invites you to take part in the 6th International Conference Messengers From the Stars: On Science Fiction and Fantasy to be held at the School of Arts and Humanities, University of Lisbon, on November 26-27, 2020. This year, Episode VI will focus on the theme “Nature and Overnature in SF and Fantasy Discourses.”

Deadline: April 15, 2020


The presence of science fiction in university classrooms is by now no longer shocking; the genre has become a mainstay not only in literature and philosophy classrooms but also in STEM fields, as its predictions and extrapolations pose memorable and concrete case studies to explore the societal and ethical implications of technological innovation, as well as interesting practical engineering problems to try to solve with real-world science. As the world around us becomes more and more science fictional with each passing year—often in ways that have eerie resonance with the dystopian and apocalyptic predictions of years past—the speculations of science fiction will only have more purchase in our attempts to prepare our students for a future that seems very much in flux.

Deadline: May 15, 2020


taking place at
Karlstad University, Sweden
November 11-13, 2020.

Just like the Roman god Janus, speculative fiction looks into both the past and the future in its attempt to make sense of the bewildering clutter of events, phenomena, and ideas which constitute the present. Traditionally, science fiction has been the arena for speculating about the future, while the past has been the domain of the fantasy genre. However, fantasy may also take place in the present, as testified by the increasingly popular urban fantasy genre, and even the future can accommodate fantasies, such as Nalo Hopkinson's Brown Girl in the Ring. Meanwhile, subgenres such as alternative history or steampunk may be said to constitute science fictions of the past. In the shape of “creation stories,” speculative works such as J. R. R. Tolkien’s Silmarillion and C. S. Lewis’s The Magician’s Nephew narrate the beginning of history, whereas the apocalyptic and post-apocalyptic genres speculate about the end of history—and what comes after. And many forms of speculative fiction portray the evil that comes from the past to threaten the present, whether in the guise of an ancient vampire, a Dark Lord returning, or an alien roused from its aeons-long sleep.
The nature of time itself is also the focus of many speculative works. Adventurers into Faerie may find that years have passed after their one night away, and space travellers who go faster than the speed of light may experience the same. Normal temporal relations and principles are turned on end in time travel narratives such as H. G. Wells's The Time Machine, Philippa Pearce's Tom's Midnight Garden, or BBC's Doctor Who; and in Michael Ende’s Momo, the pivotal struggle between good and evil does not concern the fate of the world, but that of time.

Dear friends and colleagues,

A friend and I are putting together a panel on African-American alternate history for a conference at University College Dublin in December 2019, and we are looking for a third speaker to join us.

The title of the conference is:  Alternative Realities: New Challenges for American Literature in the Era of Trump

If you or yours works on some form, version, reflection on, and /or example of alternate histories within, about, or in response to contemporary African-American literature OR if you'd like more details about the conference or about the panel, please contact me: Keren Omry This email address is being protected from spambots. You need JavaScript enabled to view it.  or Sonia Weiner This email address is being protected from spambots. You need JavaScript enabled to view it.



An International Conference



To celebrate the 300th anniversary of the publication of Defoe’s Robinson Crusoe, the 70th anniversary of Orwell’s Nineteen Eighty-Four and the 50th anniversary of Le Guin’s The Left Hand of Darkness, the ALIMENTOPIA Team invites fellow researchers to participate in More Meals to Come, an International Conference on Utopian/Dystopian Foodways. We are especially interested in multidisciplinary approaches bridging utopian studies and food studies within fields such as Literature, Linguistics, Culture, History, Nutrition, Psychology, Anthropology, and the Arts.