Copyright 2019 - Gesellschaft für Fantastikforschung

Deadline: November 25, 2019

 

Edited by Subashish Bhattacharjee (Jawaharlal Nehru University),

Ananya Saha (Jawaharlal Nehru University)

Fernando Gabriel Pagnoni Berns (Universidad de Buenos Aires, Argentina)

Cathedra of Film and Literature

http://artes.filo.uba.ar/la-literatura-de-las-artes-combinadas-ii

The cultural phenomenon of Japanese Horror has been of the most celebrated cultural exports of the country, being witness to some of the most notable aesthetic and critical addresses in the history of modern horror cultures. Encompassing a range of genres and performances including cinema, manga, video games, and television series, the loosely designated genre has often been known to uniquely blend ‘Western’ narrative and cinematic techniques and tropes with traditional narrative styles, visuals and folklores. Tracing back to the early decades of the twentieth century, modern Japanese horror cultures have had tremendous impact on world cinema, comics studies and video game studies, and popular culture, introducing many trends which are widely applied in contemporary horror narratives. The hybridity that is often native to Japanese aestheticisation of horror is an influential element that has found widespread acceptance in the genres of horror. These include classifications of ghosts as the yuurei and the youkai; the plight of the suffering individual in modern, industrial society, and the lack thereof to fend for oneself while facing circumstances beyond comprehension, or when the features of industrial society themselves produce horror (Ringu, Tetsuo, Ju on); settings such as damp, dank spaces that reinforce the idea of morbid, rotten return from the afterlife (Dark Water)—these are features that have now been rather unconsciously assimilated into the canon of Hollywood or western horror cultures, and may often be traced back to Japanese Horror (or J-Horror) cultures. Besides the often de facto reliance on gore and violence, the psychological motif has been one of the most important aspects of Japanese Horror cultures. Whether it is supernatural, sci-fi or body horror, J-Horror cultures have explored methods that enable the visualising of depravity and violent perversions, and the essence of spiritual and material horror in a fascinating fashion, inventing the mechanics of converting the most fatal fears into visuals.

On the one hand, within literary and film studies, the notion of horror is used as a genological category. On the other hand, as an aesthetic category, it is referred to various cultural texts: literary works, films, and TV series as well as theatrical performances and video games. Anita Has-Tokarz, in a monograph Horror w literaturze współczesnej i filmie [Horror in Contemporary Literature and Film] (2010), even considers it to denote “an effect [of dread] exerted on the recipient by a [cultural] text” (p. 51; our own translation). We would like to devote the third issue of “Dzieciństwo. Literatura i Kultura” to the relations of childhood and adolescence with horror – understood in all these ways – which are visible in three fields of consideration.

Please find pasted below the call for papers for the next issue of Dzieciństwo. Literatura i Kultura [Childhood: Literature and Culture], a biannual journal published at the University of Warsaw, Poland. The theme of the issue is Horror(s) of childhood and adolescence, and the deadline is January, 31, 2020.

The first issue of the journal is here: https://www.journals.polon.uw.edu.pl/index.php/dlk/issue/view/18.
All papers are peer-reviewed and, if accepted, published in open access without any article processing fees.

Dystopien stellen uns auf erzählerische Weise staatliche, quasi-staatliche und nichtstaatliche Herrschaftsstrukturen in ihrer Schrecklichkeit vor. Sie erfreuen sich großer Beliebtheit und werden in verschiedenen Medien produziert und konsumiert, etwa in Literatur, Film und Computerspiel. Entsprechend werden sie auf akademischem Niveau vor allem in den auf diese Medien bezogenen Disziplinen rezipiert: Literaturwissenschaft, Filmwissenschaft, Games Studies usw. Doch Dystopien stellen auch einen wichtigen Beitrag zum gesellschaftlichen Diskurs dar. Daher sollten sie auch auf Interesse in der Politikwissenschaft und der Soziologie stoßen – und zu einem fruchtbaren Dialog zwischen den verschiedenen Disziplinen einladen. Um diesen interdisziplinären Diskurs zu dokumentieren und weiterzuführen, ist daher ein Sammelband geplant, der verschiedene Perspektiven auf die Dystopie versammelt und sich insbesondere auf den Staat konzentriert.

Deadline: 15. Januar 2020

 

11. Jahrestagung der Gesellschaft für Fantastikforschung (GFF)

in Kooperation mit der German Popular Culture Studies Association (GPCA)

10.-12. September 2020, Universität Augsburg, Deutschland

 

Autor Ian McEwan’s kürzliche Behauptung, dass Science Fiction nicht politisch genug wäre, ist nicht nur elitär, sondern könnte auch nicht weiter von der Wahrheit entfernt sein. Schließlich ist die Fantastik, egal ob es sich um Science Fiction, Fantasy, Gothic oder Horror handelt, seit jeher politisch gewesen, da sie es uns ermöglicht, Alternativen zu unserer Realität zu entwerfen.

Deadline: 30 November 2019

 

This edited volume is under consideration to be published by Palgrave Macmillan as part of its Studies in Global Science Fiction series. The volume will take as its subject works of SF, broadly defined, that were originally published in languages other than English. Chapters should discuss how a particular text uses diction, grammar or rhetorical trope in its original language, and/or the history, mythology, literature or other tropes of its native culture, in order to perform a critique through estrangement of political, cultural or socioeconomic conditions in the country or region where the work is set or was published. How does the work adapt (cognitive) estrangement in a manner particular to its language or culture?

Deadline: 1. Januar 2020

 

Walter James Miller (1918–2010) was an American literary critic, playwright, poet, and translator. He was the author, co-author, editor and/or translator of more than sixty books, including four landmark critical editions of Jules Verne, several collections of original poetry, and critical commentaries and editions of Beckett, Bradbury, Conrad, Dickens, Doctorow, Dumas, Heller, Homer, Shakespeare, and Vonnegut. He wrote extensively for television and radio, and his verse drama was staged and revived off-Broadway. During a distinguished career as an educator and advocate for the liberal arts he taught at Hofstra University, Polytechnic Institute of New York University, Colorado State University, and for over 40 years at New York University, where he created a popular “Great Books” course, and in 1980 received the NYU Alumni Great Teacher Award. In the 1960s and 1970s, he scripted, produced, and hosted numerous television and radio series on the arts, literature, and technology, and his Peabody Award-winning show Reader’s Almanac was a fixture on WNYC, public radio in New York City.

Deadline: 31. Januar 2020

 

CfP for a Special Issue of Science Fiction Film & Television

 

Guest editors: Cameron Kunzelman and Darshana Jayemanne

an interdisciplinary journal dedicated to challenging gender in science fiction, fantasy, magical realism, surrealism, myth, folklore, and other supernatural genres