Copyright 2018 - Gesellschaft für Fantastikforschung

Deadline: 15 October 2018

 

We invite applications from utopian scholars and creatives to participate in a one-day workshop aimed at regional networking around the important but understudied relationship between utopia and ecology.

The workshop hopes to strengthen the network of utopian scholars and creatives based in the German-speaking territories and neighbouring areas of Central and Northern Europe, loosely defined. Participants need to have worked on utopia but not on the workshop theme. Rather, the workshop offers a space to collaboratively explore utopias and ecologies in participants’ existing projects—including but not limited to ecology in utopian narratives, theory, and ethics as well as utopian thinking in environmentalism, sustainable development, or socio-ecological innovation. Visit the website to learn more about the programme.

Read more: utopias and ecologies

Deadline: March 30, 2019

 

Special Issue of Mythlore, Fall 2019 Guest Edited by Donna R. White **

Draft Deadline: March 30, 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.

Read more: Mythopoeic Children’s Literature

Deadline: October 15, 2018

 

Walking in Other Worlds: Fantastical Journeys of Children’s Agency

Editors: Ingrid E. Castro and Jessica Clark

 

We are seeking completed submissions for an edited volume that interrogates representations of child and youth agency in fantasy. Our collection Walking in Other Worlds: Fantastical Journeys of Children’s Agency explores child and youth agency in the context of fantasy popular cultural forms. These sources of analyses may include television, cartoons, films, novels, toys, comic books/graphic novels, advertising, storytelling/folklore, fashion, art, video games, etc. An academic publisher is connected to this project.

Read more: Walking in Other Worlds: Fantastical Journeys of Children’s Agency

Deadline: October 5, 2018

 

The International Congress of Fantastic Genre, Audiovisuals and New Technologies is an activity of scientific and academic divulgation that is part of Elche International Fantastic Film Festival – FANTAELX, and which has the collaboration of the Miguel Hernández University.

Its mission is to transmit research studies in all the different thematic lines of the Fantastic Genre, covering all its possible variants and platforms: cinema, television, theater, literature, comics, videogames, virtual reality, etc.

Read more: International Congress of Fantastic Genre, Audiovisuals and New Technologies

 

Deadline: October 31, 2018

 

 

 

Date and Time: Tuesday, November 27, 2018. 9:00am-5:00pm

 

Location: New York City College of Technology, 300 Jay St., Namm N119, Brooklyn, NY

 

 

 

“So much has been done, exclaimed the soul of Frankenstein—more, far more, will I achieve; treading in the steps already marked, I will pioneer a new way, explore unknown powers, and unfold to the world the deepest mysteries of creation.”

 

–Mary Shelley, Frankenstein (1831 edition)

 

“Yeah, but your scientists were so preoccupied with whether or not they could that they didn’t stop to think if they should.”

 

–Ian Malcolm (Jeff Goldblum), Jurassic Park (1993)

 

Ian Malcolm’s admonition above is as much a rebuke to the lasting echo of Victor Frankenstein’s ambition to accomplish “more, far more” as it is to park owner John Hammond’s explaining, “Our scientists have done things no one could ever do before.” Films like Jurassic Park and the kind of literature that came to be known as Science Fiction (SF) owe a tremendous debt to Mary Shelley’s Frankenstein, or The Modern Prometheus (1818). In addition to being an (if not the) inaugural work of SF, Mary Shelley builds her cautionary tale around interdisciplinary approaches to science, and she takes this innovation further by applying the humanities to question the nature of being in the world, the effects of science on society, and the ethical responsibilities of scientists. These are only some of Frankenstein’s groundbreaking insights, which as Brian Aldiss and David Wingrove observe in Trillion Year Spree (1986), “is marvellously good and inexhaustible in its interest” (20). The many dimensions of interdisciplinarity in Frankenstein and the SF that followed are the focus of the Third Annual City Tech Science Fiction Symposium.

Read more: 200 Years of Interdisciplinarity Beginning with Mary Shelley’s Frankenstein: The Third Annual City...

Deadline: December 17, 2018

 

Co-edited by Sean Guynes-Vishniac and Derek R. Sweet

Star Wars. The name evokes billion-dollar blockbusters, a film franchise that has last more than forty years. For most people, Star Wars is the Star Wars films—that one with the teddy bears, the ones with Darth Vader and the lasers swords, with Yoda. But Star Wars fans and Lucasfilm payroll know better and for forty years have developed Star Wars as a media brand and transmedia franchise, branching the galaxy far, far away out across every media thinkable and expanding its storyworld to thousands of intellectual properties manifest in dozens of video and analog games, thousands of comics, hundreds of novels, uncountable toys, and, of course, multiple television shows.

Read more: STAR WARS TV. Transmedia Worlds, Franchise Politics, and Televisual Culture

Deadline: October 1, 2018

 

We seem to be living in bewitched times. Witches are everywhere, or rather: victims of alleged witch hunts pop up all over the place, preferable on Twitter or other social media. Pop-stars perform as witches, like Katy Perry in her performance at the 2014 Grammy awards, where she appeared in a cowl before a crystal ball, while later dancing with broomsticks as poles. Beyoncé’s visual album “Lemonade” (2016) made several explicit references to black witchcraft rituals. Azealia Banks proclaimed in the same year on Twitter that she practiced “three years worth of brujería” (brujería, Spanish: witchcraft) and tweeted––while cleaning the blood-smeared room used for her animal sacrifices––“Real witches do real things”. Marina Abramovic’s performance piece “Spirit Cooking” (1996) was used in the ominous Pizzagate conspiracy theory of 2016, accusing Abramovic and the Hillary Clinton campaign in practicing witchcraft rituals and occult magic. Clinton and other influential women in politics–such as Nany Pelosi and Maxine Waters––get labeled as witches and Sarah Palin partakes in a ritual to secure her electoral win and “save her from witchcraft”. Meanwhile, thousands of people coordinate binding spells against political leaders (#bindtrump) and Silvia Federici’s seminal book “Caliban and the Witch” moved from the bookshelf to the bedside table for many art professionals.

Read more: WITCHCRAFT HYSTERIA. Performing witchcraft in contemporary art and pop culture

Deadline: October 31, 2018

 

In advance of The Elder Scrolls V: Skyrim’s tenth anniversary in 2021, this collection of essays seeks to investigate how the game hails its player as “dragonborn,” a calling that merges political, social, and religious narratives in the game toward the player’s assumption of the dragonborn identity position: savior of Skyrim. Our collection aims to identify and explore these hailed positions within the cultural ecology of the game, which is always connected to the player’s out-of-game realities. Situated on the threshold of intricately detailed “cultural” cities and the expansive “natural” wilderness, the dragonborn negotiates the complex political workings of life under the civil war between the rebel Stormcloaks and the Imperial Legion.

Read more: Being Dragonborn: Critical Essays on The Elder Scrolls V: Skyrim

Deadline: September 30th 2018

 

Roundtable  CFP

Annual Northeast Modern Language Association

Convention

Washington, D. C.  March 21st to 24th, 2019

Gaylord National Resort Center

 

Teaching 20th Century American Science Fiction Writers

Including

Harlan Ellison, Phillip K. Dick, Ray Bradbury and Isaac Asimov

in the 21st Century

Read more: Teaching 20th Century American Science Fiction Writers