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Calls for Presentations / 2022 Ann Radcliffe Academic Conference
« Last post by nicholasdiak on October 11, 2021, 09:16:22 AM »
Call for Presentations:  The Fifth Annual Ann Radcliffe Academic Conference at StokerCon 2022
Abstract Submission Deadline: December 31, 2021

Conference Dates: Thursday, May 12, 2022 - Sunday, May 15, 2022
Conference Hotel: The Curtis Hotel, 1405 Curtis Street, Denver, CO 80202
Conference Website:

The Ann Radcliffe Academic Conference co-chairs invite all interested scholars, researchers, academics, and non-fiction writers to submit presentation abstracts related to horror and gothic studies for consideration to be presented at the annual StokerCon which will be held May 12 - 15, 2022 in Denver, CO. This will by a hybrid convention with both in-person and online events via Hopin.

The Ann Radcliffe Academic Conference is an opportunity for individuals to present on completed research or work-in-progress horror studies projects that continue the dialogue of academic analysis of the horror genre in all of its forms.  As in prior years, we are looking for presentations that look to expand the scholarship in various facets of horror that proliferates in:

    • Art
    • Cinema
    • Comics/Manga
    • Literature
    • Music
    • Poetry
    • Television
    • Video Games
    • Cartoons/Anime
    • Etc.

We invite papers that take an interdisciplinary approach to their subject matter and apply a variety of lenses and frameworks, such as, but not limited to:

    • Auteur theory
    • Close textual analysis
    • Comparative analysis
    • Cultural and ethnic
    • Fandom and fan studies
    • Film studies
    • Folklore
    • Gender/LGBTQIA+, studies
    • Genre studies
    • Historic analysis
    • Interpretations
    • Intertextuality
    • Linguistic
    • Literature studies
    • Media and communications
    • Media Sociology
    • Modernity/Postmodernity
    • Mythological
    • Psychological
    • Racial studies
    • Semiotics
    • Theoretical (Adorno, Barthes, Baudrillard, Dyer, Gerbner, etc.)
    • Transmedia
    • And others

Conference Details

    • Please send a 250 – 300 word abstract on your intended topic, a preliminary bibliography, and your CV to by December 31, 2021. Responses will be emailed out during the month of January. Final acceptances will require proof of StokerCon registration.
    • Presentation time consideration: 15 minute maximum to allow for a Question and Answer period. Limit of one presentation at the conference.
    • This will be a hybrid conference, with the ability to present either in person and/or online via Hopin. Those presenting in person are strongly encouraged to make a recording of their presentation to have on Hopin as we will not be live streaming in person presentations.
    • There are no honorariums for presenters.
    • In support of HWA’s Diverse Works Inclusion Committee goals, the Ann Radcliffe Academic co-chairs encourage the widest possible diverse representation to apply and present their scholarship in a safe and supportive environment. More information at:
    • Please subscribe the StokerCon’s Newsletter to keep abreast for the latest conference information. 

Organizing Co-Chairs

Michele Brittany and Nicholas Diak
Twitter: @AnnRadCon1

The Ann Radcliffe Academic Conference is part of the Horror Writers Association’s Outreach Program. Created in 2016 by Michele Brittany and Nicholas Diak, the Ann Radcliffe Academic Conference has been a venue for horror scholars to present their work. The conference has also been the genesis of the Horror Writer Association’s first academic release, Horror Literature from Gothic to Post-Modern: Critical Essays, comprised entirely of AnnRadCon presenters and was released by McFarland in February, 2020.

Membership to the Horror Writers Association is not required to submit or present, however registration to StokerCon 2022 is required to be accepted and to present. StokerCon registration can be obtained by going to There is no additional registration or fees for the Ann Radcliffe Academic Conference outside StokerCon registration. If interested in applying to the Horror Writer’s Association as an academic member, please see

StokerCon is the annual convention hosted by the Horror Writers Association wherein the Bram Stoker Awards for superior achievement in horror writing are awarded.
CFP: Insects, Bugs, and Creepy Crawlies: Insects in the Popular Imagination in the 21st Century

The place of insects in the popular imagination, what it says about our relationship to the natural world and possible post/non- human futures.

At this stage just send a notice of interest or a 300 word abstract if you’ve got something ready by the end of November 2021, final essay wouldn’t be needed til 2024. Message or mail me:
Calls for Papers/Publications / Asian Gothic - Deadline: 2021-10-15
« Last post by nicholasdiak on September 18, 2021, 04:19:18 PM »
Asian Gothic
Abstract due by 15 October 2021

Co-Editors: Dr Katarzyna Ancuta (Chulalongkorn University, Thailand) and Dr Li-hsin Hsu (National Chengchi University, Taiwan)

The Gothic as an aesthetic mode has been translated into Chinese either as “gede” (哥德) or as “zhiyi” (志異) in Taiwan in the past decades. The former version, with its direct translation from the sound, indicates its western and thus foreign origin. The latter one, alternatively, domesticates the notion by adopting a pre-existent Chinese term and subsuming it into the Chinese classical tradition of tales about strange or abnormal, and mostly supernatural, occurring. Either way, the diverging approaches towards the translation of the concept of the Gothic highlights its complexity, heterogeneity and elasticity as a transnational literary term. 

Asian cinemas and literatures began to capture the attention of Gothic scholars in the late 1990s. Yet when Henry J. Hughes made his case in 2000 for the acknowledgment of Japanese Gothic as a coherent literary tradition and called for the recognition of ‘transcultural’ Gothic, few people rushed to explore this unchartered Gothic territory. Much has changed in the last twenty years. The ongoing decentralisation of Gothic studies and de-westernisation of its methodologies has opened up new possibilities for including cultural productions from diverse geographical locations.Therefore, the appearance of Asia in the broader discussions on the Gothic is not an oddity anymore. The willingness to accept Asian Gothic as a legitimate category has rapidly increased with most edited collections and companions now carrying at least one chapter discussing Asian texts and contexts. Major academic publishers have similarly started commissioning collections and manuscripts on regional variations of Asian Gothic. The ensuing discussion has been insightful for both the Gothic community and area scholars, although, needless to say, many topics still remain unexplored.

With this in mind, we invite contributions to a special issue on Asian Gothic, scheduled to be published in December 2022. We seek essays of 6000-10000 words that would broaden our understanding of the Gothic in Asia. Rather than considering the Gothic as a fixed western-centric genre or a rigidly defined aesthetical category, we propose to address it as a larger umbrella term: a conceptual framework through which distinctive local cultural practices, historical formulations, national and regional traumas, anxieties, collective violent histories and diverse belief systems are expressed. Whether understood as a localised version of international Gothic or part of a larger category of “globalgothic”,Asian Gothic can thus be read as a distinctive aesthetical and narrative practice, where conventional gothic tropes and imagery (monsters, ghosts, haunting, obscurity, darkness, madness etc.) are assessed anew, and where global forms get consumed, appropriated, translated, transformed, and, even, resisted.

Possible topics for this special issue may include but are not limited to:

·      Gothic themes in Asian literature, film and television, or gothic interpretations of above

·      Gothic and Asian popular culture (manga, comics, anime, games, fashion, subcultures etc.)

·      Haunting memories, wars, trauma, terrorism, history and historiography

·      Gothic myths and their contemporary adaptations

·      Gothic folklore: local gods, demons and spirits; folk narratives and their contemporary reworking

·      Gothic and folk horror

·      Religion(s) and the Gothic

·      Local and regional Gothic and horror

·      Asian adaptations of western Gothic texts, (Postcolonial) rewriting of the Gothic canon

·      Asian Gothic as part of “globalgothic”

·      Animistic practices and the concept of “living Gothic”

·      Western appropriation and adaptations of Asian Gothic literatures, movies and arts

·      Genealogy of Gothic in an Asian context

·      Gothic and gender / class / race 

·      Inter-Asian adaptations of Gothic films, literatures and arts

Please email an abstract of 200-300 words, along with a 100-word bio, to the co-editors Katarzyna Ancuta ( and Li-hsin Hsu ( by 15 October 2021. The notification of the results will be sent out by 31 October 2021.

The deadline for the submission of your full paper is 20 February 2022. Please follow the submission guidelines detailed on The Wenshan Review of Literature and Culture website, and submit your articles online. The papers will then be subject to the normal double-blind peer-reviewing procedure that The Wenshan Review uses to evaluate all submissions.

The Wenshan Review of Literature and Culture, founded in 1995, is an open-access peer-reviewed journal of literary and cultural studies, and one of the most reputable academic journals in Taiwan. It offers a unique space to bring together scholar from around the world to address important issues and debates in a wide range of research areas. It is currently indexed in: Emerging Sources Citation Index (ESCI); SCOPUS; EBSCOhost; MLA International Bibliography; Taiwan Humanities Citation Index (THCI).

We welcome informal enquiries, and proposals for co-authored contributions. Please contact the co-editors: Katarzyna Ancuta ( and Li-hsin Hsu (
Archived - Calls for Papers / Surrealism and the Tarot - Deadline: 2021-09-30
« Last post by nicholasdiak on September 18, 2021, 04:14:06 PM »
Tarot cards and tarot decks have made an appearance in a variety of surrealist sources, art works and practices throughout the twentieth century, ranging from designs for tarot cards created by Ithell Colquhoun, Leonora Carrington and Roberto Matta (among several others) to references to tarot and its symbolism in surrealist novels such as André Breton’s Arcane 17 and Leonor Fini’s Rogolomec, and everything in between. Yet, while several studies have acknowledged the presence of the tarot in Surrealism in a general manner, the topic has received very little in-depth scholarly research. The book Surrealism and the Tarot aims to remedy that and will bring together illustrated specialist essays in a full colour large format volume.

For Surrealism and the Tarot, edited by Tessel M. Bauduin, we invite contributions exploring any aspect of the surrealists’s and Surrealism’s relationship with the tarot.

Potential themes include:
- iconographic potential and/or impact of tarot symbolism in Surrealism, the surrealist discourse and surrealist-adjacent milieux;
- tarot as aesthetic device and/or occult device in the visual, literary, performative or other arts by surrealists or fellow travellers of Surrealism;
- tarot practices of individuals and/or in relation to the collective;
- the political and/or ludic functions of cards, tarots and otherwise, in Surrealism;
- routes of transfer to and mediation of knowledge or material about, experience with, or even initiation in tarot for particular individuals and the surrealist discourse more generally.
Theoretical angles from which these issues are approached may include (and are not limited to): post-colonial theory, identity studies, queer and feminist theory, patronage studies, disability studies and non-human and animal studies.

Particular consideration will be given to contributions that offer an innovative approach or that focus on aspects, works, and/or individuals or collectives that are understudied or otherwise less well known. Note: “Surrealism” is considered neither a style nor a closed (or historically closed-off) delineated group of individuals, but rather a paradigm in which poets write and artists make art; accordingly, contributions can explore individuals not considered core members of any group or even part of a collective at all, active in any decade of the twentieth century.

- 1890–2000
- All media, including the visual arts, literature and poetry, photography and film, theatre and stage-design, exhibition design, and fashion
- No geographical limits

Feature articles should be 5000 to 7000 words (excl. notes & bibliography), and should be scholarly but accessible for the general reader. Published essays can potentially include up to ten illustrations. Complete submissions must be received by: 1 May, 2022. It might be possible to include new translations of original material and/or (images/facsimiles of) rare visual material; contact the editor via the email address below to discuss options.

Please send proposal abstracts of max. 600 words to:
A short (ca. 250 words) bio of the author and a preliminary list of 1-5 proposed illustrations should be included. Deadline for abstracts: September 30, 2021.
Calls for Presentations / GANZA Symposium - Deadline: 2021-01-01
« Last post by nicholasdiak on September 18, 2021, 04:13:06 PM »
CFP: Gothic Trajectories - an Online Symposium

The Gothic Association of New Zealand and Australia (GANZA) welcomes papers for its upcoming online symposium to be held 27 January 2022.

The symposium will be organized in the spirit of the Association. Ganza is interdisciplinary in nature, bringing together scholars, students, teachers, and professionals from a number of Gothic disciplines, including literature, film, music, television, fashion, architecture, and other popular culture forms. It is the aim of the Association to not only place a focus on Australasian Gothic scholarship, but also to built international links and foster collaborations with the wider Gothic community as a whole.

The association invites abstracts for 15-minute online presentations related to the theme of "Gothic Trajectories." Topics can includes, but are not limited to:

  • Revisions/Revisitations/reimagingings of classical Gothic texts
  • Hauntings and spectrality
  • Monsters and the monstrous
  • Gothic cycles, exchanges, trans/mutations and trans/routes
  • The undead
  • Gothic forms in popular culture
  • Horror in its various contexts (evolutions and re-imagings)
  • Gothic mutations, incarnations, and reincarnations
  • Gothic histories
  • memory and trauma
  • folklore and fiarytales
  • Gothic intertextualities
  • Travel Gothic and Gothic tourism
  • Genre and the Gothic
  • Gothic adaptations 9from novel to film, from film to TV, etc.)
  • Gothic regionalities and geographies
  • Global Gothic
  • Postcolonial Gothic
  • The Gothic in a post-COVID world
  • The Gothic in the past, present, and future

Please send your abstracts (250-350 words) together with a short bio (100 words max) to: . The deadline for submissions of abstracts is 1 October 2021.
Gothic Nature: New Directions in Ecohorror and the EcoGothic
Issue IV: Unthemed Issue

Deadline for Paper Abstracts: Friday 8th October 2021
Deadline for Reviews: 15th February 2022
Deadline for Interviews: 15th February 2022
Deadline for Creative Pieces: 15th February 2022

Dr Elizabeth Parker and Dr Michelle Poland Editors-in-Chief

We live in ecoGothic times. From climate crisis to coronavirus, we are increasingly finding ourselves living in, and contending with, unsettling and unpredictable Gothic environments of our own making. Many of the portents and warnings that have been entrenched from the outset in conversations around ‘ecohorror’ and ‘ecoGothic’ have taken frightening material form. Consequently, interrogating and understanding the inextricable relationships between the human and nonhuman—including, in particular, the more unsettling, uncanny, monstrous, spectral, and sublime aspects of these relationships—is becoming more urgent by the day.

Our fears and experiences around human-caused, but not human-controlled mass extinction events, geological shifts, and global pandemics are on the rise – and consequently there is thriving interest in explorations of both real and imagined Gothic Natures. Whether we are exploring the dark and disturbing ‘Natures’ that appear in our Gothic and horror stories, or contemplating the ‘Gothicness’ that increasingly characterises the Nature we encounter in our lived realities, the Gothic Nature journal offers a unique space in which critical and creative writers, thinkers, and artists alike can come together to productively engage with the anxieties arising from our troubled co-existence with the more-than-human world.

For issue IV we aim to move into new and fruitful areas of exploration relating to our fears of the nonhuman world in collaboration with scholars across the environmental arts and humanities and sciences, encouraging a diverse range of voices and perspectives. Through this journal, we continue to be passionate about our commitment to open access publishing and to showcasing and celebrating the scholarship of both leading names in ecohorror and ecoGothic and newer researchers alike. We have kept the scope of issue IV deliberately broad in order to welcome and foreground the emerging, engaging, and sometimes surprising evolutions of scholarly inquiry into Gothic Nature.

For Gothic Nature IV, we invite proposals for:

Papers of 6-8,000 words that critically reflect, engage with, and explore any aspect and interpretation of ‘Gothic Nature’.

Reviews (book, TV, film, podcast, etc.). We invite pitches on recent texts relating to ecohorror/ecoGothic, released in the last year or so. (Our Film & TV Editor has released a sample selection of suggested review texts here).

Interviews. We invite original interviews with individuals with a clear connection to the themes of the journal, e.g. a director or author of a text relating to ecohorror/ecoGothic.

Creative pieces that reflect, engage with, and explore any aspect and interpretation of ‘Gothic Nature’. Creative pieces may be short stories, poems, extracts of novels-in-progress, artwork, and other alternative modes and formats (e.g. recorded performances, creative readings) and we invite you to get in touch to talk through your ideas at

Topics might include, but are not limited to:

Topics might include, but are not limited to:

Gothic Nature and questions of race, class, disability, gender, and/or sexuality.
Decolonising ecohorror and the ecoGothic.
Gothic ecologies
Haunted ecologies
Frankenstein food, monstrous meat, vegetarian horror.
Climate fiction, environmental disasters, apocalypse, the deep dystopian future.
Plant horror, animal horror.
Eco-monsters (trolls, wolves, witches, wendigos, etc.)
The terror and wonder of extreme weather events
Haunted rural communities, decaying urban spaces.
EcoGothic and ecohorror gaming.
EcoGothic Tourism.
Narratives of extinction.
Activism and Gothic Nature.

For paper proposals: please send abstracts of 500 words, as well as a brief biography of 150 words, to Elizabeth Parker and Michelle Poland at by Friday 8th October 2021 (or feel free to contact us informally should you wish to talk through ideas or have any queries). Full papers will be due 18th March 2022.

For reviews (book, TV, film, game, etc.): if you have not already been in touch independently with our Book Reviews Editor, Jennifer Schell, or our TV and Film Reviews Editor, Sara Crosby, please send your pitch for text/s to review to Elizabeth Parker and Michelle Poland at by 31st December 2021 and/or send in full review submissions for consideration by 15th February 2022.

For interviews: please send your pitch for interviews with directors or authors to Elizabeth Parker and Michelle Poland at by 31st December 2021 and/or full interviews for consideration by 15th February 2022.

For creative contributions: please send completed creative pieces, as well as a brief biography of 150 words, to Elizabeth Parker and Michelle Poland at by Friday 16th September 2022. **Please note the creative contribution deadline is September 2022, not September 2021, as we are asking for full drafts rather than abstracts or pitches here (though you may of course contact us informally if you wish to talk through ideas or have any queries).**
Call for Papers: Bodily Transgressions in Gothic TV – Console-ing Passions 2022

The recent boom in horror films and scholarship testifies to the rich generic, thematic, and formal spaces the gothic provides for engaging what scares, horrifies, and haunts us. As seen in films like Get Out (2016) and The Invisible Man (2020), horror and gothic texts have particular power to speak, especially in the current moment, to marginalized, oppressed, and Othered subjectivities. However, the self-versus-other gatekeeping and disciplinary taste cultures which long excluded the horror film from gothic studies, and which dismissed the gothic itself as a monstrously hybridized, corrupted form, continue to neglect the televisual. This panel seeks to redress such erasures by interrogating the surge in horror and gothic TV over the last decade, including series like American Horror Story, Penny Dreadful, The Haunting of Hill House, Sharp Objects, and Lovecraft Country.

As with older cinematic and literary forms, such recent television confirms the centrality of the body to the gothic, which has long spectacularized bodily transgressions, bodily transformations, and body horror. As Xavier Aldana Reyes (2014) demonstrates, the gothic encompasses and exposes the uncanny experience of being a body vulnerable to mutilation, pain, and death as well as the way corporeal fears and anxieties about transgressive bodies/bodily transgressions are connected to social constructions of the normative body. The body gothic, Reyes argues, explores the body’s expectations and limits, and the promise and horror of its breaching. This panel calls for papers that explore the themes and politics of bodily transgression in horror and/or gothic television (or television incorporating horror or gothic elements).
Potential topics include:

• Bodily transgression/transgressive bodies configured in relation to gender, race, class, sexuality, ability, and/or nationality.
• Body horror and/or the gothic body as a mode for exploring experiences of racism and/or racialized violence; misogyny and/or gender violence; or nativism.
• Contemporary and/or historical anxieties about the body: the national body, the gendered body, the dis/abled body, the racialized body, the techno-scientific body, the surgical body, the aged body, etc.
• Connections between bodily transgression and the sublime or metaphysical; the uncanny, the abject, the grotesque, or the repressed.
• Bodily transgression and the exploration of borders, limits, and boundaries of space, place, time, and/or identity.
• “The promise of its breaching” - bodily transgressions as radical or liberating.
• Themes of torture, mutilation, gore, and dismemberment in relation to tropes of the mystic, the occult, and the supernatural.
• Transgressive bodily transformations, hybridization, or reproduction -- racial, gendered, human, national, etc.
• Explorations of the body around gothic hauntings, contaminant, and entrapment.
• Embodied monsters and the monstrous.

Please send a 250 word abstract and short bio to Jackie Pinkowitz and Lucia Palmer at and by Friday September 24. Notice of decisions will be sent by Sunday September 26.

The 2022 Console-ing Passions Conference will be held at the University of Central Florida in Orlando, June 23-25.
Beyond Psycho: A Critical Assessment of Joseph Stefano and Horror in The Outer Limits

Deadline: September 30, 2021
Name: Michael L Shuman / University of South Florida
We invite chapter proposals (300-500 words) for an edited volume of critical essays dealing with screenwriter Joseph Stefano and elements of horror in the 1960s television program The Outer Limits.

This edited collection, with articles from film scholars working in the fields of horror and science fiction, will examine not only Stefano’s post-Psycho accomplishments as a scriptwriter but also his importance as a producer, establishing his gothic vision as a consistent characteristic of the show. The Outer Limits, filmed in black and white, employs an expressionist cinematography uncharacteristic of other broadcasts at that time, emphasizing the gothic elements of the plots while suggesting a new category of horror noir and science fiction drama. The Outer Limits, as horror noir, employs visual elements and narrative conventions of the art-house foreign films and noir drama of the past to create an ambiance of horror while anticipating future challenges of a society confronting accelerated scientific and technological change.

Essays will be structured around Stefano’s ten filmed screenplays and two contributed story ideas, while each essay also may examine other episodes, as appropriate, to illustrate how Stefano’s horror noir themes, tropes, and characterizations pervade the entire series.

Special consideration will be given to essays emphasizing issues of gender and identity, marginalized communities and the Other, political conspiracy and surveillance, film noir conventions, and the ethical development of science and technology.

Contributors may discuss technical aspects of the productions as instruments for promoting a profound sense of dread and horror, including the haunting score by Dominic Frontiere, the impressionistic cinematography of Conrad L. Hall and Kenneth Peach, and the visual effects by Jim Danforth and the Project Unlimited team.

We especially solicit essays on the following contextual topics and episodes of The Outer Limits:


The Forms of Things Unknown

Don’t Open Till Doomsday

The Mice

The Chameleon

The Invisibles

A Feasibility Study

Fun and Games

The Bellero Shield

The Moonstone

It Crawled Out of the Woodwork


            Contextual Topics:

Joseph Stefano and the Horror-Noir Narrative

Horror, Noir, and the 1960s

Black and White Horror: Images of the Other in The Outer Limits

Unreal Cities: The Collision of Ethics and Technology in The Outer Limits

Auteur Television: Joseph Stefano and The Outer Limits

Issues of Representation and Class in The Outer Limits


Deadline for submission of proposals: September 30th, 2021


Important Dates

Proposal Abstract and Author Bio: September 30th, 2021

Decision Date: October 30th, 2021

Final Version of Accepted Projects: February 28th, 2022


Proposal Submission

Interested scholars should send a 300-500 word proposal and a 150 word bio by September 30th, 2021, to

Michael L Shuman

Department of English

University of South Florida
Calls for Papers/Publications / Theology and Vampires Deadlne: 2021-11-01
« Last post by nicholasdiak on August 01, 2021, 05:14:15 PM »
Theology and Vampires

From the ‘vampire craze’ of the eighteenth century, and up to contemporary takes on the genre, vampire narratives have been inextricably bound up with theological questions. In Bram Stoker’s Dracula and its many adaptations, the vampire is repelled by the crucifix and the consecrated Host. Two puncture wounds on the victim’s neck in Le Fanu’s ‘Carmilla’ make the doctor send for a clergyman. In Anne Rice’s Memnoch the Devil, Lestat believes that he has witnessed the Crucifixion and tasted Christ’s blood. ‘God kills, and so shall we; indiscriminately He takes the richest and the poorest, and so shall we; for no creatures under God are as we are, none so like Him as ourselves’, he tells Louis in Interview with the Vampire, styling himself as a God, and mimicking divine omnipotence. But he has no answers to give Louis, no revelation, and no known salvation or solace, because he is just like him in their shared vampiric nature. What do these examples tell us about where the vampire sits in relation to the divine? And what kind of theological vision do vampire stories uncover?

Given the richness of theological substratum in vampire fiction, we invite submissions for a collected volume entitled Theology and Vampires, for the Theology and Pop Culture Series published by Lexington Books/Fortress Academic. The aim of this volume is to explore the theology of vampires, with a particular focus on the pop culture aspect of vampire narratives. We are seeking essays exploring the theological implications of the vampire across a wide range of media, from popular Victorian tales through to films, video games, and animated series.

Possible topics could include:
-eschatology and vampire salvation
-free will and predestination
-the Eucharist, sacramentality, and blood drinking
-theology of the body
–analogia entis, univocity of being, and vampire ontology
-Faustian pacts and the demonic sublime
-conditionalism and immortality
-gender and theology
-vampires, victims, and divine kenosis
-theodicy and the realness of evil
-denominational commitment and religious tradition
-theological epistemology and the vampire figure
-vampires and creation
-ecclesiology and vampire genesis

Please send 500-word abstracts, accompanied by a current CV, to by November 01, 2021. Acceptance notifications will be sent out no later than 15 November 2021. Final essays are due 1st June 2022.
Seeking paper abstracts for an upcoming The Haunting of Hill House-themed literary journal. The Horror Scholar Journal Vol 4 aims to be made available online in January 2022. The opportunity is paid $50 USD upon receipt of the final paper. Abstracts should be approx 300 words briefly describing the scope and topic of your paper.

Final papers must be anywhere from 1500-3000 words. Not accepting reviews or previously published papers - this journal attempts to prioritized underserved or less published horror academics. Proposals and papers should be submitted in a readable, neutral size 12 font.

Accepted Media:

  • The Haunting of Hill House - TV Series (2018)
  • The Haunting - Film (1963)
  • The Haunting - Film (1999)
  • The Haunting of Hill House - novel (1959)

Cut off date for abstracts: August 23, 2021
Cut off date for finished papers: November 1, 2021.

Steps for application:

  • Submit your abstract via email to along with your name, a 3-sentence bio, and social media links
  • Once your abstract is accepted (5 day turnaround) a finished paper can be submitted via email any time until the cut off date above
  • Payment for your work will be sent upon reception of the first draft
  • Each paper will have 1 round of edits

About Horror Scholar

HS is an independent horror research brand and one-woman publishing operation. It strive to make academic publishing more accessible and to celebrate both critical theory and fandom.

@scholarhorror on Twitter or for questions.
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