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Call for Papers: Religion and Horror Comics

While many genres offer the potential for theological reflection and exploration of religious issues, the nature of horror provides unique ways to wrestle with these questions. Since the EC Comics of the 1950s, horror comics have performed theological work in ways that are sometimes obvious, sometimes subtle, but frequently surprising and provocative. This volume will bring together essays covering the history of horror comics, with a focus on their engagement with religious and theological issues.

Essays have been accepted on the topics of the morality of the EC Comics, the liminality of John Constantine, cosmic indifference in the work of Junji Ito, and the reincarnated demons of the web-comic “The Devil is a Handsome Man.” We are seeking essays on a wide range of other topics, possibly including but not necessarily limited to:

Alan Moore’s Swamp Thing and Post-Humanist Theology
Religious Pluralism and The Sandman
Lucifer in the Sandman Universe
The Theological Universe of Gideon’s Fall
The Function of Islam in Infidels
Folk Religious Practices and Harrow County
The Human and the Divine in Chu
Horror as a Theological Turn in Superhero Comics (particularly how Batman and Daredevil use horror)
Cain and Abel in House of Secrets/House of Mystery
The Joker’s Theology
Seeking the Divine in Werewolf by Night
The Unseen Realities of Outcast
Concepts of Hell and damnation in Hellboy and Spawn
As there has already been a large amount of scholarship on The Walking Dead, we will not include any essays on it in this volume.

This volume is a part of the Religion and Comics series, published by Claremont Press. It will be co-edited by Brandon R. Grafius and John W. Morehead. Grafius is associate professor of biblical studies at Ecumenical Theological Seminary, whose recent books include Reading the Bible with Horror (Lexington Books/Fortress Academic) and a handbook on the film The Witch in the Devil’s Advocates Series (Auteur Publishing/Liverpool University Press). Morehead is the proprietor of TheoFantastique.com, and is a contributor, editor and co-editor to a number of books including The Undead and Theology, Joss Whedon and Religion, The Supernatural Cinema of Guillermo del Toro, and Fantastic Fan Cultures and the Sacred. Together, they have co-edited the volume Theology and Horror (Lexington Books, forthcoming), and the Oxford Handbook of Biblical Monsters (forthcoming, 2023).


Abstracts of 300-500 words with CVs should be sent to johnwmorehead@msn.com and bgrafius@etseminary.edu by December 1, 2020. The submission deadline for drafts of manuscripts of 6,000-8,000 words is scheduled for June 1, 2021.
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The Gothic Age of Television: Edited Collection, Call for Papers

Deadline: November 1, 2020
Contact name: Aoise Stratford and Joel Hawkes
Email: gothicagetv@gmail.com
 

The last three decades have witnessed a proliferation of Gothic television programs. Some provide a platform for the Gothic’s most fantastic mode of expression, with vampires, werewolves, and zombies invading our screens. Closer to home but decidedly unheimlich, domestic spaces are haunted by uncanny secrets in programs from Twin Peaks to Top of The Lake. Still other programs, like Game of Thrones and Black Mirror, capture the Gothic’s obsession with barbaric pasts and threatening futures. Subtle elements of Gothic emerge in a wide range of non-Gothic programming, such as Mad Men and Breaking Bad, revealing the true extent of the genre’s influence.

Perhaps, just as Black Mirror’s techno-mediated future reflects – and reflects upon – the present moment, this Gothic resurgence responds to the transformations and uncertainties of our time.  In other words, we might read the Gothic, as it repeatedly has been, as a genre that re-emerges at times of cultural anxiety.

The screens, and the streaming services that play this Gothic programming might, then, themselves be read as “Gothic devices,” even more transformative than the technologies that that have inspired and shaped the Gothic narratives of past centuries.

This call for papers requests proposals that explore this resurgence in the Gothic as it is mediated through television programming, and the proliferation of screens and streaming services, at the beginning of the 21st century.

The collection looks to theorise this Gothic revival.  Papers might offer close readings of particular shows, ponder themes and tropes, trace trends in programming, consider the importance of the television medium in this revival, or examine the Gothic technologies of streaming screens and other devices.

The collection looks to be, like Frankenstein’s monster, hybridic, a composite, and larger than the sum of its parts, deploying a range of critical methodologies and lenses--including Queer theory, postmodernism, and post-human studies--and seeking to embrace some of the many different ways in which we can have conversations about Gothic Television.

Essays might examine shows such as (but not limited to),

Stranger Things, Penny Dreadful, Carnival Row, Outlander, Buffy, Angel, Vampire Diaries, True Blood, Sherlock, Twin Peaks: The Return, Sharp Objects, Mad Men, Black Mirror, Top of the Lake, Game of Thornes, Frankenstein Chronicles, The Walking Dead, American Horror Story, Supernatural, The X-Files, Bates Motel, Hannibal.

Essays might explore a number of topics, and ask and answer a variety of questions of Gothic television, such as (but not limited to),

Streaming, binging, booting, seriality, and the structure of Gothic television

How do screen mediums and consumption habits speak to a sense of the Gothic?

21st century spaces / 21st century Gothic

How is space/place/setting important to Gothic television?  What Gothic implications are there for the “space” of the streaming screen?

Twin Peaks: The Return

Why is Twin Peaks: The Return important?  How does it make use of the Gothic?

Vampires and their slayers

How does the vampire inhabit the new century, this gothic revival, and an age of streaming screens?

Dissecting 21st century monsters

What and who are the important monsters of this Gothic television revolution?

Gothic nostalgias

How do Gothic shows (re)imagine the past?  What is the relationship of the Gothic to the plethora of reboots, returns, and sequels on our screens?

Gothic futures

How do Gothic television shows imagine the future?  What kind of future is Gothic programming creating?

Gothic fantasy

How do Gothic and fantasy interact on our screens?  What has led to the rise of this important sub-genre?

Gothic marginalities

How are those on the margins important to the Gothic?  How are questions of race, gender, class, or sexuality important in terms of marginality and isolation, but also community, inclusivity, and diversity?  What is the role of the so-called “normative”?

Abstracts of 300 words and a brief bio should be sent to the editors, Aoise Stratford (Cornell University) and Joel Hawkes (University of Victoria) at gothicagetv@gmail.com

Deadline for abstracts is 1 November 2020.  (Final papers will be of about 5000 words, due end of April.)

 
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Cine-Excess 14
Representations as Weapons: Cult Film and the Politics of Resistance
5th- 7th November 2020

Confirmed Guest of Honour: Pam Grier (Jackie Brown, Coffy, Scream Blacula Scream)

Live Streamed Interview and Q and A on Friday 6th November 2020

Organised in association with Birmingham City University and the Black Sands Educational Project

(Online conference and streamed festival and screening season)

Previous guests of honour attending Cine-Excess have included Jen & Sylvia Soska (American Mary, Rabid [2019]), Norman J. Warren (Prey, Terror), Victoria Price (Author of Vincent Price: A Daughter’s Biography), Pete Walker (Frightmare, House of the Long Shadows), Catherine Breillat (Romance, Sex is Comedy), John Landis (An American Werewolf in London, The Blues Brothers), Roger Corman (The Masque of the Red Death, The Wild Angels), Stuart Gordon (Re-Animator, King of the Ants), Brian Yuzna (Society, The Dentist), Dario Argento (Deep Red, Suspiria), Joe Dante (The Howling, Gremlins), Franco Nero (Django, Keoma, Die Hard II), Vanessa Redgrave (Blow Up, The Devils), Ruggero Deodato (Cannibal Holocaust, House on the Edge of the Park), Enzo G. Castellari (Keoma, The Inglorious Bast***s), Sergio Martino (Torso, All the Colours of the Dark), Jeff Lieberman (Squirm, Blue Sunshine) and Pat Mills (Action Magazine, 2000 AD).

Cine-Excess 14 is hosted in association with Birmingham City University and the Black Sands Educational Project. It features an online academic conference alongside film industry panels and a streamed film festival season of related UK premieres and retrospectives.*

For its 14th annual edition, Cine-Excess is presented in collaboration with the Black Sands Educational Project, which seeks to educate UK based BAME artists, filmmakers and audiences about the subversive potential that surrounds black representations in cult and marginal cinema formats. The focus of the Black Sands project helps informs this year’s conference theme: Representations as Weapons: Cult Film and the Politics of Resistance. This theme considers the extent to which the struggle for representations by various ethnicities, genders and divergent groups is enacted through a range of classic and contemporary cult film genres. This focus on representations as weapons will consider the complex issues of gender and racial diversity as embodied by the cult image, whilst also exploring a range of international traditions, directors and performers whose work can be seen as existing at the borders of cinematic excess and political struggle.

As central to this examination, we are delighted to welcome the legendary actress Pam Grier (Jackie Brown, Coffy, Scream Blacula Scream) as our Guest of Honour to Cine-Excess 14. In a career that has spanned more than thirty years, Pam Grier pioneered the representation of strong African-American heroines across a range of influential films, often appearing in pulp productions that carried prominent messages about gender and racial equality. Her body of work remains relevant to contemporary audiences, who are now even more interested in issues of diversity portrayed in these cult narratives. Pam Grier will be joining the festival for a live streamed interview and audience Q and A on Friday 6th November, when she will also receive her Cine-Excess Lifetime Achievement Award.

We therefore welcome conference submissions that deal directly with Pam Grier’s work as a performer and cultural icon. Further topics might also consider the work of classic and contemporary minority and female filmmakers, alongside those performers whose works annex social commentary with unconventional content, while issues of diaspora, disability, mental health and migration are other key topics that will be discussed by this year’s event. Proposals are invited for papers that consider cult film case-studies within a range of differing contexts that relate to this year’s theme. However, we would particularly welcome contributions that focus on the following areas:

  • From Cause Célèbre to Cultural Icon: New Readings of Pam Grier and Performativity
  • Manipulating the Mainstream: Jordan Peele and the New Politics of Race Horror
  • Between Genres and Against the Grain: Female Voices in Cult and Extreme Cinema
  • The Role of Race and Ethnicity in Horror Remakes
  • Representation as Weapons: Cult Cinema at Key Points of Historical Conflict
  • Race Re-Framed: New Readings of Blaxploitation Cinema Cycles
  • Inclusion in Excess: Using the Extreme Image in Educational and Pedagogic Practices
  • Classic and Contemporary Images of Black American Horror
  • From Diversity to Deviance: The Struggle for Sexual Identity in Marginal Film
  • Screening Diversity, Consent and Desire in Marginal Film and Digital Sex/Pornography
  • Coloniser, Colonised and Cult: Film Narratives and the Struggle for Representation
  • Bodies as Battlegrounds:  LGBTQ+ Representations and Intimacies
  • Terrifying Outsiders: Migrant Traumas and Regional Conflicts in Cult Film Narratives
  • "Gypsies", Roma and Nomads: Cult Representations of Travellers and Traveller Communities
  • Dubbed but Highly Dangerous: The Political Reception of European Radical Film Texts 
  • Transnational and Trash: Conflicted Notions of Nationhood in Pulp Cinema
  • Margins Within Margins: Black Trans-representation in Film
  • Disability, Diversity and Representation in Cult Cinema 
  • Scoring the Resistance: Cult Soundtracks as Symbols of Rebellion 
  • Screening Rights and the Battle for Embodiment: Trans and Non-Binary Voices on Screen 
  • Split: Framing Mental Health in Exploitation Cinema 
  • Framing the Forgotten: Dispossessed UK Communities on Screen
  • Bodies as Weapons: Classic and Contemporary Case-Studies of Subversive Cult Performers
  • Diverse Voices in Distribution: New Organisations and Patterns of Screen Disruption
  • Cult on Cults: Fictional Representations of Real Life Marginal Communities

Over the past 14 years Cine-Excess has developed a reputation as an inclusive and safe space in which to present new work around global cult film cultures. We welcome submissions from emerging and established and scholars, activists, film makers and community groups.

Please send a 300-word abstract and a short (one page) C.V. by Monday 21st September 2020 to:

Professor Xavier Mendik
Director of the Cine-Excess International Film Festival
Birmingham City University
xavier.mendik@cine-excess.co.uk

Dr Gemma Commane
Co-Director of the Cine-Excess International Film Festival
gemma.commane@cine-excess.co.uk

Jo Delyse-Packwood
Co-Director of the Cine-Excess International Film Festival
jo.delyse.packwood@cine-excess.co.uk

A final listing of accepted presentations will be released on Friday 25th September 2020.

Delegate fees for Cine-Excess 14 are £50/£25 (concessions) for attendance at online/streamed version of the 2020 event. This includes entrance to all conference activities, related Cine-Excess screenings and industry panels.  A selection of conference papers from the event are scheduled to be published in the Cine-Excess e-Journal.  For further information and regular updates on the event (including information on guests, keynotes and screenings) please visit  www.cine-excess.co.uk.

* Cine-Excess has and will continue to monitor the Covid 19 (coronavirus) outbreak, regularly reviewing the situation and taking necessary action. Our priority is to ensure the health and safety of our attendees, delegates, staff, and everyone we work with. Cine-Excess reserves the right to amend the conference and festival programme in the event of changes to Covid 19 restrictions and guidelines.
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Call for Proposals: It's About Perspective Podcast

This newly launching podcast, It's About Perspective, strives to explore topics surrounding horror, gothic, scifi, fantasy, the supernatural, and other subgenres. Each season will extract a topic for analysis and discussion. The opening season will begin with the werewolf. There are no boundaries, whether it be the construction of the werewolf, an argument on the "good" vs "bad" werewolf or on anti-werewolf imagery, all engaging arguments and perspectives are welcome. This is deliberately broad to encourage a variety of contributions and keep each episode new and interesting.

Topics may include but are in now way limited to the following:

Origins
Nature and Environment
Art
Religion
Literature
Fairy Tales and mythology
Film and Television
Popular Culture
Feminist perspective
Identify

The ultimate goal of this podcast is to engage with academics, though this is not a requirement, across a range of disciplines and develop upon usual areas. Specail episodes may be developed after the season to revisit papers and speak to guests.

Please send an abstract of no more than 300 words and short bio to Chloe at itsaboutperspectivepodcast@gmail.com by Sept. 30

Proposed papers should aim to be between 15-20 min in length, if you require more time please feel free to contact the above email to discuss a two-part series.

This CFP is open to all, as it will be pre-recorded and distributed remotely.
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Academic and Non-Fiction Publishers / Apollo Publishers
« Last post by nicholasdiak on September 13, 2020, 07:02:15 PM »
Apollo Publishers

Apollo Publishers is a high-concept, boutique publishing house designed with the interests of today’s readers in mind. Our vibrant, one-of-a-kind books are from authors with expertise and compelling new ideas.

Publisher's Website: https://apollopublishers.com/
Submission Information: https://apollopublishers.com/index.php/contact-2/

Apollo Publishers welcomes submissions of proposals and manuscripts.

We are exclusively publishing timely and topical nonfiction for adult trade audiences. Topics may cover a broad spectrum as long as they are relevant today and are likely to be relevant in the years to come. Our books range in length from 60,000 to 120,000 words. Please include a short book description and author bio.
Rights and rates to be determined on an individual basis, however at a minimum we seek rights in the English speaking world.

To submit your proposal or manuscript, fill in the form or send an email to submissions: submissions@apollopublishers.com
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Call for Chapters: House of the Devil: Satanic Cultures (and Panics) from the 60s to Today

Deadline: October 15, 2020
Contact person: James Pate, Brian Santana / Shepherd University
Email: jpate@shepherd.edu

 

            From the Satanic and occult counter-cultures of the late 60s, as seen in the films of Kenneth Anger, to the Satanic Panic of the 80s, to the progressive-style Satanism of music groups like Twin Temple and organizations like The Satanic Temple, Satanism in the U.S. (both real and imagined) has long reflected the anxieties, hopes, and concerns of the culture at large.

Satan has been seen as a corrupter and a liberator, a literal being and a Romantic metaphor, and the “satanic” has long been a site for various cultural conflicts and energies. Though there have been books about specific aspects of modern Satanism, this collection will focus on how the image of Satanism has changed over the past decades.

 
Topics for chapter proposals may include, but are not limited to:

  • Satanic and occult imagery in the 60s, and its relation to 60s countercultures
  • the role movies such as The Exorcist and The Omen might have had in bringing the occult mainstream
  • Discussions on the relationship between the rise of talk shows and Satanic Panic
  • The relationship between the Satanic Panic and the rise of the Religious Right and The Moral Majority
  • The complicated relationship between neo-paganism and Satanism
  • Fashion and Satanism
  • Essays on Satanic lifestyles
  • The use of Satanic imagery in music and music videos (especially interested in musical artists who are women and/or BIPOC)

Chapter proposals should:

1. In 500 words (or less) define the focus and argument of the chapter.
2. Be submitted as a pdf or word document. Proposals should be double-spaced, with Times New Roman, 12- point font, and Chicago style citations.
3. Include a copy of the author's CV and a 50 -word biography

Proposals and questions should be sent to Dr. Brian Santana and/or Dr. James Pate at

bsantana@shepherd.edu or jpate@shephered.edu

 
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The Fourth Annual Ann Radcliffe Academic Conference at StokerCon 2021
Abstract Submission Deadline: November 30, 2020


Conference Dates: Thursday, May 20, 2021 - Sunday, May 23, 20201
Conference Hotel: The Curtis Hotel, 1405 Curtis Street, Denver, CO 80202
Conference Website: http://stokercon2021.com

The Ann Radcliffe Academic Conference co-chairs invite all interested scholars, academics, and non-fiction writers to submit presentation abstracts related to horror studies for consideration to be presented at the fourth annual StokerCon which will be held May 20 - 23, 2021 in Denver, CO.
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.  As in prior years, we are looking for completed research or work-in-progress projects that can be presented to with the intent to expand the scholarship on various facets of horror that proliferates in:

    • Art
    • Cinema
    • Comics
    • Literature
    • Music
    • Poetry
    • Television
    • Video Games
    • Etc.

We invite papers that take an interdisciplinary approach to their subject matter and can 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/LGBT studies
    • Historic analysis
    • Interpretations
    • 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 AnnRadCon@gmail.com by November 30, 2020. Responses will be emailed out during the month of December. 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.
    • 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: http://horror.org/category/the-seers-table/
    • Please subscribe the StokerCon’s Newsletter to keep abreast for the latest conference information. 

Organizing Co-Chairs
Michele Brittany and Nicholas Diak
Email: AnnRadCon@gmail.com

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 2021 is required for to be accepted and to present. StokerCon registration can be obtained by going to https://stokercon-uk.com/. 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 www.horror.org/about/ .
StokerCon is the annual convention hosted by the Horror Writers Association wherein the Bram Stoker Awards for superior achievement in horror writing are awarded.
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Souhern Gothic Subversion

Deadline: July 29, 2020
Contact: mmccampbell@leeuniversity.edu

This interdisciplinary panel invites submissions for papers that examine the subversive aspects of the Southern Gothic genre in literature, film, television, or music. Creative new readings of traditional Southern Gothic texts from O'Connor, Faulkner, Williams, etc. are welcome. Also encouraged are explorations of contemporary texts such as the HBO series True Detective, fiction from Toni Morrison and Dona Tartt, or music from The Handsome Family and Iron and Wine.

Please submit a 250-word abstract, brief biographical statement (including academic affiliation and contact information), and A/V requirements to Mary McCampbell at mmccampbell@leeuniversity.edu by July 29, 2020.
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Latin American Gothic Literature in its Early Stages: Trappings, Tropes, and Theories (NeMLA 2021)

Deadline: September 30, 2020
Email: megan.devirgilis@morgan.edu

The Gothic is having a moment, as it tends to do in times of collective panic and uncertainty. Even Latin America, whose geographical, linguistic and historical distinctiveness have supported its all-but-exclusion from global Gothic Studies, has experienced a rise in scholarship on contemporary Gothic horror—from studies on the double and hybridity to zombies and cannibals, among others. Typically excluded from this narrative, however, are theories on the origins and early representations of the Gothic, and how regional, linguistic and historical particularities nourished a Latin American Gothic tradition that, although indebted to its European Gothic predecessors, deviated from it in unique and meaningful ways. There has been some debate over the circulation of translations throughout Latin America: Did Edgar Allan Poe’s short stories, for example, circulate in French or, decades later, in English, and to what extent did his formal experimentation influence Latin American writers? This panel diverts from this limited scope of inquiry, suggesting instead a broader perspective that examines the complexity of literary currents, their subcategories, and their subjective means of classification. Why is it that Latin American literary scholarship only begins to use the term Gothic in reference to Carlos Fuentes when Eduardo Wilde, Juana Manuela Gorriti and Horacio Quiroga, among others, were experimenting with Gothic trappings, the occult and suspense? The purpose of this panel is to revisit Latin American literary works previously associated with more “respectable” and “valuable” literary currents in terms of the Gothic and a unique Latin American Gothic literary tradition. Of particular interest are theoretical approaches that revisit modernista, romantic and fantastic literature through a Gothic lens. Collectively, this panel will deepen scholarship on the dialectics at the heart of cultural production in the region: civilization/barbarity, indigenous/European, monstrous/homogenous, etc.

Please submit abstracts here: https://www.cfplist.com/nemla/Home/S/18591
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The Dread of Difference(s): Horror, Gender, and Cinematic Defiance (NeMLA 2021 Seminar)

Deadline: September 30, 2020
Contact: ruth.yuste_alonso@uconn.edu

Since Carol J. Clover’s seminal work Men, Women, and Chainsaws (1992), feminist readings of horror movies have gained an enthusiastic theoretical momentum. In employing various frameworks and lenses and by complicating our spectatorial position, this rich corpus of literature has perhaps contributed to a resignification of the genre and its tropes. However, amid the emergence of luminous movies that defy and challenge horror’s misogynistic and racialized foundations, several questions arise: Is contemporary horror cinema really abjuring its heteronormative, original structure? Does mainstream horror still convey trite reactionary messages with renewed vigor? If a shift in the architecture of horror is truly in place, what are the most defiant examples of the “new wave”, and how do they accomplish this necessary ideological turn?

This seminar invites submissions that explore the ways in which contemporary filmmakers use horror in order to challenge or, conversely, reproduce hegemonic master narratives. Of particular interest are critical analyses of movies that tritely reproduce an oppressive understanding of the space that gender, class, and race occupy in the social. Proposals with an emphasis on Women’s Cinema(s) and LGBTQ cinema(s) are particularly welcome. Possible topics include, but are not limited to:

Postmodern Horror,  Humor, and Agency

Witches, Vampires, Zombies: Conventional or Radical Revisitations of Tropes

Gender and “Horror Noire”

Empowered and Disempowering Femmes Fatales

Horror, or the Reinforcement of Heteronormativity through Fear

Haunted Houses and Nuclear Families

Found-Footage Horror and New Articulations of the Slasher

Empty Vessels: Demonic Possessions and Women’s Bodies

NeMLA seminars require that papers be completed and circulated among participants prior to the conference. Participants will be asked to read all papers and be prepared to contribute to a structured discussion. Presentation time will be limited to a maximum of 10 minutes, focusing on an overview and/or highlights of the paper.

Please submit an abstract of 200 to 250 words describing your proposed seminar paper by September 30th, 2020, to the submission page: https://cfplist.com/nemla/Home/S/18766. With your abstract, please include a statement acknowledging these obligations and expressing a commitment to fulfill them.

NB: Participants must submit a complete draft paper no later than February 1st, 2021, to be shared with all seminar participants prior to the conference. Papers should be between 15-20 pages, typed (Times New Roman, 12p) and double spaced, and include a “Works Cited” section. All participants are expected to read each other’s papers in preparation for the session and provide at the conference a one-paragraph response to one person as assigned by the session chairs.
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