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Special Issue of Studies in American Fiction: The EcoGothic

Contact Name: Matthew Wynn Sivils

We invite submissions for a special issue of Studies in American Fiction devoted to the ecoGothic, an emergent critical approach that explores the intersections between the Gothic imagination and the natural world. The ecoGothic offers suggestive pathways toward theorizing the environmental humanities by investigating how such texts at times harbor the monstrous, the spectral, and the sublime. Gothic anxieties haunt some of our most environmentally-focused literature. Likewise, natural elements and environmental concerns emerge, often in subtle ways, in texts more conventionally recognized under the label of the Gothic.


We seek submissions that shine a light into the shadowy corners of the American literary tradition, that address a host of environments—natural, unnatural, supernatural—and that explore canonical as well as understudied texts to reveal an environment that is not only a realm of beauty and enlightenment but also the province of madness and fear.


Topics might include but are not limited to:

The Gothic as a vehicle for addressing environmental injustice
Fear of nature (i.e., ecophobia); terror in/of the wilderness
Threats to the integrity of the human body; the melding of the human and the non-human (e.g., the ecogrotesque, trans-corporeality, hybridization, and post-humanism)
EcoGothic and disability; the spectacle of the “unnatural” body (e.g., freak shows)
Gothic tropes (e.g., the uncanny, the sublime) within an environmental context
The apocalyptic; connections between human oppression and environmental degradation or the threat of extinction
EcoGothic and Regionalism; the Southern ecoGothic
The transnational ecoGothic
Queer figurations of ecology; the social construction of the (un)natural
Ecological crises and the repressed other; environmental guilt
Frontier Gothic; maritime Gothic; and the horrors of conquering nature
The land as a haunted house; cursed environments (e.g., swamps, cemeteries, battlefields)
Ecofeminism through a Gothic lens
The legacy of slavery written upon the land (e.g., plantations and memorials)
Vengeful environments; monstrous wildlife; uncanny plants

How might we theorize American Gothic works in relation to their portrayal of the non-human? How does the history of environmental thought emerge or diverge in these texts? What anxieties and fears about the human impact upon the natural world appear in the literary culture of the industrial age? What environmentally-based terrors surface in Moby-Dick? What do we hear in the sound of the “waddling fungus growths [that] just shriek with derision!” in Gilman’s “The Yellow Wall-Paper”? How can we read Chesnutt’s Southern Gothic conjure tales in which slaves are transformed into trees or otherwise physically linked with the plantation environment? In Morrison’s Beloved, what are the implications of the tree-shaped scar on Sethe’s back?


Please send 250 word abstracts by June 30, 2021; final submissions of 8000–10,000 words (including endnotes and works cited) in Chicago format will be due December 31, 2021. Please send submissions and any queries to the guest editor: Matthew Wynn Sivils (
The Hero Is Female

Deadline: June 7, 2021
full name / name of organization: 2021 PCAS/ACAS New Orleans Sept. 30 - Oct 2

The Hero is Female Katniss Everdeen’s hand signal is now used at real-world rallies, and Princess Leia is the face of the real-world resistance movement. More than ever fictional female protagonists are symbols of hope and strength during these turbulent times, but power can take many forms and often these characters can take nontraditional paths. This panel will focus on female protagonists in fiction and film, with an emphasis on genre narratives, as we examine the ways in which women of all ages gain revelations and empowerment.

Please submit a 250-300 word abstract, a brief bio, and any A/V needs by June 07, 2021 to Crystal O’Leary-Davidson at Middle Georgia State University .
Cine-Excess has been running since 2007 as an annual film festival and conference that combines visiting international filmmakers, a themed academic conference and film premieres and exclusive screenings. Previous Cine-Excess guests have included Pam Grier (Jackie Brown), Jen & Sylvia Soska (American Mary), Norman J. Warren (Prey), Catherine Breillat (Romance), Roger Corman (The Masque of the Red Death) Dario Argento (Deep Red), Joe Dante (The Howling), Franco Nero (Django) and  Vanessa Redgrave (Blow Up).
For its 15th annual edition, Cine Excess enters a new decade of the twenty-first century and considers the diverse history and growing hybridity of cult cinema and its representations. The focus of this year’s conference theme: Bodies as Battlegrounds:  Disruptive Sexualities in Cult Cinema, considers the extent to which the struggle for inclusive representation by various marginalised groups is enacted through a variety of classic and contemporary cult film genres and their forms and technologies. 
Keynote Alexandra Heller-Nicholas has written eight books on cult, horror, and exploitation cinema with a focus on gender politics. Her seminal publications include 1000 women in horror (BearManor Media, 2020) which maps women’s contributions to horror from 1895-2018. She has also published Rape-Revenge Films: A Critical Study (McFarland, 2011), which will celebrate its 10-year anniversary at Cine-Excess. In her keynote address, Alexandra will explore the revision of her book which now includes a new chapter on women directed rape-revenge films. Here, Alexandra rejects the idea that women-led rape-revenge narratives are purely a post #MeToo phenomenon.
Keynote Alison Peirse also considers women’s contributions to the horror genre. Alison’s multi award-winning edited collection ‘Women Make Horror: Filmmaking, Feminism, Genre’ (Rutgers University Press, 2021) has been praised for transforming the discourse on women-led horror. Building on this timely work, Alison’s keynote address considers female shape shifters in cult and horror cinema, with a specific focus on the disruptive werewolf archetype. 
The focus on disruptive cults representations considered by both keynote speakers also informs this year’s call for papers, which will consider broader issues of gender diversity, sexuality, and representations of marginalised groups as intersections embodied by the cult image. Bodies as Battlegrounds:  Disruptive Sexualities in Cult Cinema also explores a range of global cinema traditions, subversive filmmakers, and performers whose work can be understood as engaging with the socio-political struggle for inclusive representation. Further topics might also consider the work of classic and contemporary marginalised and Queer filmmakers, alongside those performers whose works offer social commentary with unconventional content, while issues of diaspora, race, disability, and mental health are other key topics that will be discussed by this year’s event.
Proposals are invited for individual papers or pre-constituted panels 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:

Sexuality Re-Framed: New Interpretations of Disruptive Screen Identities
Feral in Female Form: Subversive Females and Animalistic Images
Distinctive Visions: New Interpretations of Radical Cult Filmmakers
Troubling the Nation-State: Disruptive Visions of America in Cult Cinema 
Diverse Voices in Body Genre Cinema: Classic and Contemporary Case-Studies
The Other Reframed: The Role of Sexuality and Identity in Horror Remakes
Classic and Contemporary Visions of Queer Global Horror
Inclusion through Disruption: Disruptive Narratives in Educational and Pedagogic Practices
National Cinema, National Bodies: Problematising British Cinema Through Cult Genres 
From Deviance to Diversity: Changing Struggles for Identity in Queer Cinema
Screening Diversity, Challenging Desire: Celluloid Sin, Digital Sex and Pornography
Margins Within Margins: LGBTQ+ Representations and Intimacies
Screening Rights and the Battle for Embodiment: Trans and Non-Binary Voices on Screen
From Transmedia to Transhuman: Divergent Bodies in Digital spaces
Fear in Folk: From Found Footage to Found Identities   
Short, Sharp Shocks: Short Films as Radical Formats of the Self
Reconfiguring Violated Bodies: The Body as Battleground in Rape-Revenge
Cult Stars and Disruptive Performances
New Territories, Diverse Fears: Cult Film’s Indigenous Communities
Exhibition and Inclusivity: Industry Perspectives on Diverse Digital Channels

Over the past 15 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 23rd August 2021 to:
Amy Harris
Co-Director of Cine-Excess

Professor Xavier Mendik
Director of the Cine-Excess International Film Festival
Birmingham City University

A final listing of accepted presentations will be released on 27th August 2021.
Note: Germany Language only CFP

Sei es nun in popkulturellen oder akademischen Kreisen: Das moderne Horrorgenre ist ohne den weitverzweigten Einfluss H.P. Lovecrafts nicht mehr denkbar. Die von ihm geprägten Begriffe wie 'fear of the unknown' oder 'cosmic horror' reihen sich nicht nur mühelos neben Edgar Allan Poes 'spirit of perverseness' ein, sie verweisen auch auf das literarische Programm des Weird fiction-Genres. Um produktive Zugänge in Lovecrafts Werk zu finden, ist es allerdings nicht zwingend nötig, sich auf den angloamerikanischen Raum zu beschränken, denn auch in Deutschland lassen sich die kulturellen Spuren des New Weird mühelos identifizieren. Ob einschlägige Filmadaptionen wie Huan Vus Die Farbe, Gegenwartsliteratur bspw. von Wolfgang Hohlbein und Georg Klein (Miakro) oder prachtvoll illustrierte und kommentierte Sammelbände, auch hierzulande gilt: Lovecraft sells. Die eigentümlichen Ideen und Konzepte, die Lovecrafts kosmischen Horror auszeichnen, finden offensichtlich große Resonanz in der aktuellen Literatur- und Medienlandschaft.

Während die Beliebtheit des Gesamtkomplexes "Lovecraft" in der Popkultur steigt, fehlt es insbesondere im deutschsprachigen Raum jedoch an kritischen, zeitgemäßen Auseinandersetzungen mit der Thematik. Worin besteht die Anziehungskraft Lovecrafts und warum findet sein eigentümlicher Horror heutzutage immer größeren Anklang? Welche Perspektiven eröffnen sich auf Lovecrafts Schreiben beispielsweise aus religions- oder sozialwissenschaftlicher Sicht? Wie verändert sich die

Lovecraft-Rezeption über die Jahrzehnte hinweg? Diesen und anderen Fragen möchte sich die Deutsche Lovecraft Gesellschaft e.V. ( im Rahmen eines Essaybands stellen.

Unter einem Essay stellen wir uns einen wissenschaftlich fundierten Aufsatz vor, der sich jedoch dem jeweiligen Thema auf sprachlich innovative Weise nähern sollte. Wir suchen argumentativ niveauvolle Beiträge zum Thema "Kulturelle Spiegelungen zwischen Lovecraft und Deutschland", die gerne interdisziplinär ausgerichtet sein dürfen. Der Schwerpunkt darf auf Lovecraft oder das Deutschlandthema gelegt werden, sollte jedoch beides berücksichtigen. Mögliche Fragestellungen könnten folgende Themen behandeln, sind jedoch nicht auf dieselben beschränkt:

Rezeptionseinflüsse deutschsprachiger intellektueller Personen (Einstein, Freud, ...) auf Lovecrafts Werk
Lovecraft und der Rechtsradikalismus im nationalsozialistischen Deutschland
Kosmischer Horror und zeitgenössische deutsche Literatur
Das Deutschlandbild bei Lovecraft
Lovecraftsche Adaptionen in deutschsprachiger Literatur, Film, TV, Videospielen, Comics, etc.
Die düstere Phantastik, New Weird und Lovecraftscher Horror im deutschsprachigen Raum und im internationalen Vergleich
Die Instrumentalisierung Lovecrafts in gegenwärtigen Verschwörungstheorien

Wir laden hiermit herzlich ein, Vorschläge (300-400 Wörter) für geplante Beiträge sowie eine Kurzbiographie (maximal 150 Wörter) bis zum 01.07.2021 per E-Mail mit dem Betreff "Essayband dLG" an, und einzureichen. Mit Rückmeldungen zur Annahme des Beitrags ist ca. zwei bis vier Wochen nach Einsendeschluss zu rechnen. Die finalen Essays sollen um die 5.000 Wörter lang sein und bis zum 07.01.2022 vorliegen.

Bei Fragen oder Anmerkungen melden Sie sich bitte bei den Hauptverantwortlichen Dr. Rahel Sixta Schmitz, Max Becker (M.A.) und Niels-Gerrit Horz (M.A.).
Calls for Papers/Publications / [On Going] Aeternum Gothic Journal
« Last post by nicholasdiak on May 16, 2021, 05:08:05 PM »
Instructions for Aeternum Authors

Aeternum publishes English language articles of 4000–6000 words in length, and uses the author-date version of the Chicago Style referencing. Authors are required to follow this system for their final manuscripts (please see House Style below). All manuscripts should be submitted in electronic form in Word format.

All articles should be accompanied by an abstract of 200-250 words.

All abstracts should be followed by a maximum of five key words.

How to Submit

Please e-mail your finished articles to . Articles will go through the peer-review process to determine acceptance or rejection.


Aeternum does not allow the inclusion of images as part of its articles' publication.

House Style

For all citations and bibliographical references, Aeternum uses the author-date Chicago Style referencing system. Please refer to the General Guidelines for Chicago Style, as found here:


Authors should try to avoid the use of additional endnotes whenever possible.
If endnotes need to be included, these should be in standard numerals (i.e. 1, 2, 3, 4) in the main text, and should not include bibliographical information.
In-text endnote numerals should be superscripted and placed outside the punctuation.
Font and Formatting

Book Antiqua, 11 point
Major section headings in bold
Lines to be spaced 1.5
For quotations, use double inverted commas rather than single.
Do not leave line breaks between paragraphs
Single space after full-stop.
Undead Superheroes: Gender, Identity and the End of Civilization As We Know It

This collection looks at what we might call the ‘dark’ superheroes, those that are effectively immortal but only like humanity as a source of energy, food, or violent recreation, and how they create their own unique identities and what they say about human or planetary futures. These can range from the more obvious Dracula, Morbius, Vampirella, Venom to the superhero zombies, villains that never die or are just beginning their dark trajectory (Brightburn) and series that show various hybridizations of supernatural and superhuman futures (Mutant X, Umbrella Corp, Legion, The Gifted etc.). Send expressions of interest and/or 300 word abstracts to by end Sept 2021
The South and Science Fiction

Deadline: May 31, 2021
Org: Society for the Study of Southern Literature

The Society for the Study of Southern Literature invites papers on the South and science fiction for a panel at the South Atlantic Modern Language Association’s 93rd Annual Conference from November 4-6, 2021 in Atlanta, GA. Papers may discuss any of the subgenres of science fiction, including alternate history, afrofuturism, post-apocalyptic, scifi gothic, traditional, ‘hard’ or ‘soft’ science fiction, scifi horror, etc., and may focus on any form of media as long as the South, its history, culture, or locale intersects in some way. We welcome presentations that offer to 'expand' the canon of southern literature and science fiction itself, especially papers that focus on works by authors of color or works not 'typically' understood as 'southern' or 'science fiction.' Please, submit abstracts of 200-500 words to Cameron Lee Winter (he, him, his) at, a short biography that includes preferred pronouns, educational background, relevant awards or publications, and current research interests, and any A/V requirements. The deadline for these submissions is Monday, May 31, 2021.
Reimagining the Victim in Post-1970s Horror Media

Deadline: July 1, 2021
Org: Amsterdam University Press
Editors: Madelon Hoedt, Marko Lukic

While the analysis of the horror genre, particularly its contemporary articulations, uncovers a myriad of different topics (new (and old) theoretical paradigms, alternative interpretations of familiar narratives and tentative readings of new ones, as well as the progressive expansion and relocation of the genre within a larger trans and interdisciplinary context), some of its basic premises remain inadequately explored. One such issue, or concept, is the notion of the victim, and its position, as well as function/purpose, within the larger framework of the genre. While being an unavoidable part of the genre narrative from its earliest endeavors, the ambition of the victim is to embody, articulate, and finally project all the fears and anxieties (introduced by the narrator/author) towards its target audience. The audience in turn catalyzes and identifies with the projected trauma, while simultaneously enjoying the suspension of disbelief. This dynamic, although simplistic in its nature, functions as an extremely prolific interpretative context confirmed through decades of highly focused research. However, the developed binary system bonding the readers/viewers with the imaginary, but nevertheless doomed victim remains, although logical, a rather “unfair” one, with the analytical focus being placed on the thoughts, experiences, and reactions of the viewers. The (fictitious) victims consequently retain a symbolically blank role, prone to inscriptions of meaning in accordance with a more generalized or overarching narrative.

What this call proposes is a possible unsettling of this binarity by challenging the perspective of the target audience through a re-evaluation and therefore re-reading of the concept of the victim(s) as well as their perspectives. Using different theoretical and disciplinary approaches as analytical prisms, the collection aims at reframing the position, role, and meaning of the notion of victim and victimhood within the horror genre ranging from the post-1970s period all the way to current articulations, regardless of the narrative medium (literature, film, theatre, videogames, comics, etc.). The idea here is to move away from existing trends of examining the victim as a reflection of the audience and their responses, and instead to engage the concept of the victim as a category in itself. This opens up questions about who may be regarded as a victim, as well as how they might be defined or how existing types might be (re)categorized.

Essays may explore, but are not limited to, the following topics:

- interpretations of victim and victimhood in different media (literature, film, theatre, videogames, etc.)

- interpretations of victim and victimhood in different horror (sub)genres (Gothic, slasher, torture porn, found footage, etc.)

- definitions of victims: archetypal victims (such as the final girl); victims as characters

- victims and modes of being (dead or alive; victim as protagonist or antagonist)

- structure and viewpoint used in victim narratives in horror

- (overcoming) trauma in horror’s explorations of victims

- the victim and narratives of empowerment and/or helplessness

- framing of victim narratives in relation to audiences in different media

- comparative studies of victims in different periods of horror (for example, the victim in Gothic texts)

The collection is intended for publication with the Horror and Gothic Media Studies imprint of Amsterdam University Press ( We invite all interested scholars to send their proposal (400-500 words) and short bio (max. 200 words, including author’s academic affiliation) to by July 1, 2021. Full essays should be 6000-8000 words (incl. references, notes, and citations) and use the MLA style guide.


Deadline for abstracts: July 1, 2021.

Notification of acceptance: July 31, 2021.

Deadline for essay submission: November 15, 2021.
Andy Davidson is guest-editing  Southwest Review's 2021 Halloween issue and is looking for 500-5000 word essays. Submissions can be sent to between May 1 through June 1.

Info on the last issue can be found here:

Calls for Presentations / POP-UP academic conference - deadline: 2021-08-29
« Last post by nicholasdiak on April 10, 2021, 10:04:53 AM »
POP-UP Academic Conference on Popular Culture, hosted by Lone Star College-University Park

Event Date & Location: October 28 and 29, 2021, virtually hosted by Lone Star College-University Park, 20515 TX-249, Houston, TX 77070
Thursday, October 28, 2021, 5:30 pm to 6:30 pm
Friday, October 29, 2021, 10:00 am to 4:00 pm

Deadline for Submissions:  August 29, 2021
Name of Organization: Lone Star College-University Park
Organization Website:
Contact Email: Rhonda Jackson Joseph,

The Conference

The POP-UP academic conference is a two-day, virtual, multidisciplinary gathering of academics whose scholarly research interests include various aspects of global popular culture and the larger conversations surrounding these aspects. Interdisciplinary approaches are also welcome.


The POP-UP academic conference is seeking 15-minute-long individual presentations and 45-minute-long panel presentations on popular culture and how the aspects examined affect the broader culture we live in. Our theme for this conference is “What brings you joy in popular culture?”
Please provide the following in your submission (for panel presentations, please submit all requested information for each panel member):

    • 300-word abstract
    • Preliminary bibliography
    • 50-word biography (should reflect academic credentials)
    • Indication of independent scholar or institution affiliation
    • Indication of undergraduate student, and if so, name of college attending

Email your submissions and/or questions to Rhonda Jackson Joseph at:
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