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Topics - nicholasdiak

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106
Ghosts and Memory
Far West Popular Culture Association

Deadline: December 12, 2019
Contact: swafford@fsmail.bradley.edu

I am seeking 20 minute paper proposals for a panel that considers the various literary uses and conceptions of ghosts as a mode of memory, projection, history, trauma, and reconciliation/redemption. Part of the foundational premise of the ghost story is a disturbance in the present that comes from the past; an unsettling interaction between mind and matter, memory and perception, the living and the dead. All paper proposals that consider these aspects of ghost stories (as literature/writing) are welcome.

The Far West Popular Culture Association will be held on February 22-24, 2020 in Las Vegas, Nevada, at the Palace Station Hotel/Casino.

Please send a 250 word abstract and a brief bio to: Swafford@fsmail.bradley.edu

107
21st Century Screen Horror and the Historical Imagination (Anthology)

Deadline: December 16, 2019
Contact email: a.howell@griffith.edu.au


Historical Horrors and the Horrors of History: 21st Century Screen Horror and the Historical Imagination

Editors Amanda Howell and Stephanie Green (School of Humanities, Languages, and Social Science, Griffith University, Australia) seek contributors to an anthology whose collective analysis will be directed to the question:


What can 21st century film and television tell us about the historical imagination of horror?

 

Fredric Jameson observes pithily in The Political Unconscious (1982/2017) that ‘History is what hurts’ (88), being an ‘absent cause’, glimpsed only obliquely in cultural productions. For James Joyce’s protagonist Stephen Dedalus in Ulysses (1922/1993), history is closer to home, a personal experience of violence and exploitation: ‘a nightmare from which I am trying to awake’ (28). Yet, strikingly, both Joyce and Jameson describe history in ways that recall the generic representations and experiences of horror: a malevolent being or force that ‘hurts'; an oppressive experience of terror, visited on the helplessly slumbering innocent.

 

Perhaps it is not so surprising, then, that when we look at screen horror in the 21st century, we find a significant engagement with historical topics, settings and concerns. For instance, war-themed transnational arthouse horror films Guillermo del Toro’s El espinazo del diablo/The Devil's Backbone (MEX/ESP 2001) and Babak Anvari's Under the Shadow UK/JOR/QAT/IRN 2016) draw on the longstanding concern of gothic horror with the relation of the past to the present and history’s ability to haunt. While in American post-broadcast television, historically-focused productions are part of an emergent phenomenon of so-called ‘quality television horror’ (Subramanian and Lagerwey 2016). Ryan Murphy and Brad Falchuck’s American Horror Story (FX 2011-present), amid its provocative mix of high camp, body horror and melodrama, returns repeatedly to real historical horrors, such as 1960s ‘cutting edge aversion therapies’ used on inmates committed for ‘deviant’ sexuality in its second season, ‘Asylum’ (2012). While another American horror anthology series, The Terror (AMC 2018-present), in its first season adapts Dan Simmons's fictionalized 2007 account of the ill-fated arctic expedition of HMS Erebus and HMS Terror, monstrosity and body horror forming the centrepiece of its engagements with imperialist hubris. Similarly, body horror appears as a mode of historical representation and understanding in Jennifer Kent's controversial colonial gothic film, The Nightingale (AUS 2019). Then, there are other horror productions that may not deal directly/extensively with specific historical events or incidents, yet tap into the ‘hurt’ and ‘nightmare’ of history, as in the case of British-American series Penny Dreadful (US/UK Showtime 2014-16) which used its mashup of classic works of horror to pursue a central narrative concern with gender and power.

 

Within a general focus on how contemporary screen horror imagines and engages with the ‘hurts’ or ‘nightmares’ of history, intersectional areas of analysis for contributions to this anthology might include, but are not limited to:

Horror, history, and national cinema
Horror as popular or populist history, related to public debates in the wake of war, catastrophe, etc.
Horror, history, individual and collective identities—gender, ethnicity, queer identities
Horror as historical inquiry/ narration:
Horror and memory, trauma, grief
Horror and the role of the witness: confession and revelation, repressing, remembering and recalling
Horror and historical temporality—relations of past and present
Horror and/as critical history
Horror and/as social history
Generic tropes of horror as modes of historical representation, inquiry, or understanding:
body horror
ghosts and hauntings
uncanny objects and spaces
possession, the possessed body
dreams and nightmares
mysteries and mystification
abhumanity, posthumanity, monsters, monstrosity
Manichaeism; structural oppositions of good vs. evil
History as performance in horror: costume fantasy, performance and display
Fantastic world building in horror entertainment as a mode of historical representation, meaning-making, or critique
Horror and the repression or obliteration of history (Boym on nostalgia and history)
Horror and/as historical allegory (Benjamin’s concept of Jetztzeit )
 

Please send your 200-250 word abstract with a brief bio by 16 December 2019 to Amanda Howell a.howell@griffith.edu.au.

 

Editor bios:

 

Dr Stephanie Green is a Senior Lecturer in creative writing and literature in the School of Humanities, Languages and Social Sciences at Griffith University. Her research addresses gender, writing and the gothic. She is a co-editor and contributing author for Hospitality, Rape and Consent in Vampire Popular Culture (Palgrave-Macmillan, 2017) with Agnieszka Stasiewicz-Bieńkowska and David Baker. And she co-edited and contributed to a special issue of Continuum: Journal of Media & Cultural Studies (‘As If: Women in Genres of the Fantastic, Cross-Platform Entertainments and Transmedial Engagements’ https://doi.org/10.1080/10304312.2019.1569392, with Amanda Howell and Rikke Schubart, 2019). https://experts.griffith.edu.au/9579-stephanie-green

 

Dr Amanda Howell teaches screen studies in the School of Humanities, Languages, and Social Sciences at Griffith University in Brisbane, Australia. Her research focuses on gender, genre, and aesthetics, with a recurrent emphasis on the gothic and horror. Most recently, she has co-edited and contributed to special journal issues of Cultural Studies Review ('Ethics of Troubled Images', with Bruce Buchan and Margaret Gibson, 2018) https://doi.org/10.5130/csr.v24i2.6319,  Refractory: a Journal of Entertainment Media (‘Beyond Nostalgia: Difference and Discomfort in Stranger Things’, with Lucy Baker and Rebecca Kumar, 2019), Continuum: Journal of Media & Cultural Studies(‘As If: Women in Genres of the Fantastic, Cross-Platform Entertainments and Transmedial Engagements’, with Stephanie Green and Rikke Schubart, 2019) https://doi.org/10.1080/10304312.2019.1569392. https://experts.griffith.edu.au/7475-amanda-howell

108
Re-visioning Frankenstein: Illustrative, Pictorial, and Digital Adaptations
NASSR (North American Society for the Study of Romanticism)


Deadline: January 10, 2020
Contact:chris.koenig.woodyard@utoronto.ca

This panel will address illustrative, pictorial, and digital treatments and adaptations of Mary Shelley’s Frankenstein. The novel has a 195-year history of illustration and depiction in a wide range of visual arts, media, and technologies—from the 1823 cover of Richard Brinsley Peake’s play Presumption to the first issue of the comic series Mary Shelley, Monster Hunter (February 2019). The novel’s “hyperadaptability” in visual form, to adopt Dennis Perry’s term, extends to a wide range of modes. I welcome proposals that are theoretically and historically mindful of the process of adaptation and trans-literation in considering visual versions of Frankenstein in a diverse range of forms: book illustration, painting, movies, television, digital and internet treatments, video games, children’s picture books, cartoons and caricatures, as well as in comic books, graphic novels, and manga. Papers should balance close with critical, cultural, and historical readings, while theorizing the issues that attend the aesthetic process of revisioning and reviving the form and narrative of Shelley’s novel. Please send proposals of no more than 300 words to chris.koenig.woodyard@utoronto.ca by January 10, 2020.

 

109
CFP: Book Reviews for Gothic Nature Journal: New Directions in Ecohorror and EcoGothic

Dead: December 5, 2019
Contact: jschell5@alaska.edu

Calling all Gothic Naturalists for recommendations for books to review!

What would you like to see reviewed in our next issue of Gothic Nature? What recent criticism or literary fiction are you aware of from the last year or so relating to any element at all of Gothic Nature? Or perhaps you have published something yourself on these themes? (Ecohorror, EcoGothic, Animal Studies, Anthropocene Gothic, etc.)

We're currently sourcing free review copies of various books from publishers and all recommendations are most welcome!

Please send all suggestions to Jennifer Schell at jschell5@alaska.edu by 5 December 2019. Reviews (approximately 1,000 words) will be due 1 March 2020.

For more information about the journal, contact Elizabeth Parker and Michelle Poland at gothicnaturejournal@gmail.com

110
Calls for Papers/Publications / [On going] Horror Tree
« on: October 06, 2019, 09:26:24 AM »
Horror Tree as open calls for Non-Fiction for each of their issues. Details can be found here:

https://horrortree.com/category/type/non-fiction/


111
Academic and Non-Fiction Publishers / Rutgers University Press
« on: September 17, 2019, 10:25:44 PM »
Rutger's University Press

Rutgers University Press, a nonprofit academic publishing house operating in Piscataway under the auspices of Rutgers University, was founded on March26, 1936. Over the last 75 years, the Press has grown in size and the scope of its publishing program. Among the original areas of specialization were Civil War history and European history. The Press’ current areas of specialization include sociology, anthropology, health policy, history of medicine, human rights, urban studies, criminology, Jewish studies, American studies, film and media studies, the environment, and books about New Jersey and the mid-Atlantic region.

Publisher's Website: https://www.rutgersuniversitypress.org/
Submission Information: https://www.rutgersuniversitypress.org/manuscript-submissions


112
Academic and Non-Fiction Publishers / Columbia University Press
« on: September 17, 2019, 10:17:47 PM »
Columbia University Press

Columbia University Press seeks to enhance Columbia University’s educational and research mission by publishing outstanding original works by scholars and other intellectuals that contribute to an understanding of global human concerns. The Press also reflects the importance of its location in New York City in its publishing programs. Through book, reference, electronic publishing, and distribution services, the Press broadens the university’s international reputation.

The Press currently publishes approximately 160 new titles every year in the fields of [...] film and media studies [...] literary studies [...]

Publisher's Website: https://cup.columbia.edu/
Submission Information (General): https://cup.columbia.edu/manuscript-submissions
Submission Information (specific proposal guidelines): http://enterprise.supadu.com/images/ckfinder/652/pdfs/Proposal.Guidelines.pdf

113
Academic and Non-Fiction Publishers / Lehigh University Press
« on: September 17, 2019, 10:09:27 PM »
Lehigh University Press

Our mission at the Lehigh University Press is to publish high quality books that make original contributions to scholarship in the humanities and social sciences. We publish books in all significant fields of scholarship, including editions of significant unpublished material or of primary texts that have not been edited by modern scholars.

In addition, we have five active series that reflect our historic and recent strengths........ "Perspectives on Edgar Allan Poe" publishes scholarly interpretations of Edgar Allan Poe's works, influences, and contexts to enhance Poe studies within and beyond the parameters of nineteenth-century American literary history. Our newest series, "Studies in Text and Print Culture," promotes an understanding of literature as closely related to, and informed by, other discursive forms.

Lehigh University Press was established in 1985 with seed money from Lehigh's Science, Technology, and Society (STS) program and the Lawrence Henry Gipson Institute for Eighteenth-Century Studies. We do not publish recent fiction, recent poetry, or textbooks.

Drawn from Lehigh faculty, the Press's Director and Editorial Board manage the acquisition process of reviewing and selecting works for publication under our imprint. Promising manuscripts are evaluated by scholars in appropriate fields, and their reports inform the Board's deliberations as it meets periodically throughout the year. Our books are produced and distributed by Rowman & Littlefield Publishing Group (RLPG), with which we have been affiliated since 2010.

Publisher's Website: https://lupress.cas2.lehigh.edu/
Submission Information: https://lupress.cas2.lehigh.edu/content/submission-guidelines

114
Academic and Non-Fiction Publishers / Scarecrow Press
« on: September 15, 2019, 11:18:38 AM »
Scarecrow Press

Imprint of Rowman & Littlefield. Scarecrow Press is perhaps best-known for providing quality scholarly, general interest, and reference works for the patrons of Public, School, and Academic libraries, as well as professional books for the librarians that serve them. Whether it’s through Scarecrow’s historical dictionaries (of countries, religions, organizations, wars, movements, cities, ancient civilizations, arts, literature, politics, espionage, film, theater, sports, professions, and industries), or through its many books on music, film, literature, television, sports, and library & information science, readers have come to trust Scarecrow to deliver reliable and valuable books.

Publisher's Website: https://rowman.com/scarecrow
Submission Information: https://rowman.com/Page/RLAuthRes

115
Academic and Non-Fiction Publishers / University of Mississippi Press
« on: September 15, 2019, 11:15:21 AM »
University of Mississippi Press

The University Press of Mississippi (UPM) was founded in 1970 and represents Mississippi's eight state universities.

UPM publishes books that interpret the South and its culture to the nation and the world, scholarly books of the highest distinction, and books vital to readers in African American studies, Caribbean studies, comics studies, film and media studies, folklore, history, literary studies, music, and popular culture. From its offices in Jackson, the University Press of Mississippi acquires, edits, distributes, and promotes more than 85 new books every year. Over the years, the Press has published more than 2,000 titles and distributed more than 3,100,000 copies worldwide, each with the Mississippi imprint. UPM is the only not-for-profit book publisher in the state.

Publisher's Website: https://www.upress.state.ms.us/
Submission Information: https://www.upress.state.ms.us/Publish-With-Us

116
Academic and Non-Fiction Publishers / Palgrave Pivot
« on: September 15, 2019, 11:12:51 AM »
Palgrave Pivot

Imprint of Palgrave MacMillan that publishes scholarly work that is between 25,000 and 50,000 words.

Publisher's Website: https://www.palgrave.com/gp/campaigns/palgrave-pivot
Submission Information: https://www.palgrave.com/gp/book-authors/publishing-guidelines

117
Academic and Non-Fiction Publishers / Vernon Press
« on: September 15, 2019, 11:07:59 AM »
Vernon Press

Vernon Press is an independent publisher of scholarly books in the social sciences and humanities.

Publisher's Website: https://vernonpress.com/
Submission Information: https://vernonpress.com/publish-with-us

118
McFarland and Company, Inc., Publishers

A leading independent publisher of academic nonfiction, McFarland is recognized for noteworthy books about pop culture, sports, military history, transportation, body & mind, literature, history and medieval studies, among other topics. McFarland currently offers nearly 7000 books in print. Meeting high library standards has always been a major focus, and many McFarland books have received awards from the academic-oriented (e.g., Choice Outstanding Academic Title, ALA Outstanding Reference Work) to the mainstream (Hugo, Edgar, Stoker, and Eisner, among others).


Publisher's Website: https://mcfarlandbooks.com/
Submission Information: https://mcfarlandbooks.com/becoming-an-author/

Horror books published by McFarland from HWA Alumni

A Hallowe’en Anthology: Literary and Historical Writings Over the Centuries - Lisa Morton
The Halloween Encyclopedia, 2d ed. - Lisa Morton
Horror Literature from Gothic to Post-Modern: Critical Essays - Edited by Michele Brittany and Nicholas Diak (First HWA non-fiction publication)
Horror in Space: Critical Essays on a Film Subgenre - Edited by Michele Brittany
Uncovering Stranger Things: Essays on Eighties Nostalgia, Cynicism and Innocence in the Series - Edited by Kevin Wetmore Jr.

119
Zombie Culture at Southwest Popular/American Culture Association Conference
41st Annual Conference, February 19-22, 2020

Deadline: October 31, 2019
Organization: Brandon Kempner / Southwest Popular/American Culture Association Conference
Contact: bkempner@nmhu.edu

Proposals for papers and panels are now being accepted for the 41st annual SWPACA conference.  One of the nation’s largest interdisciplinary academic conferences, SWPACA offers nearly 70 subject areas, each typically featuring multiple panels. 

The area chair for Zombie Culture seeks papers and presentations on any aspect of the zombie in popular culture and history. It seems as though the world has gone “zombie crazy.” There are zombie walks, games on college campuses like “Humans Vs. Zombies,” zombie children’s books, zombie poetry, fiction, video games, zombie ammunition and guns, and zombie running contests. Almost anything can be “zombified” and society and fans all over the world are literally “eating it up.” The zombie has come to represent the chaotic world we live in, and courses continue to pop up on college and university campuses all over the world. This is due in large part to the success of films like Night of the Living Dead, Zombi 2, Dawn of the Dead, 28 Days Later, Shaun of the Dead, Warm Bodies, World War Z and television programs like The Walking Dead, iZombie, Z Nation, and Fear the Walking Dead.

What is distinctively American about zombies in film, literature, and popular culture in general? How does the zombie influence American culture in a way that resonates in our transmedia world?

Some topics to consider:

2019 zombie works: The end of The Walking Dead Comic, Zombieland 2, Kingdom, The Dead Don’t Die. What keeps zombies going strong after all this time?
Directors: George Romero, Lucio Fulci, Umberto Lenzi, Todd Sheets, Danny Boyle, Sam Rami, Peter Jackson, Amando de Ossorio…
Specific zombie films: White Zombie, King of the Zombies, Dawn of the Dead, Tombs of the Blind Dead, Dead Alive, Evil Dead, World War Z, Train to Busan…
Specific books/zombie literature: The Zombie Survival Guide, Zone One, The Girl with all the Gifts, the Newsfleshtrilogy, The Reapers are the Angels, Cell…
Zombie writers’ fiction and non-fiction: Stephen Graham Jones, H.P. Lovecraft, Robert Kirkman, Steve Niles, Max Brooks, Matt Mogk, Jovanka Vuckovic, Stephen King…
Zombie television: The Walking Dead, Fear the Walking Dead, Z Nation, iZombie, The Santa Clarita Diet…
Zombie video games: Resident Evil, Call of Duty: Zombies, The Last of Us, Day Z, Dead Rising…
Zombie comics (any aspect: history, cultural impact, storytelling, Marvel zombies…)
What does the rise in the zombie’s popularity tell us about society?
All proposals must be submitted through the conference’s database at http://register.southwestpca.org/southwestpca

 

For details on using the submission database and on the application process in general, please see the Proposal Submission FAQs and Tips page at http://southwestpca.org/conference/faqs-and-tips/

Individual proposals for 15-minute papers must include an abstract of approximately 200-500 words. Including a brief bio in the body of the proposal form is encouraged, but not required. 

 

For information on how to submit a proposal for a roundtable or a multi-paper panel, please view the above FAQs and Tips page.   

The deadline for submissions is October 31, 2019. 

 

SWPACA offers monetary awards for the best graduate student papers in a variety of categories. Submissions of accepted, full papers are due January 1, 2020.  For more information, visit http://southwestpca.org/conference/graduate-student-awards/

Registration and travel information for the conference is available at http://southwestpca.org/conference/conference-registration-information/

 

In addition, please check out the organization’s peer-reviewed, scholarly journal, Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, at http://journaldialogue.org/

We look forward to receiving your submissions! If you have any questions about the Zombie Culture area, please contact its Area Chair, Dr. Brandon Kempner, at bkempner@nmhu.edu.

120
Global Horror: Local Perspectives

Deadline: November 8, 2019
Organization: Progressive Connexions
Email: haunted32@yahoo.com.br

Horror pervades human experience. It affects us both as individuals and as members of social communities, it is recurrent in pop culture and arguably present in all fields of human knowledge and realms of storytelling, from Cronus eating his own children, to Freddy Krueger’s sadistic murders in A Nightmare on Elm Street to media coverage of war. As a fundamentally paradoxical concept, horror simultaneously repels and fascinates us: we naturally dread it, yet we are drawn to it. We are taught to avoid that which is horrifying, but the appeal of horror, whether in the form of fiction or sensational news, is irresistible. Indeed, we simultaneously narrate, describe, imagine, consume, dread and crave horror in all of its dimensions, and with the most varied goals.

Horror taps into primal emotions of fear and disgust that are universal to the human condition, and finds expression across cultures and historical periods. Yet the texts that shape the ways in which horror is broadly understood historically reflect predominantly Anglo-European and American cultural, social, historical and geographical contexts.

Growing awareness and appreciation of the rich horror traditions of other countries around the world, including Japan, Korean, India, Brazil and Ecuador, has highlighted the importance of considering horror in a globalcontext. Accordingly, the Global Horror: Local Perspectives Project provides a platform for exploring the ways in which horror motifs and themes are expressed through the ‘local perspectives’ that inform the creative practices and daily life of particular nations and cultures.

It is not the intent of the Project to exclude Anglo-European and American perspectives from the conversation of global horror but rather to centre other horror traditions which have frequently been de-centred or completely overlooked in the past. The scope of the Project therefore includes work that explores marginalised local perspectives within Anglo-European and American horror, and work that examines Anglo-European and American horror from a global perspective with a view to forming an innovative interdisciplinary publication to engender further research and collaboration.

Key Topics
Horror manifests itself in myriad ways, with ramifications that transcend the lines that demarcate disciplines, subjects and professions. It is only through interdisciplinary engagement that we can develop a more complete understanding of the mechanisms that nations and cultures around the world use to express, process, and cope with horror. The conference therefore offers a springboard for participants from diverse professions, practices and walks of life to engage in interdisciplinary dialogues on topics that include:

~ Case studies of un(der)-represented horror traditions in nations and cultures
~ How the history, religion, cultural norms of a nation/culture influence local perceptions and representations of horror in literature, film, television, music, art and videogames
~ Impact of digital technology on creating and disseminating local perspectives on horror
~ How globalisation as a cultural and economic force influences ‘local perspectives’ on horror
~ Creative practitioners whose work shapes local perspectives on horror
~ Dark humour and making fun of global horror
~ Connections between horror in everyday life and fictional horror
~ Impact of real or fictional global horrors on individuals (mental illness, trauma, nightmares, other physiological symptoms)
~ Horror in religious/spiritual systems (martyrdom, grotesque/monstrous deities, rituals, etc.)
~ Social practices associated to horror: cannibalism, (self-)mutilation, abusive rites of passage, suicide, heresies
~ Horror in nation-building (slavery, war, genocide, etc.)
~ Medical/clinical perspectives: interfaces of horror and medicine; dealing with patients struggling to cope with horrifying experiences
~ Educational perspectives: how the curriculum shapes perceptions of horror, its uses and its impacts; horror in children’s stories/horror as pedagogical tool, etc.
~ Commodifying horror: dark tourism, etc.
~ Technology as agent of horror (weapons, dissemination of fear, etc.)
~ How national and international law facilitate and mitigate horror
~ Activism as response to horror
~ Horror and the media: news coverage, sensationalism
~ Horror and space: streets, cities, towns, buildings, deserted areas
~ The design of horror: images, branding, advertisement, commercial campaigns involving horror
~ Urban legends and local horrors
~ Best practice for researching and studying global horror
~ Interdisciplinarity as a tool to overcome the indescribability of horror

What To Send

The aim of this inclusive interdisciplinary conference and collaborative networking event is to bring people together and encourage creative conversations in the context of a variety of formats: papers, seminars, workshops, storytelling, performances, poster presentations, panels, q&a’s, round-tables etc. Creative responses to the subject, such as poetry/prose, short film screenings/original drama, installations and alternative presentation styles that engage the audience and foster debate are particularly encouraged. Please feel free to put forward proposals that you think will get the message across, in whatever form.

At the end of the conference we will be exploring ways in which we can develop the discussions and dialogues in new and sustainable inclusive interdisciplinary directions, including research, workshops and publications which will help us make sense of the topics discussed during the meeting.

300 word proposals, presentations, abstracts and other forms of contribution and participation should be submitted by Friday 8th November 2019. Other forms of participation should be discussed in advance with the Organising Chairs.

All submissions will be at least double reviewed, under anonymous (blind) conditions, by a global panel drawn from members of the Project Team, The Development Team and the Advisory Board. In practice our procedures usually entail that by the time a proposal is accepted, it will have been triple and quadruple reviewed.

You will be notified of the panel’s decision by Friday 22nd November 2019.

If your submission is accepted for the conference, a full draft of your contribution should be submitted by Friday 21st February 2020.

Abstracts and proposals may be in Word, RTF or Notepad formats with the following information and in this order:
a) author(s), b) affiliation as you would like it to appear in the programme, c) email address, d) title of proposal, e) type of proposal e.g. paper presentation, workshop, panel, film, performance, etc, f) body of proposal, g) up to 10 keywords.

E-mails should be entitled: Global Horror Submission

Where To Send

Abstracts should be submitted simultaneously to the Organising Chair and the Project Administrator:

Claudio Zanini: haunted32@yahoo.com.br
Len Capuli (Project Administrator): lisbonhorror@progressiveconnexions.net

What’s so Special About a Progressive Connexions Event?
A fresh, friendly, dynamic format – at Progressive Connexions we are dedicated to breaking away from the stuffy, old-fashion conference formats, where endless presentations are read aloud off PowerPoints. We work to bring you an interactive format, where exchange of experience and information is alternated with captivating workshops, engaging debates and round tables, time set aside for getting to know each other and for discussing common future projects and initiatives, all in a warm, relaxed, egalitarian atmosphere.

A chance to network with international professionals – the beauty of our interdisciplinary events is that they bring together professionals from all over the world and from various fields of activity, all joined together by a shared passion. Not only will the exchange of experience, knowledge and stories be extremely valuable in itself, but we seek to create lasting, ever-growing communities around our projects, which will become a valuable resource for those belonging to them.

A chance to be part of constructing change – There is only one thing we love as much as promoting knowledge: promoting real, lasting social change by encouraging our participants to take collective action, under whichever form is most suited to their needs and expertise (policy proposals, measuring instruments, research projects, educational materials, etc.) We will support all such actions in the aftermath of the event as well, providing a platform for further discussions, advice from the experts on our Project Advisory Team and various other tools and intellectual resources, as needed.

An opportunity to discuss things that matter to you – Our events are not only about discussing how things work in the respective field, but also about how people work in that field – what are the struggles, problems and solutions professionals have found in their line of work, what are the areas where better communication among specialists is needed and how the interdisciplinary approach can help bridge those gaps and help provide answers to questions from specific areas of activity.

An unforgettable experience – When participating in a Progressive Connexions event, there is a good chance you will make some long-time friends. Our group sizes are intimate, our venues are comfortable and relaxing and our event locations are suited to the history and culture of the event.

Ethos
Progressive Connexions believes it is a mark of personal courtesy and professional respect to your colleagues that all delegates should attend for the full duration of the meeting. If you are unable to make this commitment, please do not submit an abstract or proposal for presentation.

Please note: Progressive Connexions is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence, nor can we offer discounts off published rates and fees.

Please send all enquiries to the project email address: lisbonhorror@progressiveconnexions.net

For further details and information please visit the conference web page: http://www.progressiveconnexions.net/interdisciplinary-projects/evil/global-horror/conferences/

Sponsored by: Progressive Connexions

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