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VIII International Gothic Literature Congress: “The Gothic: Beyond a Genre”

Deadline for submissions: November 30, 2017
Full name / name of organization: International Gothic Literature Congress
Contact email:
Congress Dates: April 2 - 4, 2018 (Monday, Tuesday, Wednesday)
Place: Salón de Actos, Faculty of Philosophy and Literature (FFyL), UNAM (Nacional Autonomous University of Mexico), Mexico City.

Objective: To continue the study of the plural presence of the Gothic in various modes of art, as well as time and space contexts.

Call for Papers: We are calling for papers centered upon the idea of the Gothic as a timeless and intertextual mode that surpasses the limits of genre.

Other Possible topics:

. History and evolution of Gothic Literature

. Gothic Mexican and Latin-American Literature

. Gothic Literature and Postmodernism

. The future of Gothic Literature

. Gothic in Film and Art

Those interested in taking part in the congress are asked to send an abstract of their paper in 200 words, including title. They are also asked to send a short summary of their academic background (50 words) with full name of the participant.

The proposals will be received until NOVEMBER 30, 2017. Confirmation of acceptance will be given no later than one week after this CFP is closed.

Participants will take part in panel sessions and will be given 20 minutes to read their papers. The works can be presented in either English or Spanish.

Those whose papers get accepted to participate in the congress can send a version of the paper to be included in the congress yearbook between April 30 and May 31, 2018. Such version must include both reference footnotes and the corresponding bibliography.

All proposals, papers and questions are to be sent to:


Collection of Essays on Poe and Psychology

Deadline for Abstract packet: July 15, 2017
Deadline for submissions:  December 21, 2017
Full name / name of organization: Gerry Del Guercio
Contact email:

Poe’s understanding of the Human mind is one of the most complex structures in the American canon. It is difficult to understand each brain process as every human being possesses his/her own distinguished thought patterns with dissimilar complexity levels. A person’s behaviour deeply influences the  psyche, which ultimately alters into a habit by becoming entrenched into a person’s disposition. Today, the field of psychology tries to comprehend everything a mind is able to produce. On the other hand, years before Psychology became a field of thought and practiced professionally, a number of American authors threw a spotlight on the apparatus of the mind in their works. Leading this list is Edgar Allan Poe who appears to be enthusiastically conscious of the intricacies of the human mind and its impact on human behavior. Indeed, Poe’s knowledge on the human mind is evident his various literary pieces.

In sum, Edgar Allan Poe puts forward characters who suffer multifaceted mind problems including culpability, awkwardness, superstitions, vengeance, reverse psychology, and etc. Editor invites 250 word abstracts for a collection of essays on psychology in Poe already under contact with a major academic press. Importantly, the final essays will run from 20-25 pages (6000 words) in length, use MLA style in-text citation, and use the Mabbott edition of Poe. Deadline for abstracts is July 15, 2017 and finished papers are due on December 21, 2017. Please send resumes and abstracts to Thank you.

Special Issue - Spineless: Online Horror and Narrative Networks

Deadline for submissions: August 15, 2017
Full name / name of organization: Horror Studies
Contact email: Thomas Stuart,

With the current spate of contemporary high-budget properties that have sought to engage and adapt online horror content, increasing attention has been turned to communities of amateur critics, writers, illustrators, and fans that work to create horror in digital space. Their influence has been felt in a variety of media, from the television series Channel Zero and Supernatural, to the film The Tall Man and video games like Slender and SCP: Containment Breach. Fora in Something Awful, “r/nosleep”, and the SCP Foundation represent attempts by massive communities to create negotiated fictions, imagining mythic spaces and enduring, horrific creatures. Likewise, fora dedicated to notoriously difficult horror texts like Mark Z. Danielewski’s House of Leaves provide a continual exegesis on the novel’s nested narratives and clues. Digital horror thus appears to be an engine driving the creation, production, and critical apparatus of contemporary horror fiction. Tina Marie Boyer, along with Andrew Peck and Shira Chess, has emphasized that these creations “obey the same rules of performativity, critique, embellishment, and progression as they do in the oral telling of the story” (Boyer 257). While these critics examine the anthropological infrastructure of online communities in their research, our interest lies in the possibility of literary criticism to provide a more focused reading of their individuated creations within the expectations of a genre.

In this special issue of Horror Studies, we invite contributors to consider how a genre responds to the creative energies of its own networked audience. “Spineless: Online Horror and Narrative Networks” will provide critical readings of the rapid, accretive mode of storytelling that has seen a rise in the wake of the digital. How are we to read and theorize these productions of an urgent, enthusiastic desire to be a part of a collective horror? Ultimately, the issue seeks to examine the increased prominence of online texts, the communities that build up around them, and how these come to inform mainstream productions of contemporary horror texts.

* How have the new infrastructures of digital media influenced the form and structure of popular online horror stories?

* How do online fora demonstrate a conceptual bleed between fictional creation, discussion, and analysis?

* What are the affective responses to digital horror content?

* How do digital archives of horror such as the “Creepypasta” site constitute communities? How do these archives engage with the essential ephemerality of their texts?

* If weird fiction can be characterized by exploring the limits to knowledge and perception, are these elements dramatized (or complicated) in the communal creation of these online worlds?

* How does the circulation of digital horror worlds or characters (i.e., the multiple Youtube series about the Slenderman) engage in implicit or explicit dialogue with one another?

* How do online horror communities engage other digital spaces and creations (from chat rooms to conspiracy theories to meme-culture)?

* How do recent popular culture representations of communal digital space as haunted (i.e., Unfriended) negotiate the same interests as actual online communities?

* Can we see in digitally-influenced texts like “Candle Cove” and The Raw Shark Texts and attempt to update the Gothic’s epistolary tradition?
Essays of approximately 8500 words (including footnotes and works cited) should be sent to Riley McDonald ( and/or Thomas Stuart ( by August 15, 2017. Horror Studies uses Harvard Style in its formatting; authors should consult and download the full style sheet.

Call for Papers: Technologies of Frankenstein: 1818-2018

Deadline for submissions:  October 15, 2017
Full name / name of organization: Stevens Institute of Technology and IEEE History Center
Contact email:

7-9 March 2018, Stevens Institute of Technology, Hoboken, New Jersey USA

Co-sponsors: Stevens Institute of Technology College of Arts and Letters and IEEE History Center

The 200th anniversary year of the first edition of Mary Shelley’s Frankenstein: Or, The Modern Prometheus has drawn worldwide interest in revisiting the novel’s themes. What were those themes and what is their value to us in the early twenty-first century? Mary Shelley was rather vague as to how Victor, a young medical student, managed to reanimate a person cobbled together from parts of corpses. The imagination of the novel’s readership outfitted Victor’s laboratory with the chemical and electrical technologies that brought the creature to life. Subsequent theatrical and cinematic versions of Frankenstein have been, like the creature, patched together from the novel and from contemporary popular press as well as public demonstrations of medical, chemical, and electrical research. Mary Shelley’s contemporaries arguably exploited her novel to their own purposes, including George Canning (leader of the British House of Commons in 1824) who drew an analogy between the prospect of freeing West Indian slaves and Victor’s “monster” who is left in the world with no master to curtail his criminal instincts. Some of Mary Shelley’s biographers characterize the story of Victor Frankenstein’s reanimation experiment as a cautionary tale against techno-science run amok while others emphasize Victor’s irresponsible behavior toward his subject. In what ways might our tools of science and communication serve as an “elixir of life” since the age of Frankenstein?

Frankenstein continues to inspire discourse in scholarly, popular, and creative culture about the Monstrous, the Outsider, the Other, and scientific ethics. This conference will examine such connections in our thinking about humanism and techno-science from the novel’s publication to the present. We construe broadly the intersecting themes of humanism, technology, and science and we welcome proposals from all fields of study for presentations that add a twenty-first century perspective to Frankenstein. Topic areas and questions may include but are not limited to:

Topic areas:

Artificial Intelligence and Robotics
Branding “Frankenstein” (Food, Comics, Gaming, Music, Theater, Film)
Computational and Naval Technology (Mapping, Navigation, The Idea of the Journey)
Digital Humanities and GeoHumanities (Applications, Pedagogy, Library/Information Technology)
Engineering Technologies: Past/Present/Future (Chemical, Electrical, Biomedical)
Future Technologies and Labor Concerns


How might industrialized nations develop low-cost solutions to provide maternal and pediatric care in regions with limited medical facilities?
How are our ideas of the “Monstrous” or “Other” changing since the publication of Frankenstein?
Is the pharmaceutical industry using human consumers as experiments for profit?
What ethical and legal issues will emerge in the age of advanced or “aware” artificial intelligence?
What does it mean to be human?
What is the responsibility of government in world-wide health care?
Who is responsible for the outcomes of techno-science?
Who should have access to advanced human enhancement technologies and why?

Submit abstracts of 300 words and brief cv by 15 October 2017 to Michael Geselowitz ( and Robin Hammerman (

We are dedicated to a harassment-free conference experience for everyone.

For more information and to register for the conference please visit:

The Horror Studies series from the University of Wales Press is the  first series ever exclusively dedicated to the study of the genre in all its various manifestations. The new series aims to explore the steady and ever-growing interest in Horror – from fiction to cinema and television, magazines to comics, and stretching to other forms of narrative texts such as video games or music. Horror Studies aims to raise the profile of Horror in the process of institutionalising its academic study by providing a publishing home for cutting-edge academic writing, and by presenting introductions to key periods,  figures and texts in the field. As an exciting new venture within UWP’s established Cultural Studies and Literary Criticism programme, Horror Studies will expand the field of interest in the dark, the macabre and the scary in both innovative and student-friendly approaches.

Individual titles will ideally be:
• Original monographs or edited collections of around 80,000 words.
• Aimed at scholars and students, with some designed to extend to a wider audience.
• National, international or transnational in scope.
• Interdisciplinary, where appropriate.

Possible individual titles might explore:
• Underresearched periods, figures and texts of Horror literature and film.
• Key Horror periods, figures and texts in need of repositioning or rethinking.
• Areas of popular culture beyond the literary, filmic and televisual (i.e. video games, fandom).
• National Horror traditions.
• Specific and significant Horror subgenres or thematics.

The series is happy to consider doctoral dissertations that may be revised and developed into monographs.

Series editor: Dr Xavier Aldana Reyes, Manchester Metropolitan University

Editorial board:
• Dr Stacey Abbott, Roehampton University
• Dr Linnie Blake, Manchester Metropolitan University
• Prof. Harry M. Benshoff, University of North Texas
• Prof. Fred Botting, Kingston University
• Prof. Steven Bruhm, University of Western Ontario
• Prof. Steffen Hantke, Sogang University, Seoul
• Dr Joan Hawkins, Indiana University
• Dr Bernice M. Murphy, Trinity College Dublin
• Prof. Agnieszka Soltysik Monnet, University of Lausanne
• Dr Johnny Walker, Northumbria University

UWP and the series editor are happy to receive proposals for possible monographs or collections. Please send initial expressions of interest to Xavier Aldana Reyes ( and/ or Sarah Lewis ( You may also request a proposal questionnaire from them.

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