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When Jordan Peele’s Get Out made its big screen debut in 2010, it was met with instant, widespread praise among worldwide audiences for its creative blending of horror conventions and social commentary. As part of the horror film trend known as “social horror” (Heba, 1995; Kronja, 2016), Get Out championed the filmic representation of sociopolitical ideologies in the United States at a time when horror codes and sociocultural issues acquired recognized critical distinction. Parallel to current divisive sociopolitical disagreement, contemporary horror movies are emerging as a reproduction of what dominates popular culture and the current political framework: culture wars.

In the 2010 book, Culture War? The Myth of a Polarized America, M. Fiorina, J. Abrams and J. Pope turned the spotlight on commonly believed myths about American sociopolitical reality, claiming that Western civilization and, specifically, the United States are deeply divided in their fundamental political views. Confrontations between social conservative and progressive forces in American society, described as “culture wars” by sociologist James D. Hunter (1991), are as much a reality today as they were in the past. Beginning in the 1960s, the United States has experienced a partisan conflict over cultural issues such as gender, sexuality, race, ethnicity, religion, immigration and ecology which is actively exported as a model to other cultural spheres, such as contemporary cinema. According to theses on the present-day existence of culture wars, salient battles have led contemporary cinema to characterize these issues as “new fronts in the culture war” (Castle 2018), thereby giving reasons to revisit the culture wars debate.

This edited volume seeks to examine recent culture wars manifestations in American popular culture, considering their impact and representation in the field of horror cinema. In many contemporary examples of the genre, these ideologically charged battles over opposing moral values and fundamental belief systems are a substantial part of the definition and development of horror films. Night of the Living Dead (1968) as a commentary on Cold War paranoia and racism, or Rosemary’s Baby (1968), as an allegory of women’s liberation, are two good examples of the penetration of social references in the genre. In this way, American horror film hinges on cinematically constructed fears of the Other, an Otherness “both drawn from and constitutive of any given era’s cultural history” (Benshoff 2000:31). However, the changing spectrum of filmmakers, producers and other agents involved in the making of these films in the 21st century has reached a turning point pitting the “normal” (white, middle-class, heterosexual, male) vs. the “monstrous” (defined by racial, sexual, class, gender, ideological markers). In this horror film trend, the “monster”, the foregrounded “other” is rooted in historically specific cultural and social horrors, which set the stage for the ideological depiction of contemporary culture wars.

The horror genre has long been ripe for social commentary precisely because it subverts the idea of what “villainous” is, allowing us to subtly empathize with the subject we fear while exploring why we fear it (Solórzano and Yosso 2002). In other words, these marginalized subjects become narrative agents who take possession of the gaze, and whose act of looking emerges from them. Moreover, culture wars and horror cinema do not shy away from the most diverse polarized issues: from religious dilemmas, immigration, and gender violence to racism or ecological consciousness. We are not only concerned with horror genre conventions and their sociocultural references, but also with the way in which the genre appropriates a divisive, polarized society, and what results from this situation in a global context. Thus, for example, consider the way Happy Death Day (2017), Antebellum (2020) or The Invisible Man (2020) can be analyzed as operating in the Black Lives Matter and #MeToo context by mobilizing horror film conventions to represent polarized social views as they are experienced today.
The widespread social discontent with recent political actions has been connected to recent horror films, which can be taken to be examples of a critical framework that attempts to understand social divisions today. Therefore, we ask ourselves the following: How can we create a framework for the analysis of conflicting and divisive sociocultural representations in contemporary horror cinema? Are American horror films becoming more polarized in their representation of social values? Have movements such as #MeToo, Black Lives Matter or new narratives of slavery in film contributed to making this trend even more salient? Which conventions of the genre challenge traditional values and ideals within 21st century horror cinema? By what means are these movies taking sides on the current culture wars?

Contributors to this edited volume are invited to critically analyze the ways in which the ideology of culture wars has made its way through recent American horror cinema across different nations, topics and visual aesthetics. From indigeneity, race criticism, religion and ecology to issues such as post-feminism, gender violence, immigration, and social media as surveillance, the areas and films to be explored include but are not limited to:

• The relationship of social horror and indigeneity (The Dead Can’t Dance, 2013; Violet, 2015)
• Horror articulations of the Neo-slavery and the Old South (Get Out, 2017; Antebellum, 2020)
• Gender/Genre: the culture wars in the #MeToo era (The Perfection, 2018; The Invisible Man, 2020)
• Spaces and limits of the culture wars: borders, race, ethnicity (Planet Terror, 2007; Vampires vs. The Bronx, 2020)
• Endangered society and nature: Eco-horror (Take Shelter, 2011; The Incident, 2014)
• Representations and constructions of culture wars and immigration (Don’t Breathe,
2016; His House, 2020)
• Postmodern social horror: parody, pastiche, self-reflective humor (Happy Death Day,
2017; Midsommar,2019)
• Religion, faith and the Southern Gothic: (The Skeleton Key, 2005; Mother!, 2017)
• Horror, surveillance, and social media (Ratter, 2015; Spree, 2020)
• Social horror and late capitalism (The Purge, 2013; A Quiet Place, 2018)
• The monster as a symbol of Othering vs. a figure of resistance
• The reception of social horror movies: cinematic responses to the culture wars

If you are interested in proposing a chapter, please send an abstract of 400- 500 words and a short biographical note including the author’s academic affiliation no later than 21st March 2022 to

Manuscripts should not have been previously published, and should not be submitted simultaneously for publication in another edited volume collection or medium.

March 21, 2022: abstract submission
April 1, 2022: notification of acceptance/rejection September 15, 2022: paper submission
2023: Expected publication in a major publisher

Noelia Gregorio-Fernández (UNED) Assistant Professor of American Literature and Culture at the Department of Foreign Languages, Universidad Nacional de Educación a Distancia, Madrid.
Carmen M. Méndez-García (UCM) Associate Professor of American Literature at the Department of English Studies, Universidad Complutense de Madrid.
Calls for Papers/Publications / They Came From Beneath - Deadline: 2022-05-31
« Last post by nicholasdiak on February 06, 2022, 07:51:53 PM »
CFP: “They Came From Beneath”: Critical Readings of Subterranean Realms and Those that Come From Them.

Underground,  underwater, underneath, under-our-world. The monsters, villains, and even heroes, that haunt our dreams, our subconscious, our waking, daylight world have stories to tell and lessons to teach us, but of what, for whom, and why?

Abstracts of 300 words to Leslie Ormandy and Simon Bacon by end May 2022:
Calls for Papers/Publications / University Wales Press - Gothic Literary Studies
« Last post by nicholasdiak on February 06, 2022, 07:49:12 PM »
University of Wales Press is seeking proposals for their Gothic Literary Studies Series.

PDF can be found here:

Copy and paste of flyer:


Gothic Literary Studies is the University of Wales Press’s award-winning series dedicated to publishing ground-breaking scholarship on the Gothic genre. We are actively commissioning pioneering research which analyses the diverse and emerging trends in the Gothic.

Volumes in the series explore how issues such as gender, religion, nation and sexuality have shaped our view of the Gothic tradition, and are informed by the latest developments in critical theory.

GLS currently features over twenty-five titles, including three winners of the Allan Lloyd Smith Memorial Prize: Gothic Music: The Sounds of the Uncanny by Isabella van Elferen, The Twilight of the Gothic? Vampire Fiction and the Rise of the Paranormal Romance by Joseph Crawford, and The Gothic and the Carnivalesque in American Culture by Timothy Jones.

Individual titles will ideally be original monographs or edited collections of around eighty thousand words, intended for an academic and global readership.


The University of Wales Press’s Gothic Authors: Critical Revisions series focuses on innovative introductions to writers of the Gothic, including Mary Shelley, Richard Marsh, and Bram Stoker. We are seeking original scholarship which can serve as accessible and engaging guides for students and teachers of the Gothic. Ideal manuscripts will be around sixty to eighty thousand words, on the subject of an author who has made a significant contribution to the Gothic.

For either series, please send initial expressions of interest to Sarah Lewis, Commissioning Editor (, or to the series editors Professor Andrew Smith, Sheffield University (, and Professor Benjamin F. Fisher, University of Mississippi (

For more information on our series, please visit our website:
There Can Be Only One: Critical Essays on the Highlander Franchise

Abstract submission deadline: May 31, 2022

Essays of 4,000 – 6,000 words deadline: December 10, 2022

There Can Be Only One.  This phrase was made popular 35 years ago with the release of Highlander, a fantasy action-adventure film directed by Russell Mulcahy and starring Christophe Lambert, Sean Connery, and Clancy Brown.  While it did not turn a profit during its theatrical release, it did become a cult film inspiring several sequels, three television series, original novels, comic books, audio books, video games, a web series, collectibles, musical scores, and a loyal fandom who have successfully organized a number of Highlander fan conventions. 

Over the years, aspects of this franchise become part of popular culture’s lexicon, such as the enduring Queen album, A Kind of Magic with iconic phrases (“Princes of the Universe”/“There Can Be Only One”), and dramatic imagery (electrifying beheadings and portrayals of historic events/places). Since 2008, there have been discussions of remakes and reboots and most recently in May 2021 with Henry Cavill proposed to have a lead role. 

Interestingly, other than franchise retrospectives, soundtrack analysis, and film reviews, there are no singular books of scholarly focus.  This proposed transmedia book will seek to address this gap by collecting a series of essays that provide a focused exploration of the Highlander franchise.

The editor seeks essays exploring any aspect of the Highlander franchise in films/television, literature, comics, video games, and any other popular culture medium such as:

Films: Highlander (1986, Russell Mulcahy); Highlander II: The Quickening (1991, Russell Mulcahy); Highlander III: The Sorcerer (1995, Andy Morahan); Highlander: Endgame (2000, Doug Aarniokoski); Highlander: The Source (2007, Brett Leonard); Highlander: The Search for Vengeance (2007, Yoshiaki Kawajiri)

Television series: Highlander: The Series (1992-1998); Highlander: The Animated Series (1994-1996); Highlander: The Raven (1998-1999)

Books:  Highlander: Die Ruckkehr des Unsterblichen (Highlander: The Return of the Immortal, 1994, Martin Eisele and Hans Sommer); Highlander: The Element of Fire (1995, Jason Henderson); Highlander: Scimitar (1996, Ashley McConnell); Highlander: Scotland the Brave (1996, Jennifer Roberson); Highlander: Measure of a Man (1997, Nancy Holder); Highlander: The Path (1997, Rebecca Neason); Highlander: Zealot (1997, Donna Lettow); Highlander: Shadow of Obsession (1998, Rebecca Neason); Highlander: The Captive Soul (1998, Josepha Sherman); Highlander: White Silence (1999, Ginjer Buchanan); Highlander: An Evening at Joe’s (2002, written by cast/crew of Highlander: The Series)

Comics: Highlander comic book series (Dynamite Entertainment); Highlander 3030 (Emerald Star Comics)

Video games: Highlander (1986, PC); Highlander: The Last of the MacLeods (1995, Atari Jaguar CD)

Audio: Highlander: The Original Scores (1995); Queen’s A Kind of Magic (1986); Big Finish Productions’ Highlander audio stories; Highlander: A Celtic Opera

Web series: The Methos Chronicles (2001)

Collectibles: Highlander: The Card Game (La Montagnard Inc.)

Fan derivative works: film, fiction, etc.

Essays that take an interdisciplinary approach to the subject matter and/or can apply a variety of lenses and frameworks, such as, but not limited to, are encouraged:

Close textual analysis
Comparative analysis
Cult/secret societies
Cultural and ethnic
Fandom and fan studies
Film studies
Gender/LGBTQIA+ studies
Historic analysis
Literature studies
Media and communications
Media Sociology
Racial studies
The editor will review multiple abstract submissions to assemble the most cohesive arrangement of entertaining/insightful essays that will provide a well-rounded exploration and representation of this popular franchise.  Additionally, the editor is seeking essays that balance an academic and armchair enthusiast tone to ensure the widest audience appeal. The deadlines are:

05/31/2022: Abstract of 300 – 500 words, brief CV, and preliminary draft bibliography emailed to the editor.
06/10/2022: Notification of acceptance/rejection.  Successful essayists will be sent a comprehensive style sheet.
12/10/2022:  Essays of 4,000 – 6,000 words in length are due to the editor.  Earlier submissions are welcomed and encouraged.
12/10/2022 – 05/10/2023: Essays will be edited and returned to each author for review and revision. 
05/11/2023 – 11/11/2023: Manuscript will be peer reviewed.  The editor will work with essayists to address all peer review notes and finalize each essay.
11/30/2023: Final manuscript sent to the publisher.


The editor will be utilizing Microsoft Word’s Track Changes function to record all edits.  It will be the writer’s responsibility to resolve each edit and submit a final clean essay by the deadline noted above.

Contributors will receive a complimentary book copy when published.  Postage will be paid by the editor.

For team written essays, keep to a maximum of two co-authors.

The editor encourages the widest possible diverse representation to submit to this call for papers.
Please direct all correspondence to Michele Brittany, Editor, at
The Mouse’s Monsters at PCA: Further Examples of Monsters and the Monstrous in the Worlds of Disney
Sponsored Session Proposed for the 2022 Virtual Conference of the Popular Culture Association

Virtual event: 13-16 April 2022.
Proposals due: 21 January 2022
At its 2021 Virtual Conference, the Monsters & the Monstrous Area and the Disney Studies Areas of the Northeast Popular Culture/American Culture Association (a.k.a. NEPCA) organized three successful sessions on the theme of monsters and the monstrous in the fictional worlds of the Walt Disney Company.
We’d like to continue to build on those investigations this coming spring at the national meeting of the Popular Culture Association (a.k.a. PCA) and to also help support the PCA’s new Disney Studies Special Topic Area.

For this session, we’re most interested in proposals related to representations of monsters and the monstrous in the traditional Disney brand and in Pixar, but papers related to more recent properties and acquisitions (for example ABC, ABC Family/Freeform, Hulu, Lucasfilm, Marvel, the Muppets, Saban Entertainment, and Twentieth Century Fox) can be also be valid approaches. All submissions will also be considered for inclusion in a collection of essays based on the topic.

Potential topics might include the following:
    • Adaptations of classic monster stories.
    • Aliens.
    • Animals as monsters.
    • Attractions.
    • Bad dreams.
    • Communities of monsters.
    • Constructs.
    • Cryptids.
    • Curses.
    • Dinosaurs.
    • Disguises.
    • Disney as monstrous.
    • Disney Villains.
    • Gargoyles.
    • Ghosts.
    • Halloween.
    • Halloween-themed productions.
    • Haunted houses (and mansions)
    • Horror-themed productions.
    • Human “monsters”.
    • Imaginary creatures.
    • Legendary creatures.
    • Magical creatures.
    • Magic-users.
    • Othered individuals.
    • Reanimated dead.
    • Shape-shifters.
    • Technology and monsters.
    • Undead/zombies.
    • Underworld and other realms of the dead.
    • Vampires.
    • Weather-related monsters.
    • Witchcraft/witches and wizards.

If you are interested in joining this session, please submit your information into PCA’s online system at You’ll need to create a profile and upload a biographical statement AND join the PCA for the coming year before the system will allow you to reach the proposal screen. Be sure to select “Disney Studies” as the area for your paper. Proposals should be about 250 words.

Please also send a copy of your proposal to the session organizers, so we can keep track of them: Michael A. Torregrossa (NEPCA’s Monsters & the Monstrous Area Chair) at and Priscilla Hobbs (NEPCA’s Disney Studies Area Chair) at

Further details on PCA’s Disney Studies Special Topic Area can be found at
NEPCA’s Monsters & the Monstrous Area maintains a blog at
Archived - Calls for Presentations / 2022 Ann Radcliffe Academic Conference
« Last post by nicholasdiak on October 11, 2021, 09:16:22 AM »
Call for Presentations:  The Fifth Annual Ann Radcliffe Academic Conference at StokerCon 2022
Abstract Submission Deadline: December 31, 2021

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

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

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

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

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

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

Conference Details

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

Organizing Co-Chairs

Michele Brittany and Nicholas Diak
Twitter: @AnnRadCon1

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

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

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

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

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

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

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

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

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

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

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

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

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

·      Gothic myths and their contemporary adaptations

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

·      Gothic and folk horror

·      Religion(s) and the Gothic

·      Local and regional Gothic and horror

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

·      Asian Gothic as part of “globalgothic”

·      Animistic practices and the concept of “living Gothic”

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

·      Genealogy of Gothic in an Asian context

·      Gothic and gender / class / race 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Please send your abstracts (250-350 words) together with a short bio (100 words max) to: . The deadline for submissions of abstracts is 1 October 2021.
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