Copyright 2017 - Gesellschaft für Fantastikforschung

deadline: October 28, 2017


In 1995, Star Trek: Voyager launched in a way very different from its predecessor series. Voyager took place thousands of light years from the Federation, and it contained a multi-ethnic crew with a female captain. Voyager, in a sense, encapsulated the American zeitgeist of the 1990s when major demographic changes were transforming the population of America, and the post-Cold War era left us wondering what strategic alliances would mean moving forward. The series challenged the nature of the American mindset at the time.

This edited collection attempts to ask the questions, what can we learn from Voyager looking back on the series, and in what ways does Voyager show us a path forward as the world is still changing demographically and politically? It is in this spirit that we invite proposals of 250-300 words dealing with literary, political, historical, and/or other critical interpretations of the series or characters.

McFarland Publishers has expressed strong interest in the collection.


Abstracts (300 words max) are due for submission on 28 Oct. 2017. Please send your abstracts, together with a short bio (100 words max), to the editor of the collection, Robert L. Lively/ . Authors whose abstracts are accepted for inclusion will be notified by 30 Nov. 2017. Full chapters of 6,000-7,000 words in MLA format will be due on 1 May 2018.

deadline: March 31, 2018


How does SF represent and reflect on economic life?

How do finance, value, exchange, production, and the everyday economic reality of people’s lives appear in SF? How might SF contribute to the ongoing evolution of economics? And what might creators of science fiction, as custodians of radical visions of social organisation, learn from economics at this critical moment?

Weiterlesen: Economics and SF

Deadline: December 1, 2017


Special Issue: Children and Popular Culture

Guest Editor: Patrick Cox, Rutgers University


Childhood and youth are always contested notions, but perhaps nowhere more than in popular culture. Popular culture offers representations of children and youth as, among other things, wise, dangerous, evil, innocent, sexual, doomed, and in various states of “in progress.” Popular culture is also the broad site of much child agency, where children and youth produce texts from novels to YouTube channels to websites, blogs, and zines, frequently outstripping their adult contemporaries in technological savvy and communicative capability. Popular culture for children is by turns condescending to the youngest audience, crass, pedantic, and appropriated by adults for their own pleasure. Elements of popular culture are designed to educate and socialize children; others are manipulated by children as political activism. These turns call into question and trouble conceptions not only of “the child” but of “popular culture” itself and propose a compelling nexus of questions befitting both Childhood Studies and Popular Culture Studies.

Weiterlesen: Special Issue: Children and Popular Culture

Deadline: 01. Dezember 2017


Im Herbst 2018 wird CLOSURE wieder allen Facetten des akademischen Comic-Diskurses ein Forum bieten. Von Kultur-, Bild- und Medienwissenschaften bis zu Sozial- oder Naturwissenschaften und darüber hinaus: CLOSURE setzt auch in seiner fünften Ausgabe auf Aufsätze und Rezensionen, die den ›state of the comic‹ verhandeln. Ob Detailanalyse, Comic-Theorie oder innovative Neuansätze – für den offenen Themenbereich begrüßen wir möglichst vielseitige Beiträge aus dem interdisziplinären Forschungsfeld ›Comic‹.

Weiterlesen: CLOSURE: Kieler e-Journal für Comicforschung #5 (November 2018)

CfP: “200 Years of the Fantastic: Celebrating Frankenstein and Mary Shelley,” ICFA 39, March 14-18, 2018

Please join us for ICFA 39, March 14-18, 2018, when our theme will be “200 Years of the Fantastic: Celebrating Frankenstein and Mary Shelley.”

Deadline: October 31, 2017

We welcome papers on the work of: Guest of Honor John Kessel (Nebula, Locus and Tiptree Award winner), Guest of Honor Nike Sulway (Tiptree and Queensland award winner; nominee for Aurealis and Crawford awards), and Guest Scholar Fred Botting (Professor, Kingston University London; author of Making Monstrous: “Frankenstein”, Criticism, Theory; Gothic; and Limits of Horror).

Weiterlesen: “200 Years of the Fantastic: Celebrating Frankenstein and Mary Shelley,” ICFA 39, March 14-18, 2018

Extrapolation, Interdisciplinarity, and Learning: The Second Annual City Tech Symposium on Science Fiction

 Date: Wednesday, December 6, 2017

Location: New York City College of Technology, 300 Jay St., Namm N119, Brooklyn, NY

Deadline: Oct. 31, 2017

Weiterlesen: Extrapolation, Interdisciplinarity, and Learning: The Second Annual City Tech Symposium on Science...

Call for Papers: Monsters and Monstrosity
A Special Issue of The Popular Culture Studies Journal
Guest Editor: Bernadette Marie Calafell, University of Denver

Deadline: December 1, 2017

Scholars, such as W. Scott Poole and Kendall Phillips, have argued that monsters, particularly those in horror, reflect or correspond to the cultural anxieties of a society. These cultural anxieties are often connected to struggles for power around race, class, gender, sexuality, and ability. Thus, historical context and power are central to studies of monstrosity. Given that we are immersed in what may be considered a horror renaissance, both in film and television, increasing violence against people of color in the U.S., and dangerous and toxic performances of white femininity and masculinity, this is a ripe moment to explore the relationship between monstrosity and popular culture, both literally and figuratively. Thus, this special issues solicits manuscripts that take interdisciplinary approaches to explore the theoretical and methodological possibilities of monstrosity. What can employing monstrosity as a theoretical framework or analytical tool contribute to the study of popular culture? Key questions driving this special issue include: What can monstrosity teach us about Otherness? How can it be used resistively? Conversely, how can monstrosity be used as a tool of oppression? In what ways we can be unpack figures, such as Donald Trump, through the lens of monstrosity? What constitutes monstrosity? How might we understand history differently through the construct of monstrosity? What are the necessary future directions for the study of monstrosity and popular culture? Critical rhetorical, critical qualitative (including critical auto-methodologies), and performative approaches to monstrosity are welcomed.

Weiterlesen: Call for Papers: Monsters and Monstrosity A Special Issue of The Popular Culture Studies Journal

CfP: Gothic Animals: Uncanny Otherness and the Animal With-Out (edited collection)

deadline: November 1, 2017

 ‘The boundary between the animal and the human has long been unstable, especially since the Victorian period. Where the boundary is drawn between human and animal is itself an expression of political power and dominance, and the ‘animal’ can at once express the deepest fears and greatest aspirations of a society’ (Victorian Animal Dreams, 4).

‘The animal, like the ghost or good or evil spirit with which it is often associated, has been a manifestation of the uncanny’ (Timothy Clark, 185).

In the mid nineteenth-century Charles Darwin published his theories of evolution. And as Deborah Denenholz Morse and Martin A. Danahay suggest, ‘The effect of Darwin’s ideas was both to make the human more animal and the animal more human, destabilizing boundaries in both directions’ (Victorian Animal Dreams, 2). Nineteenth-century fiction quickly picked up on the idea of the ‘animal within’ with texts like R.L. Stevenson’s Dr Jekyll and Mr Hyde, Oscar Wilde’s The Picture of Dorian Gray and H. G. Wells’s The Island of Doctor Moreau. In these novels the fear explored was of an unruly, defiant, degenerate and entirely amoral animality lying (mostly) dormant within all of us. This was our animal-other associated with the id: passions, appetites and capable of a complete disregard for all taboos and any restraint. As Cyndy Hendershot states, this ‘animal within’ ‘threatened to usurp masculine rationality and return man to a state of irrational chaos’ (The Animal Within, 97). This however, relates the animal to the human in a very specific, anthropocentric way. Non-humans and humans have other sorts of encounters too, and even before Darwin humans have often had an uneasy relationship with animals. Rats, horses, dogs, cats, birds and other beasts have, as Donna Haraway puts it a way of ‘looking back’ at us (When Species Meet,19).

Weiterlesen: CfP: Gothic Animals: Uncanny Otherness and the Animal With-Out (edited collection)