Copyright 2018 - Gesellschaft für Fantastikforschung

++ ATTENTION: Call for Papers (Phase 2) ++

NOW OPEN: Submission for individual paper proposals —>

Deadline: April 18, 2018


“Worlding SF: Building, Inhabiting, and Understanding Science Fiction Universes”
University of Graz, Austria 
December 6–8, 2018

Read more: Worlding SF: Building, Inhabiting, and Understanding Science Fiction Universes Submission now open

Deadline: 1 August 2018

*Religions* journal is seeking submissions for a special issue on religion and science fiction, with a focus on depictions of religion as a society-shaping force. A description of the project follows, along with a link to the journal website with information about the submission process.

Even though the website mentions an ‘article processing charge,’ it is being waived or covered by a grant. If I can be of any help in conferring about any topic you might have in mind, or can answer any questions, please let me know.

Read more: So Say We All: Religion and Society in Science Fiction

Deadline: 5. April 2018 

Die Redaktion der Kritischen Ausgabe sucht Beiträge zum Thema »Fantasie«. Gerne können Sie den Call for Papers auch an interessierte Professor*innen, Mitarbeiter*innen und Student*innen aller Fachrichtungen weiterleiten. 

Nach den Themenschwerpunkten »Freiheit« und demnächst »Jugend« wollen wir uns in der darauffolgenden Kritischen Ausgabe dem Thema »Fantasie« widmen und dieses aus dem Blickwinkel der Literatur beleuchten. Das Genre Fantasy erfreut sich bereits seit Längerem besonderer Beliebtheit und ist aus den Bestsellerlisten mittlerweile nicht mehr wegzudenken. Besonders im Bereich der Kinder- und Jugendliteratur erscheinen seit einigen Jahren stetig neue Fantasyromane, die nicht nur die jungen Leser in fremde Welten entführen oder mit mystischen Wesen in Kontakt bringen. Erfolgreiche Buchreihen wie George R. R. Martins A Song of Ice and Fire und die dazugehörige Fernsehserie Game of Thrones zeigen, dass der Lockruf des Phantastischen auch viele Erwachsene erreicht. 

Read more: Fantasy und Phantastik: Ein Grenzgang

Deadline: June 10, 2018

Since its birth, the fantastic has been an excellent way to explore our fears of the unknown - "the oldest and strongest emotion of mankind", as Lovecraft stated in his well-known essay The Supernatural Horror in Literature (1927). The aim of the fantastic is to destabilise the codes that we have established to understand and represent the real: when we are confronted with the conflictive coexistence of the possible and the impossible in a realistic world like ours, our certainties about the real stop working. Faced with this, fear is our only defence.

This is the type of experience that we want to examine in this monographic issue of Brumal. For this reason, we will exclude forms of fear that arise from a natural source (serial killers, terrorism, animal attacks, etc.).

Instead, we encourage reflections on the multiple ways through which what we have called "metaphysical fear"- an effect that is inherent and exclusive to the fantastic - is spread, generated by the transgressive irruption of the impossible. 

This monographic issue of Brumal will accept works focused on the relationship between Horror and the Fantastic in literature, cinema, TV, comic, theatre, etc.

Some areas of research include, but are not limited to:

Theoretical perspectives on horror

The rhetoric of fear

>From classical fears to postmodern horror

The monster as the fantastic anomaly

Space as source of horror

Horror and its boundaries

Brumal will only consider works of a fantastic nature as defined by the journal, hereby only accepting papers on other non-mimetic genres such as the marvellous or science fiction if and when they are related to the fantastic narrative.


Miscellaneous Section

This Miscellaneous section is open all year to receive any type of article on any of the diverse artistic manifestations of the fantastic (narrative, theater, film, comics, painting, photography, video games), whether theoretical, critical, historical or comparative in nature, concerning the fantastic in any language or from any country, from the nineteenth century to the present.


Thanks for the continuing interest in our work, Comit’ Redacci’n Universidad Aut’noma de Barcelona, Espa’a.

Phone +34 93 586 8079

Fax +34 93 581 1686

Deadline: March 30, 2018

Sunday, July 1- Wednesday, July 4, 2018

Marquette University (Milwaukee, WI)

Conference Theme: *The Future of Labor*


Peter Frase (author of *Four Futures)*

Rebekah Sheldon (author of *The Child to Come)*

Read more: Science Fiction Research Association Annual Conference 2018



Deadline: March 30th 2018




The Asylum Steampunk Festival Conference
Bishop Grosseteste University, Lincoln
25th – 26th August 2018


Keynote Speaker:
Yomi Ayeni – Transmedia Author, Producer, and Filmmaker


Read more: Going Global: Steampunk and Transnational Culture, Bishop Grosseteste University, Lincoln, 25th –...

Deadline: 30 April 2018


The editors invite contributions for an edited essay collection, provisionally titled (Un)Ethical

Futures: Utopia, Dystopia and Science Fiction. The collection will adopt a global, comparative

approach and the editors encourage submissions examining both Anglophone and non-

Anglophone literature, film, television and other media.

Read more: (Un)Ethical Futures: Utopia, Dystopia and Science Fiction

Deadline: July 15, 2018


 “A Part of Something Bigger”: Critical Approaches to Agents of S.H.I.E.L.D. and The Avengers

A Special Issue of Slayage: The Journal of the Whedon Studies Association

Co-Editors: Erin Giannini and Eve Bennett


Agents of S.H.I.E.L.D./The Avengers represent something of an anomaly in the Whedonverse/Mutant Enemy canon; while each Whedonverse series is a co-production (eg: Angel: Mutant Enemy/Greenwalt Productions; Buffy the Vampire Slayer: Mutant Enemy/Kuzui Enterprises), only the properties co-produced with Marvel primarily feature characters neither created nor developed by Whedon and company; indeed, many come with massive (and occasionally contradictory) backstories developed by numerous writers over decades and across media. Given the films’ and series’ status as the most recent output from Mutant Enemy, as well as the series’ status as a Mutant Enemy—but not Joss Whedon—production, there are numerous, and thus far untapped, directions through which both the film and series can be examined. This includes the particular differences in “vision” between the collaborative but unified styles and narratives of Mutant Enemy and more diffuse and multiply-authored, but not always collaborative, Marvel Studio productions (despite attempts at said unification through the creation of the Marvel Cinematic Universe).

Read more: Special Issue of Slayage ““A Part of Something Bigger”: Critical Approaches to Agents of...

Deadline: 31 March 2018

A rationale for the collection

Episodes of conflict have often proved to be watersheds in the history of Europe, its states and its peoples. Wars have involved the redrawing of maps and the reconfiguration of identities of smaller as well as larger units – of nations, localities, institutions, and the connecting networks of solidarity and allegiance. Conflict has dictated the rise and fall of states and political regimes, the slaughter and displacement of populations, the destruction of infrastructures; it has also entailed medical and technological progress, and stood at the roots of much social innovation and artistic creativity. Additionally, war has played a central role in the relationship between Europeans and people in other parts of the world, most notably Africa, Asia and the Americas in the long course of modern imperialism. From Agincourt to the Somme, from Balaclava to El Alamein, the history of civilization is inextricable from the history of catastrophe. Indeed, not a few catastrophes have been caused in the name of civilization.

Read more: Terrible Beauties: Europe, Conflict and the Imagination in Literature and the Arts