Annual conference Friborg 2018

techniques of the fantastic

Ninth Annual Meeting of the Society for Fantasy Research
6th-8th September 2018 at the University of Freiburg/Fribourg (Switzerland)

Further information and registration at:
http://events.unifr.ch/gff2018/de/

At first glance, techniques of the fantastic may mainly open up the horizon of future narratives and science fiction, in which people shape their living environment under utopian or dystopian conditions. The technically explicable marvel seems to be on the fringes of fantastic narration in the narrower sense, as Tzvetan Todorov's definition of the 'merveilleux instrumental' suggests. However, fantastic techniques also often play an important role in high and urban fantasy, in genres with an affinity for fantasy such as horror, romantic horror stories and even in fairy tales and adventure novels. Techniques can be examined in numerous fantastic contexts, be it in terms of motifs as a distinction from magic, as alternative forms of motivation for the miraculous (cf. Uwe Durst), on a narrative level as a literary and aesthetic procedure, for example with the technique of unreliable narration and other stylistic or (meta -)fictional strategies (cf. e.g. Denis Mellier; Christine Brooke-Rose), be it as a production-aesthetic aspect for the creation of fantastic worlds (special effects), as an integral part of fantastic narrative worlds, e.g plot devices of science fiction. On closer inspection, the fantastic is hardly imaginable without its techniques.

The following five areas can be outlined as a heuristic guide for the topic of the annual conference:

(1) First of all, technology can be examined as a motif and object of fantastic structures and/or narrative worlds. Based on romantic topoi such as automata, mesmerism, ghostly projections or occult-scientific motifs of Gothic literature (Frankenstein) technology proves to be a variant of exceeding the humanly possible. In addition, references can be made to the technologies of the inhabitants of fantastic narrative worlds (e.g. the technology-affine dwarf peoples of Tolkien-derived high fantasy, or also in computer games) as well as to genres that are completely determined by one type of technology (cyberpunk). The often dialectical relationship between technology and magic can serve as food for thought (e.g. in Auguste de Villiers-de l'Isle d'Adam L'Eve future or Edward Bulwer-Lytton The Coming Race). The relationship between magic technology and high fantasy is illustrated, for example, in the industrial devastation of nature by the sorcerer Saruman in Lord of the Rings visible, but also in world-changing techniques (e.g. the “Hogwarts Express”). This aspect applies in particular to science fiction, where techniques from "warp drive" to thinking robots (e.g. in the works of Isaac Asimov and Stanisław Lem) to total neural simulation (cf. The Matrix) are used. These can be found in parahistorical narratives (especially those marked by technology, such as in the counterfactual narrative worlds of Christian Krachts I'll be here in the sunshine and in the shade).

(2) Second, the cultural and technological-historical connection between certain real-historical developments and their fictional adaptation and/or anticipation would also be an essential aspect. This interaction of real and fictional inventions has played a crucial role in cultural history since the end of the 19th century (cf. the history of the moving image or the discourse on trans- and post-humanism).

(3) Thirdly, the annual conference focuses on literary 'technology' as an aesthetic procedure for fantastic creations. It is about questions of the means of representation and narrative, such as unreliable or multi-perspective narration, narrative shortcuts such as metal epses, epistolary novels and narratives in fantastic narration, the relationship between immersive representational realism and fantastic worlds, and, more recently, the emergence of postmodern ironically turned 'meta-fantasy', as in the case of Julio Cortazar or Kurt Vonnegut, Thomas Pynchon or Ulrike Draesner.

(4) In addition, all of these themes also refer to the media or artistic production techniques used. In particular, audio-visual production techniques for creating the fantastic were to be examined and presented in their historical and systematic respects. Media-comparative approaches (be it to special effects, CGI or 'augmented reality).

(5) Fifth and last, cultural techniques in the receptive handling of the fantastic are to be considered. This includes cultural processing and handling in confrontation with fantastic structures. In addition to well-known strategies such as the allegorizing reading of fantasy, this also includes transfictional extensions of fantastic worlds, fan culture (cosplay), the rabbit holes the alternate reality games culture and more. The conference location, the University of Freiburg (Switzerland) is located on the border between the German and French-speaking countries. The conference is organized by the local German Department in cooperation with the Institute for General and Comparative Literature and is dedicated in particular to comparative exchange. Abstracts and contributions in German, English and French will therefore be accepted this year.

Possible topics

• Technology as a motif and object of fantastic creations
• Technology as a literary/aesthetic procedure in the fantastic, especially with regard to narrative techniques
• Representation techniques of fantastic genres (individual considerations or theoretical considerations): horror and gothic, utopias and dystopias, science fiction, fantasy, magical realism, speculative
• Fiction, (art) fairy tales, fables, myths, etc.
• Media production techniques for creating the fantastic
• Media-comparative and technology-historical studies on the interaction of fiction and faction
• Cultural techniques of (dealing with) the fantastic, such as fan culture (cosplay) or other examinations of the techniques of fantastic creations (making-ofs, exhibitions, interviews, etc.
• Media-specific or intermedia or transmedia techniques of creating fantastic worlds in film, TV, literature, (digital) games, etc.

As usual at GFF conferences, there will be an Open Track for all papers that are not directly related to the conference theme. So we are open to more far-reaching suggestions.

The GFF awards two scholarships of 250 euros each to students to cover travel expenses incurred by attending a conference. If you are interested, please let us know when submitting your abstract.

Deadline for abstracts and short bio: February 28, 2018. Short bio plus abstract (200 to 350 words) to gff2018@unifr.ch

Conference board
dr Sonja Klimek
dr Tobias Lambrecht
Prof. Dr. Sabine Haupt
Prof. Dr. Ralph Mueller
Prof. Dr. Michael Viegnes