The list below is a compilation of CFPs (Call for Papers) relevant to pop culture studies, including, but not limited to, adaptation theory, graphic novels, genre studies, film studies, critical games studies, ecocriticism, theater studies, humor studies,
fans and fandom studies, etc. This list will be updated as CFP deadlines are passed.
Early Middle English — Call for Submissions
University of Victoria
N/A – Call for journal articles
Submissions can fall into one of two categories:
Announcing Early Middle English, a new biannual open-access journal published by MIP-Arc Humanities Press. EME is the first scholarly journal devoted to this vital period of linguistic change, literary and material experimentation, emerging
genres, and multilingual interaction, and it takes the widest possible conception of the field. EME seeks to examine not only texts written in Early Middle English but also the historical and global situation of the literature of England
and its production ca. 1100–1350. We are currently seeking submissions for the first two issues.
Exploring the Renaissance 2018
The Georgian Terrace Hotel, Atlanta
April 12–14, 2018
Submit abstracts only (400–500 words, plus a 100-word abstract for inclusion in the program) via the SCRC website’s abstract
submission form. Scholars whose papers are accepted must attend the conference; papers cannot be read in absentia. Program participants are required to join SCRC and are encouraged to submit publication-length versions of their papers to SCRC’s fully
refereed, independent scholarly journal, Explorations in Renaissance Culture. Shorter papers (up to 3,000 words) are invited for submission to SCRC’s online newsletter, Discoveries.
The South-Central Renaissance Conference, which has met annually since its founding in 1951, is an interdisciplinary association of Renaissance scholars with members primarily from North America and Europe. SCRC takes pride in being one of the oldest
and friendliest Renaissance conferences in North America.
SCRC welcomes 15- to 20-minute papers on any aspect of Renaissance studies(music, art history, history, literature, language, philosophy, science, theology, et al.) and especially welcomes interdisciplinary papers.
Mind the Gaps!
University of Illinois at Urbana-Champaign
August 9–11, 2018
A presenter’s name may appear twice in the program. All proposals should be sent as Word files or PDFs by e-mail to: email@example.com. Conference presenters need to
be current members of CSS in 2018 at the time of registration.
This inaugural conference seeks to bring together scholars, artists, and other members of the international Comics Studies community for critical conversations about the futures of the field, in all its multidisciplinary and transcultural formations.
Presentations should focus on gaps and opportunities in existing scholarship and may choose to address one or more of the following questions:
“Queer” as Noun, Adjective, and/or Verb
Sequentials Online Journal
upload a submission title, cover letter, and high-resolution image(s) to the “Sequentials 2 – ‘Queer’ as Noun, Adjective, and/or Verb” category of the submittable platform.
In the complex and rich history of queer theories, activisms, and practices, the term “queer” has been deployed in a variety of ways. In “Sex in Public,” Lauren Berlant and Michael Warner look at queerness and queer culture as “a world-making project,”
a process of continual action with subversive potential (Berlant and Warner 558). José Esteban Muñoz, too, considers queerness to be a sort of horizontal (rather than teleological) temporality that comprises a utopian futurity and potentiality. In
Time Binds, Elizabeth Freeman discusses “queer” as simultaneously a way of being and a mode of action, positioning queers as “denizens of time out of joint,” and queerness as “rhythmic improvisations of the social” (Freeman 19, 172). Judith
Butler, in Bodies That Matter, looks at queerness’ relations to discourse and performativity, arguing that “queering” is a “sudden gap in the surface of language” (Butler 130).
For Sequentials’ second special Call for Comics, we seek visual interpretations of the complexity of queer existence, discourse, and theoretical concepts. We are particularly interested in submissions that comment on the relationship between
various deployments of the term “queer” and concepts of visibility, visuality, and art-as-activism. Submissions must be illustrated in comics form and can visualize, for instance, a particular interpretation of a given theorist’s concept(s), a unique
contribution to the field of queer theory, or the possible connection between comics and queer theory.
By “comics,” we loosely mean illustrated, sequential images that may or may not incorporate words and may or may not be bounded within panels or other boundary markers. We invite submissions from individuals in all academic disciplines, regardless of
their level of experience with comics or illustration “skills.” Further, submissions will be welcomed from non-academics, as well, and the editorial team at Sequentials will consider all submissions equally. Submissions may be of any length
and may be either a large, single image or a series of “pages” to be displayed sequentially. All submissions will be blind reviewed by the Sequentials editorial team.
We strongly encourage contributors to consider how the comics form can interpret, envision, or reflect meanings associated with the given topic.
2018 Michigan State University Comics Forum
Michigan State University
February 23–24, 2018
Individual submissions require a 250-word (maximum) abstract of the topic as well as name and affiliation. Panel sessions require one 250-word abstract for the overarching topic and a unique abstract for each presenter’s specific topic, including name
and affiliation, e-mailed together. Roundtable proposals should include a 250-word abstract that includes an explanation of the topic and the names and affiliations of the participants.
Due to the visual nature of the comics medium and diverse community engagement in the Forum, we ask that all presentations integrate visual content. Panel presentations should be .ppt, slides, .pdf, or .presi, and on USB or accessible online.
Submissions from a broad range of disciplines are encouraged; however, presentations must be focused on the medium of comics. The MSU Comics Forum is seeking a multitude of perspectives that represent the diversity of comics and the medium’s social, literary,
artistic, and theoretical contexts.
The City: Images and Imaginaries
Universidad Carlos III, Madrid, Spain
March 12–15, 2018
Proposals will be sent to the Conference Organizing Committee for their possible acceptance through the platform set up on the The City: Images and Imaginaries website. Authors are requested to include in their proposals an abstract with a maximum length of 400 words and a short biography of up to 150 words.
Cities are probably the model par excellence of modern social organization. A diachronic look allows us to recognize the existence of different ways of understanding, thinking about and experiencing cities. However, these constant processes have shown
how the pace of urban transformation has increased exponentially in recent decades, at least in appearance, and the extent to which the new designs have created many of the new challenges and apprehensions that characterize our societies. In this
respect, cities such as Las Vegas, Tijuana, Beijing, and Mexico City have not only distanced themselves from the Greek model of the city, but have also permanently called into question all the operational mechanisms of the known social order. Without
necessarily traveling to these large population centers, which would even call into question the term “city,” and considering urban models that are very different and of varying sizes, the truth is we can make an effort to understand what the common
traits and distinguishing elements of the cities we inhabit and imagine might be, including the degree to which they determine the living conditions of their denizens.
This Conference aims to offer a diverse view of representations of cities. Such a view begins with the artistic perspective, but it is not far removed from technical perspectives, from the historical to the urban. It also addresses, from a cross-disciplinary
approach, what modern cities are and the multiple relationships that are established among or imposed on the individuals who live in them: hybridization, clandestine nature, belonging/rootlessness, solitude, happiness, suffering, etc. These representations
necessarily not only adhere to an esthetic order, but also implicitly or explicitly entail a political theory, or at least an ethical bias, which takes into account different realities such as the distribution of common and private spaces, the growing
obsession with security or the configuration of transportation networks, and urban boundaries, among others.
This conference aims to study the city by focusing on the following central concepts and their corresponding sub-themes:
This sub-theme will reflect upon the different ways modern cities have adapted, and the location and function of each of their parts in the global configuration, forming a system that determines and molds the life of their inhabitants.
The aim is to extract from the specifics the global picture that gives meaning to the form by addressing the conceptual design of cities and the different aspects and phases of their conception. The city is viewed as a collaborative project that has evolved
chaotically and accidentally, like a palimpsest, but which responds to planning whose ramifications are in many cases ideological.
Cities are like palimpsests historically constructed. This sub-theme focuses on the legacy of the past: how does gentrification affect, embellish or hide the historical aspect of cities? Is the postmodern city a continuation of—or break from—the modern
city? How do today’s cities respond to their own history?
The city is a primitive structure of social organization that is the backbone of our identity. Studying cities also requires delving into their forms of organization, along with analyzing what the ways of belonging to the broad repertoire of urban communities
involve. This laboratory of political dialogue is the place to examine in the present how the citizenry of the future is being created.
Is the city a space that confers identities? Urban spaces not only give visibility to certain identities but also hide others. This sub-theme invites research papers and studies about the intrinsic relationship between urban spaces and gender, class or
Issues related to the environment usually present the city as responsible for its deterioration, forgetting that cities represent a somewhat more complex ecosystem. This sub-theme conceives of cities as spaces where experimentation with measures and designs
makes it possible to find a more sustainable model of society.
Audiovisual representation of cities is a mechanism for the creation of meanings. This sub-theme considers studies about the representation of cities in films, radio, television and digital audiovisual media, ranging from the analog era to the culture
of convergence of digital media, and from historical reconstructions to the spontaneous images of YouTube and social networks.
How do the visual arts confront the challenge of cities? This sub-theme considers research about this contribution of visual artists’ past and present. It addresses different topics of research, from architecture, painting and sculpture to advertising
images, photography, design, comics, and graffiti.
The (post)modern city has produced great works of fiction in which the author’s personality intermingles with the visions of their characters. It is important to reflect upon how the written arts face the challenges of cities, not only through fiction,
but also other forms such as reports, comments, “tweets,” etc. This sub-theme invites research papers and studies about the representation of the city in different literary genres and sub-genres, from novels and poetry to the written press and different
Humor in America 2018
Roosevelt University, Chicago
July 12–15, 2018
The conference registration fee will be $40 for graduate students, adjunct faculty, and independent scholars, and $75 for tenure-track faculty members.
Proposals for paper presentations of 15–18 minutes should consist of a 250-word proposal and A/V requests.
Proposals for organized panels of 15- to 18-minute papers moderated by a chair should include individual 250-word proposals, an overview of 100 words, a proposed chair (not required), and A/V requests.
Each roundtable participant will speak for seven to nine minutes on a topic related to the larger theme (see below). Participants may present both a paper and participate in a roundtable, should space allow. If you wish to participate only in a roundtable,
please indicate with your submission. Please submit a title and 100-word abstract.
We welcome proposals for paper presentations and panels on any topic related to American humor and/or Mark Twain, broadly conceived. Scholars across the humanities are invited to present research on any of the following topics (or others related to humor,
comedy, laughter, etc.):
We especially welcome proposals from scholars of color, junior scholars, and independent scholars.
The Business of a Woman’s Life: Female Authorship, Celebrity, and Fandom in the Long Nineteenth Century
University of Reading, UK
March 2018 (for some reason none of the available CFP’s are more precise than that…)
We invite proposals of 300 words for 20-minute presentations relating to the conference theme. Please send your abstracts and a 100 word biographical note to organizer Evan Hayles Gledhill at firstname.lastname@example.org.
This interdisciplinary conference, to be hosted by the University of Reading in March 2018, aims to explore the wide variety of women’s engagement with literary and theatrical cultures in the long-19th century as authors, performers, and audience members.
Literary and dramatic pursuits brought women into the public consciousness not only as creators and critics, but also as fans and consumers. This conference develops the transdisciplinary perspectives of fan studies and audience engagement research
back into the pre-20th-century era. Scholars are invited from the fields of literary studies, social history, cultural studies, readership studies, book history, fan studies, and history of leisure and recreation to foster dialogues on the subject
of 19th-century female creativity.
The Future of Fandom
Transformative Works and
This special 10th-anniversary issue of Transformative Works and Cultures seeks to explore the future of fandom while looking back to its past. How might scholarship on fandom's past and present invite speculation about its future? And what might
the possible futures invoked by technological, ecological, and political discourses mean for fandom's communities and practices? Science fiction in particular—the field whose strategies spawned fandom, and the genre in which much fan activity occurs—has
used imagined futures to shed new light on the present and the past. In turn, studying where we are and where we have been allows us to imagine where we may be heading.
We invite essays that seek to historicize and contextualize fans, fan works, and fandoms across past, present, and future. Scholarship on fandom’s futures can open connections between technology and interfaces, fannish discussions and trends, fictions
of imagined futures, and cultural and political changes in order to illustrate how fandoms may be understood in their historical contexts and cultural interactions.
This issue will feature a special section, “Predictions,” that will allow fans and academics to imagine fannish futures. We particularly invite personal and creative responses, including essays from the future, documenting trends that haven’t yet come
A Study in Sidekicks: The Detective's Assistant in Crime Fiction
N/A – Essay collection
N/A – Essay collection
Please submit an abstract of 300–350 words and biography of 50–100 words to Lucy Andrew (email@example.com) and Sam Saunders (S.J.Saunders@2014.ljmu.ac.uk).
Completed essays of 7,000–8,000 words will be due by Monday, June 4, 2018.
This collection aims to explore the changing representations and functions of the detective’s sidekick across a range of forms and subgenres of crime fiction from the 19th century to the present day. Forms may include: magazine short stories, serial or
non-serial novels, “penny dreadfuls,” juvenile story papers, dime and half-dime novels, comics and graphic novels, radio drama, stage plays, film and television, and video games. Genres may include: sensation fiction, the locked-room mystery, Golden
Age detective fiction (including the clue puzzle and the hard-boiled detective novel), the police procedural, historical crime fiction, supernatural crime fiction, the serial killer thriller, and the psychothriller.
The Urban Weird
University of Herfordshire, UK
April 6–7, 2018
Abstracts (200–300 words) for 20-minute papers or proposals for two-hour panels, together with a 100-word biography, should be submitted by January 1, 2018, as an e-mail attachment in MS Word document format to all of the following:
Please use your surname as the document title. The abstract should be in the following format:
Panel proposals should include
The conference will explore the image of the supernatural city as expressed in narrative media from a variety of epochs and cultures. It will provide an interdisciplinary forum for the development of innovative and creative research and examine the cultural
significance of these themes in all their various manifestations. As with previous OGOM conferences, from which emerged books and special issue journals, there will be the opportunity for delegates’ presentations to be published. The conference organising
committee invites proposals for panels and individual papers.
American Literature Society: Off and Off-Off Broadway
Hyatt Regency, San Francisco
May 24–27, 2018
Please send abstracts to firstname.lastname@example.org and email@example.com.
Call for papers discussing the birth of Off-Broadway in the postwar decades, important Off-Broadway plays and playwrights, Off-Broadway-Broadway crossovers, the importance of Papp and the Public Theater, the Obie Awards, notable Off-Off New York playhouse
(La Mama, Caffé Cino) and regional theater productions, 1945–75.
Comparative Drama: Text and Presentation
Rollins College, Orlando
April 5–7, 2018
The 2018 pre-registration fees (through March 6, 2018) are as follows:
For those who wish to register after March 6, 2018, or at the conference, the fees increase to $145 (faculty)/$110 (grad student), $90 (Non-presenter Session chair), $80 (guest), and $50 (student guest) respectively.
Scholars and artists in all languages and literatures are invited to e-mail a 250-word abstract in English to Dr. William C. Boles at firstname.lastname@example.org. Pre-organized panels and roundtables will also be considered.
A pre-organized panel should include three papers. Each paper should be 15 minutes in length. Panel proposals should include
The panel organizer should e-mail the abstracts and rationale to email@example.com.
roundtable should include at least four participants. Roundtable proposals should include
Those proposing a
staged reading should submit the play’s title, character list, a 200-word summary of the play, a 100-word rationale for staging a reading of the play at this conference, and an exemplary scene or act in Word document form to firstname.lastname@example.org.
The Comparative Drama Conference is an international, interdisciplinary conference founded by Dr. Karelisa Hartigan at the University of Florida in 1977. Every year, approximately 175 scholars are invited to present and discuss their work in the field
of drama, and two new plays receive a staged reading. The conference draws participants from both the humanities and the arts. The papers delivered range over the entire field of theater research and production. Over the past 40 years, participants
have come from 32 nations and all 50 states. Each year a distinguished theater scholar or artist is invited to address the participants in the keynote event.
The Annual Scholars’ Conference on the Holocaust and the Churches
University of Texas, Dalls
March 3–5, 2018
Please e-mail presentation proposals to email@example.com with “ASC Proposal” as the subject. The proposal should include the title of the paper with a short abstract of 250–500
words and the presenter’s bio or CV. Proposals may be for a panel, roundtable, or individual paper.
The Ackerman Center for Holocaust Studies is proud to announce that the University of Texas at Dallas is the new home of the Annual Scholars' Conference on the Holocaust and the Churches (ASC). The Ackerman Center invites you to join fellow scholars March
3–5, 2018, as we continue the important legacy established by Franklin H. Littell and Hubert G. Locke nearly 50 years ago. This conference offers the opportunity to address the historical significance of the Holocaust through scholarship that is interfaith,
international, and interdisciplinary. The ASC provides an invaluable forum for scholars to discuss and advance Holocaust research, ensuring the valuable lessons of the Holocaust remain relevant for today’s world.
The central theme of the 2018 ASC is “Critical Moments in the History and Memory of the Holocaust.” Next year marks significant anniversaries of several pivotal moments in the history of the Holocaust, including Hitler’s coming to power in 1933, Kristallnacht
in 1938, and the Warsaw Ghetto Uprising in 1943. These anniversaries are critical moments in the unfolding of the Nazis’ endeavor to exterminate the Jewish people and provide timely lenses through which to revisit the Holocaust. The ASC invites proposals
that explore these events and others that may lie outside these anniversary events of 1933, 1938, and 1943, as well as papers that more generally address the memory of the Holocaust.
Ecofictions and Ecorealities of Latin America and the Hispanic/Latinx Worlds
N/A – Edited Volume
Abstracts (400–500 words) and brief bio should be submitted by November 20 to Ana Maria Mutis (amutis@
trinity.edu), Elizabeth Pettinaroli (firstname.lastname@example.org), and Ilka Kressner (email@example.com).
We invite contributions to an edited volume on comparative ecocritical studies of Latin American writing, film visual art, and performance that address the topic of ecological violence. How do writers, filmmakers, visual, performance artists, and practitioners
of other forms of material culture conceptualize, visualize, and describe ecological vulnerability and insecurity? What are their strategies to convey the acts of violence on the environment that, as Rob Nixon explains in his definition of “slow violence,”
are all too often invisible because they are “dispersed across time and space”? Which forms of expression are chosen, alongside and beyond conventional genres, to help apprehend ecological destruction and threats? And how do certain vernacular expressions
and agencies position themselves in relation to international organizations that operate in the region?
The volume will bring together examinations of diverse artistic strategies that look into the precariousness of human‒non-human relationships and peril of ecocide from a Latin American viewpoint. In particular, we seek contributions on environmental destruction,
threats, and aftermaths of catastrophes that occur gradually over long periods of time and might go unnoticed, during what Edward Said termed the “normalized quiet of unseen power.” Ecocriticism challenges the fundaments of modern humanism, and highlights
the dense web of material relations into which we are enmeshed. Such a stance has deep implications on perceptions of locale, notions of the self and the other, and cognition (oftentimes envisioned to be embodied, collective, and relational). Contributions
may include theoretical and vernacular approaches to assess the material relations portrayed in the works chosen, specifically in light of existing critical discourses that emerged mostly in the Global North (posthumanist, phenomenological or new
materialist studies, queer ecocriticism, and postcolonial thinking, among others) as well as contestations to Western frameworks and worldviews. This book fathoms the breath of creative imaginings and critical strategies proposed in fiction, film,
visual, and performative arts from Latin America, including vernacular approaches, to enrich contemporary ecocritical studies during our era of resurgent imperialism.
Rethinking Nature: Literary Studies in an Age of Ecological Crisis
University of Ottawa
March 9–11, 2018
Please submit proposals of 250–350 words along with a brief (150 words) bio to firstname.lastname@example.org.
This conference will consider how writers in different historical periods have used literary form to respond to changing environmental realities and the ways literary texts in different times and places have both recorded and shaped the non-human world
and our perceptions of it. We hope to explore how literary studies should respond to the current renewed sense of ecological crisis, to challenge the binary opposition between the so-called human and natural worlds, and to consider how literary studies
can help foster alternative frameworks and more environmentally conscious epistemologies.
From the recurring medieval allegories of Nature to the Romantics’ idealization of the pastoral to the rise of ecocriticism, the relationship between humans and the rest of the more-than-human world has been an ongoing site of debate and conflict. For
instance, in his apocalyptic poem “Darkness” (1816), Lord Byron responds to the Year Without a Summer and imagines a world that is “Seasonless, herbless, treeless, manless, lifeless— /A lump of death—a chaos of hard clay” to suggest that a collapse
of the ecosystem can only result in the destruction of human relations. In recent discussions about the Anthropocene era, questions of our own place in the natural world seem evasive, and the once held promise of modernity based on technological progress
and human exceptionalism has become unsustainable. Responding to current ecocriticism, Timothy Clark asks, “how far a change in knowledge and imagination entail[s] a change in environmentally destructive modes of life” (18). What are we missing when
we segregate ecological concerns from our pursuit of human development and technology? How has this segregation influenced the ways we understand and interact with nature? How have our interactions with the more-than-human world been shaped through
innovative thinking and sensibilities throughout history? We welcome submissions from students, professors, and independent scholars in all disciplines. We also invite submissions for academic posters, creative writings, and performances.
Contested Modernity: Place, Space, and Culture
N/A – Online journal
Please send inquiries to email@example.com. Final essays of 6,000–10,000 words, five to eight keywords, an abstract, and a brief bio will be due on February 15, 2018. Manuscripts should
follow the latest edition of the MLA Handbook for Writers of Research
Papers. Except for footnotes, which should be single-spaced, manuscripts must be double-spaced in 12 -point Times New Roman. Please consult our style
Among the challenges to Modernity is the contested nature of space and place, both real and imagined, the lived landscapes and built environments and border areas where our economic and political transactions take place, where we educate our youth and
heal our sick and profess our various faiths. Political priorities, class differences, gender relations, and historical factors all have an impact on the construction of spaces and places, and invest these with meaning that in turn affects the ways
in which we experience and recreate the world. The consequences of transnationalism and globalization are particularly apparent in the urban landscapes of Asia, for example.
For Concentric’s September 2018 issue, we invite submissions from a range of disciplines including literature, archaeology, architecture, urban geography, the visual and creative arts, philosophy, and politics. We particularly welcome papers
that discuss the use of space and place in Taiwan and modern Asia in general, as depicted in film, literature, and other media.