She-Wolf

Interview with Graeme Reynolds

2012-01-23T19:54:00.003Z

Graeme Reynolds' first novel, High Moor (a werewolf novel set in the North East of England), came out in November 2011. I’ll be reviewing the book soon, but, in the meantime, I caught up with Graeme to talk writing, werewolves and publishing…

She-Wolf: Hi Graeme. Thanks for talking to us. Why don’t you start by telling us a little bit about yourself…

Graeme Reynolds: I’m originally from the North East of England, but moved to the Bristol area when I was 18, with the RAF. After a brief military career that lasted a whole year and a half, I stayed in the area. These days I break computers for money, and I moved into an isolated smallholding in Wales last year, in readiness for the inevitable zombie apocalypse. I’ve been writing for just over three years, and some people even like my work. My first novel, High Moor, came out in November.

SW: Tell us a bit about High Moor – what’s the book about?

GR: The book is split into three parts. The first part is very much a coming of age story, set in North East England in 1986 and also conforms more closely to the “classic” werewolf tale. The children in the first part have to deal with some pretty traumatic events, and that sets things up for the rest of the book.

Part 2 is very much about coming to terms with change. In this instance, it’s about how the characters deal with loss, and how their lives change as a result of the events in the first part of the novel. Specifically, how a family reacts to the fact that their ten year old son is now a werewolf. I like to think of part 2 as being the “what happened next?” part of the book.

SW: Sounds intriguing. What about the third part?

GR: The last section takes place in 2008, and the theme is how your past actions can have unforeseen consequences, sometimes years later. John, the main character returns to High Moor after a long absence, when he hears reports of what could be another werewolf in the town. He races against time to find the beast before the next full moon, when he will turn into a werewolf himself.

SW: So how did you get started in writing?

GR: Writing is something that I always wanted to do, but never really got around to. I used to write horror based role-playing games in my teens and twenties, and had a couple of false starts where I would write a chapter of a novel then consign it to the bin because I wasn’t happy with it. Then, in 2008 I discovered flash fiction and wrote about 30 or so short stories that were published in a few electronic and print venues. I started High Moor not long after I started writing shorts, but it sat gathering dust for a while. All things considered, that wasn’t a bad move in the end, because it gave me time to learn the craft, try different styles on and develop my own voice.

SW: Where do you get your inspiration from?

GR: High Moor was inspired by events in my childhood. There were reports of a big cat in the area, attacking livestock in fields. There were some sightings, and even a photograph of “The Durham Beast”, and we had the police coming into schools, warning us not to go into the woods alone. I was around the same age as the characters in the book at the time, and it left a lasting impression on me.

SW: So is High Moor a bit autobiographical then?

GR: There is an awful lot of autobiographical stuff mixed in with part 1, in terms of what the kids get up to. My mother has already chastised me for a scene involving the school VCR.

SW: So there are a few stories from your childhood then?

GR: One scene in particular – the climax of part 1, has been with me for years. I remember being at a scout camp and being told around a campfire, under a full moon, about a book that had a werewolf attacking a cub scout camp. I got so scared that I packed my stuff and walked home at 2 in the morning. It turned out later, when I read the actual book, that none of that stuff happened, and it was just kids being nasty. That mental image of that scene stayed with me though, and that was in many ways, the starting point for me when I sat down to write High Moor. It’s been a story that I’ve wanted to tell since I was ten years old.

SW: Tell me a bit about the werewolves in High Moor. Did any particular traditions inspire you?

GR: I started off with the standard, common and garden wolf man stereotype, and found in many ways, the twist to the mythology that I came up with grew organically from the story. I’ve always loved the fact that werewolves very much represented man’s struggle with the bestial part of his nature. I tried to really build on that, so while there is only one “curse” as such, depending on the mindset of the individual, they become a different type of monster.

SW: So what sort of werewolves do they become?

GR: The classic wolf man is called a moonstruck in the story. These are the people that fight against the wolf and keep it suppressed. When the moon is full, the wolf becomes too powerful and they change, but because they fight it, they end up caught between man and beast. All pain, rage and instinct.

The afflicted that accept the wolf side of them become more fully wolf, and retain their personality and intellect. The two sides work in harmony, although even in human form, they have strong wolfish instincts as they are in a symbiotic relationship with their animal side.

The last type is somewhere between the two. When a victim gives themselves over to the wolf. They retain their intelligence to an extent, and can change at will, but even in human form, they are more animal than person.

SW: There’s been a bit of a boom in werewolf fiction lately, why do you think they’re so popular?

GR: I think that werewolves have always been popular. A great deal of the recent interest comes from the paranormal romance genre, where the werewolves are considered primarily as a love interest for a human character. The same thing happened with vampires, and while it may make for a nice teenage fantasy, it gets away from what is interesting and frightening about the monster, taming it, if you like.

There are more horror themed werewolf stories coming out as well, though. Maybe with vampires and zombies saturating the market, people are turning back to the werewolf as another option. I can only hope that it continues, and we get some real quality werewolf fiction coming out. There are not that many truly great werewolf novels, when compared to other sub genres. Not that I have found anyway. It’s about time there were more.

SW: You have some female werewolves in your book – tell me a bit about writing them.

GR: I have a couple, but the main female werewolf character was very different to write than the others. She’s probably the most assured character in the book – certainly the most comfortable with herself. She has a playful, tender and quite mischievous side to her, but has her own agenda and won’t think twice about making a mess of anyone that gets in her way. By the time I finished the book, she was probably my favourite character. She’s almost certainly going to be the main protagonist in the second book.

SW: Was she any harder to write than the male werewolves?

GR: In some ways, she was the easiest to write, but also the most frustrating. She had an uncanny knack for turning my plot on its head and ruining my chapter plans, because she would go off and do something that I’d never even considered. It’s strange when things like that happen, but also great.

SW: Outside of your own (of course), who’s your favourite female werewolf?

GR: While I’ll always have a soft spot for Kelly Armstrong’s Elena, my favourite she-wolf has to be Laura Greenacre, from Thomas Emson’s brilliant Maneater and Prey novels. She’s smart, withdrawn in many respects, but is absolutely loyal and vicious when she needs to be. Both books are among my favourite pieces of werewolf fiction, and Laura’s character is a big part of that.

SW: Let's talk about publishing. Once you’d finished writing High Moor what happened next?

GR: When I started High Moor, I was intending to go down the traditional publishing route. Unfortunately, the more I saw of traditional publishing, the less I liked the idea. I’ve met people who have sold 100,000 copies of a book and made almost no money from it. I’ve also spoken to people who have been given a dreadful cover by the publisher that has hurt their sales. I wanted to retain creative control over the book. I’m proud of it and didn’t want an editor chopping out the interesting parts to make it fit a niche.

SW: You started your own small press to publish your novel. Tell me a bit about that decision.

GR: The decision to form Horrific Tales Publishing came fairly easily. I understood enough of the market to know broadly what else I needed to do once the book was finished (little things like paying a cover artist and getting a professional editor involved). As I started getting these things done, the costs started mounting up and it occurred to me that, as I’m intending to start a business (albeit with one product) I might as well run it like a business. That way I can put things down as a business expense, for example. Also, while people will read something that a small press has put out, they won’t always consider something that’s “self published”. There is still a great deal of stigma attached to the term, and people who submit their first draft to Amazon without so much as proof reading it are not helping.

It could all go horribly wrong, of course, and I may have to eat my words and go crawling to a traditional publisher if no one buys it, but for now, I’m happy with my choices.

SW: Will Horrific Tales be publishing any more titles?

GR: There is a chance that I’ll expand into publishing other people’s stuff. I have a couple of writer friends that have some great books in progress, and it may be that, because I’ve dealt with a lot of the paperwork and other business parts, that they may want me to put their stuff out through the imprint as well. It all costs money, though, and takes a lot of time, that will invariably take me away from my writing. I’ll have to see how it goes.

SW: And what about a sequel to High Moor?

GR: I’ve already started on the sequel, and there is an “in continuity” short story out in an enhanced eBook anthology called Tooth and Claw through Liquid Imagination Publishing. I’m hoping to have the sequel out by the end of 2012, and at the moment, I’ll probably publish that one through HTP as well. There are going to be at least three books in the High Moor series, maybe more. I’ll have to see where the story takes me after the first three.

SW: What sort of books do you enjoy reading? Any favourites from the last year?

GR: I’ve had a very werewolf centric year. I started off with Wolfen, by Whitley Streiber, which scared me as much a second time around as it did when I first read it as a child. Then I read the fantastic The Wolf’s Hour by Robert McCammon. It’s an amazing novel – especially the parts dealing with Michael’s life in the forest as a newly turned werewolf. It’s not really horror, but it’s one of my favourite reads of the year. This week I finished The Last Werewolf, by Glen Duncan. Parts of the book blew me away. Other parts went on a bit, I thought, and I wasn’t keen on the ending. Finally, today, I finished a book called The Squirrel who Dreamt of Madness. It’s a very odd book, but hilarious in places and quite thought provoking in others.

SW: How about films? Any favourite werewolf films?

GR: Decent werewolf films are few and far between. American Werewolf in London and The Howling remain the all time classics. I loved Dog Soldiers and liked a few of the Ginger Snaps series - especially the one set in the Middle Ages [ed. – Ginger Snaps Back, actually set in 19th-century Canada]. Other than that, I would struggle to think of any really good ones, although I did enjoy The Wolfman remake. I just wish that they’d stuck to practical effects instead of the CGI.

SW: I always ask this question…vampires or werewolves?

GR: Do you have to ask? Werewolves all the way. I mean, what is scarier – some angst-ridden walking corpse that seduces teenage girls, or a seven foot tall mass of muscle, claws and primal rage? No competition really.

SW: Thanks for chatting to us Graeme. Best of luck with the book.

High Moor is out now for Kindle (UK and US) and in paperback in the US. The UK paperback is planned for early 2012, as are other eBook formats.

The first five chapters of the book are available for free on Graeme’s website.

OUT NOW: Variant Spelling by Hannah Kate

2012-01-23T15:52:00.005Z

My debut poetry collection is now available from Hic Dragones and Amazon, priced £6.99.

Here's what the publisher has to say about me:

Hannah Kate is a North Manchester-based poet, author and editor. Her work has appeared in a number of local and national magazines, as well as an anthology published by Crocus Books. She is a freelance teacher of English, Maths and Creative Writing, and reviews genre fiction and academic writing for a number of organizations. This is her first full-length collection of poetry.

And here's what the blurbs say:

“Delicate and strong, Hannah’s words beautifully communicate the impossibilities of communication. She explores the subtexts of what we do with our language in ways that will resonate with anyone who finds their own feelings and intents too big for semi colons.” Dominic Berry, Poet

“The poems in Variant Spelling evoke a North in revolt; a place of abandoned dyeworks, soot, winter, granite and grease. Through the ‘shifting vowels’ of the title poem they celebrate a world at odds with the imposed culture of the South. It is at its most rebellious in Praise God, where Hannah ‘praises the God of the North’, a place where the ‘air hangs with burning witches’.” Rosie Lugosi, Poet and Performer

I've blogged about the collection on my creative blog, and there's a sample poem up there. But here's another one - hope you enjoy!

Sir Ywain

On the wood on the bracket
of a cathedral seat,
there’s a picture of a knight
dressed for battle.

On second thoughts

he looks as if he’s already been fighting
for a long, long time.
He looks like he’s wounded his foe.

But the knight isn’t going to win this one,
because a portcullis has fallen,
missing his body
but carving his horse in half.

Poor knight.

Without a horse he won’t be able to fight.
Without a fight he won’t be able to win.
It looks like
he’s going to lose this battle.

But then again

the picture of the knight
on the wood on the bracket
of a cathedral seat
is just a picture of a man
sitting on half a horse.

Variant Spelling is available now, from Hic Dragones.

CFP: Insular Books: Vernacular Miscellanies in Late Medieval Britain

2012-01-20T11:58:00.002Z

Location: The British Academy
Dates: 21-23 June 2012
Organizers:
Dr Raluca Radulescu (Bangor University) and Dr Margaret Connolly (University of St Andrews)

Funded and hosted by the British Academy, this conference brings a new and multi-disciplinary focus to the late medieval miscellany, a little-investigated and poorly understood type of manuscript. The main aim of the conference is to foster academic interest in vernacular manuscript miscellanies from the period 1300-1550 written in a mixture of medieval languages (English, Anglo-Norman, Welsh, Scots). Attention will be paid to the interactions between literary and non-literary texts in miscellanies, and to evidence of exchange between different communities, including dialogue across the Welsh and Scottish borders. A main objective is to achieve agreement in the area of taxonomy; at present there is no agreed definition of the medieval miscellany which is treated variously by specialists in different disciplines and by
cataloguers. The discussion will thus address four main inter-related concerns:

• how to achieve a definition for the miscellany which distinguishes it from other mixed-content manuscripts (anthologies, collections, composite volumes);
• how to make manuscript miscellanies and their textual contents accessible to modern readers, including scholars, students, archivists, and general readers;
• how to develop a coherent scholarly methodology for dealing with volumes whose contents are intrinsically multidisciplinary and interdisciplinary;
• how to understand and represent the complex relationships between manuscript miscellanies.

The list of confirmed speakers includes: Prof. Derek Pearsall, Dr Ceridwen Lloyd-Morgan (Universities of Cardiff and Bangor), Prof. Wendy Scase (University of Birmingham), Dr Helen Deeming (Royal Holloway, University of London), Prof. Ad Putter (University of Bristol), Prof. Diane Watt (Surrey University), Dr Sue Niebrzydowski (Bangor University), Dr Phillipa Hardman (University of Reading), Dr Marianne Ailes (University of Bristol), Dr Tony Hunt (St Peter’s College, Oxford), Dr Dafydd Johnston (Centre for Advanced Welsh and Celtic Studies, Aberystwyth), Dr Anne Parry (Aberystwyth University), Dr Sara Elin Roberts (Bangor University), Dr William Marx (University of Wales, Trinity St David’s), Dr Carrie Griffin (Queen Mary University of London), Dr Andrew Taylor (Ottawa University), Dr Carol Meale (University of Bristol), Dr Deborah Youngs (Swansea University), Dr Katherine Olson (Bangor University), as well as the two co-organizers.

The organizers are happy to receive additional proposals for 20 minute papers which focus on any of the four areas of interest outlined above. Please send an abstract (maximum 150 words) to the organizers by 15 January 2012.

Some bursaries will be made available to doctoral students and early career researchers in financial need (an application form will become available on the conference website at the British Academy).

GUEST POST: Laura Vivanco

2012-01-05T12:16:00.004Z

From the Middle Ages to Harlequin/Mills & Boon Romance

The publication of For Love and Money: The Literary Art of the Harlequin Mills & Boon Romance marks a significant stage in my transformation from a medievalist into a scholar of popular culture. My time spent with medieval literature has, however, shaped my approach to, and my expectations of, literature. As a result, I was unconvinced by many of the criticisms I encountered of Harlequin/Mills & Boon romances. In the face of Ann Barr Snitow’s confident statement that descriptions of clothing are “the number one filler in Harlequins” (249), for example, and Janice Radway’s opinion that

The clothes described [...] almost never figure significantly in the developing action. Instead, the plot is momentarily, often awkwardly, delayed as the narrator accidentally notices seemingly superfluous details for the reader. The details, however, are not really superfluous at all. They are part of an essential shorthand that establishes that, like ordinary readers, fictional heroines are “naturally” preoccupied with fashion. (193)

I was unavoidably reminded of the importance of colour symbolism in many medieval works. As Harriet Goldberg has observed,

In sentimental romances and other courtly works, architectural marvels, banners, shields, gowns, tunics and hose are colourful embellishments. Their colour was often the bearer of extra meaning. [...] Although some authors explained their chromatic imagery, others did not, relying on a chromatic awareness shared with their readership. (221)

It therefore occurred to me that perhaps the critics’ low opinion of modern romances was based on a lack of understanding of the conventions which modern romance authors “shared with their readership.” And so, instead of accepting that “Any history of the romance will in one sense be a record of decadence. The works now popularly called ‘romances’ are usually sub-literature” (Beer 1), I began to look at them more closely. As I did so, I discovered topoi such as the locus amoenus and the hunt of love, familiar to me from reading medieval texts. There were also explicit and implicit references to chivalric romances which support Peter Swirski’s argument that

popular literature created for the mass enjoyment of mass readership may be as true a medium of literary artistry and aesthetic continuity as the canon, circulating and recycling plots, narratives, and characters that have proven their enduring worth. [...] Its predilection for well tried formulas and its penchant for recycling may, at the end of the day, be a good way to preserve the great motifs of literature for new generations of readers. (64)

I’d like to think that one can take both a scholar and romances out of the Middle Ages, but you can’t entirely remove traces of medievalism from either of them.

------

Beer, Gillian. The Romance. The Critical Idiom, 10. 1970. London: Methuen, 1977.

Goldberg, Harriet. “A Reappraisal of Colour Symbolism in the Courtly Prose Fiction of Late-Medieval Castile.” Bulletin of Hispanic Studies 69.3 (1992): 221-37.

Radway, Janice A. Reading the Romance: Women, Patriarchy, and Popular Literature. 1984. Chapel Hill: U of North Carolina P, 1991.

Snitow, Ann Barr. “Mass Market Romance: Pornography for Women is Different.” Radical History Review 20 (1979): 141–61. Rpt. in Powers of Desire: The Politics of Sexuality. Ed. Ann Snitow, Christine Stansell and Sharon Thompson. New York: Monthly Review P, 1983. 245–63.

Swirski, Peter. From Lowbrow to Nobrow. Montreal & Kingston: McGill-Queen's University Press, 2005.

CFP: 1st Global Conference: The Graphic Novel

2011-12-24T12:30:00.003Z

Friday 7th September 2012 – Sunday 9th September 2012

Mansfield College, Oxford, United Kingdom

“Behind this mask there is more than just flesh. Beneath this mask there is an idea… and ideas are bulletproof.” - Alan Moore, V for Vendetta

Call for Papers:

This inter- and multi-disciplinary conference aims to examine, explore and critically engage with issues in and around the production, creation and reading of all forms of comics and graphic novels. Taken as a form of pictographic narrative it has been with us since the first cave paintings and even in the 21st century remains a hugely popular, vibrant and culturally relevant means of communication whether expressed as sequential art, graphic literature, bandes dessinees, tebeos, fumetti, manga, manhwa, komiks, strips, historietas, quadrinhos, beeldverhalen, or just plain old comics. (as noted by Paul Gravett)

Whilst the form itself became established in the 19th Century it is perhaps not until the 20th century that comic book heroes like Superman (who has been around since 1938) became, not just beloved characters, but national icons. With the globalisation of publishing brands such as Marvel and DC it is no accident that there has been an increase in graphic novel adaptations and their associated merchandising. Movies such as X-men, Iron man, Watchmen and the recent Thor have grossed millions of dollars across the world and many television series have been continued off-screen in the graphic form, Buffy, Firefly and Farscape to name a few.

Of course America and Europe is not the only base of this art form and the Far East and Japan have their own traditions as well as a huge influence on graphic representations across the globe. In particular Japanese manga has influenced comics in Taiwan, South Korea, Hong Kong, China, France and the United States, and have created an amazing array of reflexive appropriations and re-appropriations, in not just in comics but in anime as well.

Of equal importance in this growth and relevance of the graphic novel are the smaller and independent publishers that have produced influential works such as Maus by Art Spiegleman, Persepolis by Marjane Satrapi, Palestine by Joe Sacco, Epileptic by David B and even Jimmy Corrigan by Chris Ware that explore, often on a personal level, contemporary concerns such as gender, diaspora, post-colonialism, sexuality, globalisation and approaches to health, terror and identity. Further to this the techniques and styles of the graphic novel have taken further form online creating entirely web-comics and hypertexts, as in John Cei Douglas’ Lost and Found and Shelley Jackson’s Patchwork Girl, as well as forming part of larger trans-media narratives and submersive worlds, as in the True Blood franchise that invites fans to enter and participate in constructing a narrative in many varied formats and locations.

This projects invites papers that consider the place of the comic or graphic novel in both history and location and the ways that it appropriates and is appropriated by other media in the enactment of individual, social and cultural identity.

Papers, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to (but not limited to) the following themes:

* Just what makes a Graphic Novel so Graphic and so Novel?:
~Sources, early representations and historical contexts of the form.
~Landmarks in development, format and narratology.
~Cartoons, comics, graphic novels and artists books.
~Words, images, texture and colour and what makes a GN
~Format, layout, speech bubbles and “where the *@#% do we go from here?”

* The Inner and Outer Worlds of the Graphic Novel:
~Outer and Inner spaces; Thoughts, cities, and galaxies and other representations of graphic place and space.
~ Differing temporalities, Chronotopes and “time flies”: Intertextuality, editing and the nature of Graphic and/or Deleuzian time.
~ Graphic Superstars and Words versus Pictures: Alan Moore v Dave Gibbons (Watchmen) Neil Gaiman v Jack Kirby (Sandman).
~Performance and performativity of, in and around graphic representations.
~Transcriptions and translations: literature into pictures, films into novels and high/low graphic arts.

* Identity, Meanings and Otherness:
~GN as autobiography, witnessing, diary and narrative
~Representations of disability, illness, coping and normality
~Cultural appropriations, east to west and globalisation
~National identity, cultural icons and stereo-typical villains
~Immigration, postcolonial and stories of exile
~Representing gender, sexualities and non-normative identities.
~Politics, prejudices and polemics: banned, censored and comix that are “just plain wrong”
~Other cultures, other voices, other words

* To Infinity and Beyond: The Graphic Novel in the 21st Century:
~Fanzines and Slash-mags: individual identity through appropriation.
~Creator and Created: Interactions and interpolations between authors and audience.
~Hypertext, Multiple formats and inter-active narratives.
~Cross media appropriation, GN into film, gaming and merchandising and vice versa
~Graphic Myths and visions of the future: Sandman, Hellboy, Ghost in the Shell.

Papers can be accepted which deal solely with Graphic Novels. This project will run concurrently with our project on Fear, Horror and Terror – we welcome any papers considering the problems or addressing issues on Fear, Horror and Terror and Graphic Novels for a cross-over panel. We also welcome pre-formed panels on any aspect of the Graphic Novel or in relation to crossover panel(s).

Papers will be accepted which deal with related areas and themes. 300 word abstracts should be submitted by Friday 16th March 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 22nd June 2012. 300 word abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords

E-mails should be entitled: GN1 Abstract Submission

Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Nadine Farghaly
Paris-Lodron University, Salzburg,
Austria

Rob Fisher
Network Leader
Inter-Disciplinary.Net,
Freeland, Oxfordshire, United Kingdom

The conference is part of the Education Hub series of research projects, which in turn belong to the At the Interface programmes of Inter-Disciplinary.Net. It aims to bring together people from different areas and interests to share ideas and explore discussions which are innovative and challenging. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume or volumes.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

Conference Round-Up 2011

2011-12-17T15:38:00.005Z

Since 2011 is coming to a close, and everyone is writing their reviews of the year, I thought I’d offer a round-up of the academic conferences I’ve attended this year. It’s been a good year for conferences, and I’ve been to some fantastic events. This post is a taste of my year in conferences.

January

6-9 Jan: Gender and Medieval Studies: Gender, Time and Memory
University of Swansea
My first conference of the year was the annual Gender and Medieval Studies conference, held this year at the University of Swansea. The keynote speakers at the 2011 conference were Diane Wolfthal (Rice University), who spoke on serial marriage in the Middle Ages, and Elizabeth Robertson (University of Glasgow), who spoke on gender and the translation of empire. My own paper was entitled: Reading Marie de France’s Muldumarec: Blood, Masculinity and Devotion. The 2012 Gender and Medieval Studies Conference will be hosted at the University of Manchester on 11-13 January 2012. I’m on the organizing committee for the 2012 event, along with my former PhD supervisor (Anke Bernau) and one of her current PhD students (Daisy Black).

February

March

7-8 Mar: Before Man and God: Sin, Confession, Forgiveness and Redemption in the Anglo-Saxon World (MANCASS Postgraduate Conference)
John Rylands Library, Deansgate, Manchester
In 2011, the annual MANCASS postgraduate conference explored sin, penance and forgiveness in the Anglo-Saxon world, and was organized by PhD student, Chris Monk (University of Manchester). I didn’t speak at the conference, but I chaired a session on the second day, with papers on the Old English Martyrology and male sexuality in the Anglo-Saxon penitentials. As always, the postgrad conference coincided with the annual Toller Lecture, which was given this year by Professor Barbara Yorke (University of Winchester), who spoke on ‘King Alfred and the traditions of Anglo-Saxon kingship’. The 2012 MANCASS postgraduate conference will focus on domestic life and lifestyle in the Anglo-Saxon period.

After the conference closed on 8 March, a number of us headed over to the International Anthony Burgess Foundation for the launch of In Strange Countries: Middle English Literature and its Afterlife (ed. by David Matthews), a collection of essays in memory of J.J. Anderson.

11-12 Mar: ‘The Ideal Woman’: Interrogating Femininity Across Disciplines and Time
Queen’s University, Belfast
This interdisciplinary conference, exploring representations and constructions of femininity across different time periods, was organized by QUB postgraduate students to celebrate International Women’s Day. My paper was entitled: Gothic Lolitas: Infantilization and Idealization in Contemporary Teen Fiction.

17-19 Mar: Perspectives on Evil and Human Wickedness
Prague
This was the 12th annual Perspectives on Evil conference, organized by Inter-Disciplinary.Net. My paper was Her Husband’s Goods: Women, Shopping and Evil in the Later Middle Ages, and was part of a panel on women, evil and shopping I organized with independent reasearcher, Linda Maguire. I originally met Linda a few years ago at an ID.net conference on monsters, and we came up with the idea for the shopping panel at a 2010 conference on Magic and the Supernatural in Salzburg. Having spent a lot of time emailing each other about evil and shopping, it was really great to eventually bring everything together and present our papers. Unfortunately, the third member of our panel wasn’t able to make the conference, but Linda and I really enjoyed the way the session turned out. The 2012 Perspectives on Evil conference will be held on 15-17 March 2012, in Prague.

April

May

13-15 May: Evil, Women and the Feminine
Warsaw
My second ID.net conference of the year was the third annual Evil, Women and the Feminine conference. My paper was entitled: Watch Out Boy, She’ll Chew You Up: Werewolf Mouths and the Vagina Dentata. It was great to catch up with people I’ve met at previous ID.net events, especially Sorcha Ní Fhlainn and Ann Marie Cook (who is currently organizing a conference on the TV show Skins and popular culture). I also got to catch up with Simon Bacon, who I met at the De Montfort Vegetarians, VILFs and Fang-Bangers conference in 2010. EWF was also where I met Gráinne O’Brien for the first time, who is organizing the Magic is Might 2012 conference at the University of Limerick (23-24 July 2012), and Eileen Pollard, who went on to work with me on organizing the Hic Dragones Afterlife of Alice conference. The fourth Evil, Women and the Feminine conference will run 6-8 May 2012, and will be held in Prague.

I’m currently in the process of editing a dialogic collection of essays that have developed out of this conference, to be published by Inter-Disciplinary Press in 2012.

16-18 May: The Gothic: Exploring Critical Issues
Warsaw
I stayed on in Warsaw for a second ID.net conference, this time on the Gothic. My paper for this conference was: Glitter Gothic: Uses of the Past in Contemporary YA Fantasy Fiction.

Following this conference, I was asked to be guest blogger on the University of Stirling’s Gothic Imagination website.

28 May: Thought this date was worth mentioning. In June, I mark GCSE papers for one of the exam boards (something has to pay for all my conference travel, after all). Before beginning the marking, I attended the standardization meeting in Birmingham, and this year decided to combine this with meeting up with someone I’d been chatting to on Twitter, whose sister attended the She-Wolf conference in 2010. We went for dinner, fell in love, and have been together ever since.

June

4-5 Jun: Trailtrekker
Skipton
Not an academic event, but an Oxfam one. I’ve been volunteering for Oxfam since I was 16, and usually run one of the checkpoints at Trailtrekker, a sponsored 100km hike for teams of four that takes place around Skipton in Yorkshire. My role involves supervising volunteers, checking teams in as the arrive at our checkpoint and generally standing in a field for 27 hours making sure things run smoothly. I’ve stewarded at music festivals for Oxfam since 1997, but got involved with Trailtrekker when it started in 2009, as I fancied trying something a bit different.

6-7 Jun: Education and Ignorance: The Use of Knowledge in the Medieval World
John Rylands Library, Deansgate, Manchester
This was the third annual University of Manchester Postgraduate Medieval Studies conference. I chaired the first session, which was oddly ‘Katherine’ themed, with papers from Katherine Frances (on Saint Margaret of Antioch), Katherine Harvey (on episcopal elections) and Emily Dalton (on Capgrave’s ‘Life of Saint Katherine’). This was followed by the keynote paper by Carolyn Muessig (University of Bristol), who spoke on scholasticism and women’s religious education. This conference was organized by three postgraduate students from the University of Manchester: Robert Mitchell, Stephen Gordon and Daisy Black.

26-28 Jun: Can’t Buy Me Love? Sex, Money, Power and Romance
Fales Library and Special Collection of New York University
This month, I made my first ever trip to the US to attend the International Association for the Study of Popular Romance conference in New York. My paper for this conference was entitled: ‘Hit Cost a Thousand Pound and Mar’: Love, Sex and Wealth in the Fourteenth-Century Sir Gawain and the Carl of Carlisle. This was also the only conference of the year where I received some funding, getting a small travel grant from the Romance Writers of America. The conference keynote was given by Laura Kipnis. I also enjoyed papers by Ann Herendeen (author of Pride/Prejudice), who spoke on ‘The Upper-Class Bisexual Man as Romantic Hero’, and a panel by Katherine E. Lynch, Ruth Sternglantz and Len Barot (of Boldstokes Books), who spoke on contemporary lesbian romance and the queer female hero. Len Barot writes paranormal romance under the name L.L. Raand, and her alpha (Sylvan Mir) recently won ‘Best New She-Wolf’ on this site. It was also nice to catch up with Jonathan Allan, who I first met in 2010 at the ID.net Monsters and the Monstrous conference.

29 Jun: After the conference finished, I had a spare half-day to myself (not really a lot of time, since it was my first trip to New York!), so I decided to go to the Metropolitan Museum of Art for few hours before I headed off to the airport.

30 Jun: I landed in Manchester at 9am, and headed straight off to the station to catch a train to London. A couple of us had tickets for the British Museum’s Treasures of Heaven: Saints, Relics and Devotion in Medieval Europe exhibition. This was a really stunning display of reliquaries and devotional objects, with some breath-taking pieces. Also, I can now say that I went to both the New York Met and the British Museum within the same 24-hour period... I’m quite proud of that.

July

5-6 Jul: Wounds in the Middle Ages
John Rylands Library, Deansgate, Manchester
This was an invite-only workshop on wounds and wounding in the Middle Ages, organized by Cordelia Warr and Anne Kirkham from Art History and Visual Studies at the University of Manchester. I spoke on Christ, Wounds and Romance. This was, without doubt, one of my favourite academic events of the year. The range of papers was fantastic, and speakers covered early and late medieval culture, European and Arabic medicine, literary and historical sources, religious and secular material. Every paper was fascinating, but I particularly enjoyed Anthony Bale’s presentation on the circumcision of Christ.

27-31 July: Camp Bestival
Dorset
And now I took a little break from conferences to do some more volunteering for Oxfam, this time as a festival steward. My first festival of 2011 was Camp Bestival. As a side note, one of the people I was working with performs as Dolly Delicious with the Ooh La Las, who I’m hoping to book for one of the 2012 Hic Dragones events.

August

2-7 Aug: Big Chill
Eastnor Castle
After Camp Bestival, and a night’s stopover in Stroud, I headed up to Big Chill for a bit more stewarding.

24-29 Aug: Leeds Festival
Leeds
My third and final festival with Oxfam for 2011.

September

October

6 Oct: A Journey Through Wonderland: Alice in Multimedia
Portico Library, Manchester
No conferences in October, but I did attend the preview evening of the Portico’s Journey Through Wonderland exhibition, which featured various illustrations and interpretations of Lewis Carroll’s Alice novels. The exhibition was launched by Vanessa St Clair, the great-granddaughter of Alice Liddell, and was curated by librarian Emma Marigliano, who worked with me to co-promote this event with the Hic Dragones Afterlife of Alice conference (which ran the day after the exhibition closed). As well as the exhibition, the Portico also hosted a series of talks on Alice in Wonderland and its legacy, including a brilliant talk on 12 October from John Reppion and Leah Moore on their Complete Alice in Wonderland.

26-31 Oct: Bram Stoker Film Festival
Whitby
Not really a conference, but I went spent four lovely days in Whitby, and attended the Bram Stoker Film Festival. You can read my review here.

November

2-4 Nov: Vampires: Myths of the Past and the Future
IGRS, University of London
This conference, organized by Simon Bacon, explored the various manifestations of vampire myths in literature, film, history and folklore. My paper was entitled: Vampires in Those Days: Interrogating Master Narratives. This conference was quite intense, with long days filled with lots of excellent papers. It was also notable for offering the most amazing list of keynote speakers: Milly Williamson, Catherine Spooner, Ken Gelder and Stacey Abbott. I was particularly pleased to be able to meet Catherine Spooner, as her work (especially Contemporary Gothic and Fashioning Gothic Bodies) has been really influential on my own. Catherine is currently involved in organizing the Capturing Witches: Histories, Stories, Images (400 Years After the Lancashire Witches) conference, to be held at the University of Lancaster on 17-19 August 2012. As well as the four keynote papers, this conference incorporated the annual Coffin Trust Lecture (an unintentional pun), which this year was given by Sir Christopher Frayling, who spoke on ‘The Nightmare of Bram Stoker’. As well as listening to some great papers, it was nice to meet Jim Doan and Barbara Brodman (who are currently working on a two-volume collection of essays entitled The Universal Vampire) and Clemens Ruthner (who is organizing a ‘Vampires and/as Science’ conference, to be held 5-6 July 2012 at Trinity College, Dublin). And I got chance to catch up with Gráinne and Sorcha.

18-20 Nov: The Monster Inside Us, The Monsters Around Us: Monstrosity and Humanity Conference
De Montfort University
This was a three-day interdisciplinary conference, exploring monsters and monstrosity across different time periods and cultures. My paper was titled: Battle Not With Monsters: Slayers from Beowulf to Buffy, the beginning stages of a new project that I’m hoping to write up as journal article at some point in 2012. The conference was organized by Deborah Mutch (De Montfort University), and had keynote papers from David Punter (University of Bristol) and Andy Mousley (De Montfort University). Andy has recently set up an interactive website called SageBites, which offers reflections on quotations for life.

December

1 Dec: Further Adventures in Wonderland: The Afterlife of Alice
Hic Dragones, Manchester
My final conference of the year was the one I was most nervous about, as it was the first event organized by my publishing and events company, Hic Dragones. The conference was held at the International Anthony Burgess Foundation, and explored the various representations and interpretations of Alice in Wonderland that have come after Lewis Carroll’s novel. My paper was entitled: Steampunk, Cyberpunk, Whimsy: Generic Definition and Jeff Noon’s The Automated Alice. Our keynote paper was given by Will Brooker (Kingston University), author of Alice’s Adventures: Lewis Carroll in Popular Culture, and other papers covered books, films, computer games, Disneyland rides and pop music. We were also happy to have Mark Richards (of the Lewis Carroll Society) and Emma Marigliano (of the Portico Library) in attendance, as both were very supportive of the conference. I was also assisted in the organization of the event by Eileen Pollard, a PhD student at Manchester Metropolitan University.

I am planning a collection of essays based on this conference, which will expand on the topics discussed during the day.

CFP: 1st Global Conference: Skins: Exploring Critical Issues

2011-12-07T12:19:00.004Z

Tuesday 25th September 2012 – Thursday 27th September 2012

Mansfield College, Oxford, United Kingdom

Call for Papers

Now in its sixth series on E4 in the UK and first series on MTV in the US, the brainchild of father-son writing team Bryan Elsley and Jamie Brittain has gained popularity and critical acclaim for the honesty, authenticity and humour of its no-holds-barred depiction of the teenage experience. In a reflexive turn, Skins has become a cultural phenomenon whose influence is registered through its status as essential teen viewing, the Skins party craze and the tendency among fans to perceive their own identities and experiences in relation to characters and situations from the show. The richness of Skins as a televisual text supports wide-ranging explorations of the show’s aesthetic, thematic, ideological, social and technological implications.
We therefore invite papers and preconstituted panels that address any aspect of Skins, such as:

■Representations of teenage life and teen culture
■Identities: gender, class, race, sexualities (hetero-, homo-, bi-, fluid, queer, etc.)
■Death and the concept of mortality
■Mental illness/psychology/psychoanalysis
■Fandom
■Transnational reception
■Analysis of fanvids, fanfics, fanart
■Assessments of the meaning/cultural significance of specific storylines (c.f. the Naomily phenomenon)
■Plotline controversies and moral panics
■Adapting Skins for the American market
■Narrative and storytelling
■Creator/showrunner as author
■Genre analysis
■Modes of comedy
■Defining the ‘Skins aesthetic’
■Uses of inter-textuality/pop culture allusions
■Fashion
■Music
■Space and place: Bristol on screen
■Skins novels
■Acting and performance
■Cameos and guest stars
■Fame and celebrity
■Production process studies
■Technologies of production, distribution and reception in the post-broadcast era
■Skins and Channel 4/E4/MTV
■Comparative analyses of Skins and other television shows

For 2012, the Skins and Contemporary Culture project will meet alongside our project on Gender and Love It is our intention to create cross-over sessions between the two groups – and we welcome proposals which deal with the relationship between gender and love and Skins and contemporary culture. Papers will also be considered on any related theme. 300 word abstracts should be submitted by Friday 16th March 2012. If an abstract is accepted for the conference, a full draft paper of no more than 3000 words should be submitted by Friday 22nd June 2012. Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords

E-mails should be entitled: SKINS Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Ann-Marie Cook
Visiting Fellow, ARC Centre of Excellence for Creative Industries and Innovation,
Queensland University of Technology,
Australia

Dr Rob Fisher
Inter-Disciplinary.Net
Priory House, Wroslyn Road,
Freeland, Oxfordshire OX29 8HR

The conference is part of the Critical Issues series of research projects. The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.

For more information, please click here.

CFP: 2nd Global Conference: Beauty: Exploring Critical Issues

2011-12-07T11:31:00.003Z

Friday 21st September – Sunday 23rd September 2012

Mansfield College, Oxford, United Kingdom

Call for Papers:

“The first real problem I faced in my life was that of beauty,” wrote the poet-playwright- novelist Yukio Mishima, in Temple of the Golden Pavilion as he pondered beauty’s relevance, meanings, and the spell it cast over him. Beauty is complicated by the word beauty itself. Limited or overloaded, beauty has been celebrated as essential or denounced as irrelevant. The existence of beauty has been challenged, called a search for El Dorado. Some find no beauty in life, a recurring motif in subcultures, music lyrics, and the notes left by suicides. Others dismiss that perspective, arguing that common sense, experience, and multidisciplinary research reveal the reality and centrality of beauty in our lives. But what exactly is beauty? Speculations about the nature of beauty are various and contradictory. Some philosophers have argued that it will remain a mystery. Other theorists have held less modest beliefs, arguing that beauty expresses a basic spiritual reality, has universal physical properties, or is an experience and construction of mind and culture. The beauty ‘project’ will explore, assess, and map a number of key core themes.

These will include:

1. Understanding Beauty
- Defining beauty
- Theorising beauty
- Power of beauty
- History of beauty
- Politics of beauty
- Culture of beauty
- Religion of beauty

2. Experiences of and Representations of Beauty
- Pursuit of beauty
- Expressions of beauty
- Appearance of beauty
- Making beauty
- Documenting beauty
- Emotion and beauty
- Beauty and seduction
- Representing beauty in art, literature and popular culture

3. Beauty and Nature
-Beauty and the natural world
-Beauty and the Sublime
-Beauty and desire
-Science and mathematics of beauty
-Medical aspects of beauty

4. Beauty, Culture, and Identity
- Beauty subcultures
- Beauty and social stratification: gender, sexuality, class, race, ethnicity, age, etc.
- Beauty collectors
- Beauty specialists
- Beauty disciples
- Enhancing the body beautiful: cosmetics, tattoos, piercings, surgical interventions, and other forms of body modification

5. The Business of Beauty
-Beauty and consumer culture
-Beauty and cultural capital
-Beauty professions and trades
-Beauty cities
-Beauty marketing and forecasting
-Professional beauties (models, actors, celebrities, beauty pageants etc.)
-Fashion and beauty
-Glamour and beauty

6. Diminishing the Beautiful
-Beauty and transgression
-Beauty and ugliness
-Beauty and aging
-Defiling the beautiful
-Destroying the beautiful
-Beauty and death
-Beauty and decay

Papers will be accepted which deal with related areas and themes.

The 2012 meeting of Beauty will run alongside a second of our projects on Strangers, Aliens and Foreigners and we anticipate holding sessions in common between the two projects. We welcome any papers or panels considering the problems or addressing issues that cross both projects

The Steering Group particularly welcomes the submission of pre-formed panel proposals. Papers will also be considered on any related theme. 300 word abstracts should be submitted by Friday 16th March 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 22nd June 2012. Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords

E-mails should be entitled: Beauty Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Dr Jacque Lynn Foltyn
Project Leader
Professor of Sociology, Dept of Social Sciences, College of Letters and Sciences, National University, CA, USA

Dr Rob Fisher
Inter-Disciplinary.Net
Priory House, Wroslyn Road,
Freeland, Oxfordshire OX29 8HR

The conference is part of the Critical Issues series of research projects. The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

The Steam King

2011-12-04T18:22:00.003Z

Recently, I've been working as a Post-Doctoral Research Assistant on a project involving searching databases of nineteenth-century newspapers. Though it has nothing to do with the project, I've become quite enamored with the following poem by Edward P. Mead, which was originally published in The Northern Star and reprinted in Engels' Conditions of the Working Class in England. I was also pleased to see it discussed in a recent conference paper, at the De Montfort The Monster Inside Us, The Monsters Around Us conference.

If you're interested in the industrial revolution, and the ways in which some people of the time viewed it, or if you're a steampunk writer or fan, I think you'll enjoy...

The Steam King by Edward P. Mead
Originally published in The Northern Star, and Leeds General Advertiser (vol. 6, February 1843); reproduced in Engels, Conditions of the Working Class in England (1845)

There is a King, and a ruthless King;
Not a King of the poet’s dream;
But a tyrant fell, white slaves know well,
And that ruthless King is Steam.

He hath an arm, an iron arm,
And tho’ he hath but one,
In that mighty arm there is a charm,
That millions hath undone.

Like the ancient Moloch grim, his sire
In Himmon’s vale that stood,
His bowels are of living fire,
And children are his food.

His priesthood are a hungry band,
Blood-thirsty, proud, and bold;
’Tis they direct his giant hand,
In turning blood to gold.

For filthy gain in their servile chain
All nature’s rights they bind;
They mock at lovely woman’s pain,
And to manly tears are blind.

The sighs and groans of Labour’s sons
Are music in their ear,
And the skeleton shades, of lads and maids,
In the Steam King’s hell appear.

Those hells upon earth, since the Steam King’s birth,
Have scatter’d around despair;
For the human mind for Heav’n design’d,
With the body, is murdered there.

Then down with the King, the Moloch King,
Ye working millions all;
O chain his hand, or our native land
Is destin’d by him to fall.

And his Satraps abhor’d, each proud Mill Lord,
Now gorg’d with gold and blood,
Must be put down by the nation’s frown,
As well as their monster God.

CFP: 10th Global Conference: Monsters and the Monstrous

2011-12-04T12:26:00.002Z

Monday 10th September – Thursday 13th September 2012

Mansfield College, Oxford

Call for Papers:

For this 10th Anniversary of the Monsters and the Monstrous Project we are looking forward to the future, and so are starting from Franco Moretti’s comment that “the monster expresses the anxiety that the future will be monstrous.” Our focus then will be on Monsters of the Future, no matter from which time or place that future is viewed. So whether the present is Medieval, Renaissance, Enlightenment, Romantic, Modernist or Post Modernist it is the ways that, as further noted by Moretti, a “new order of beings” makes manifest the terror of an unknown and uncontrollable tomorrow and the forms these creatures take.

As such the monster becomes not the return of the repressed but an immanent Imaginary that constantly harasses and harangues the borders of the Real. Just as Grendel, Caliban, Frankenstein’s Monster, Dr. Moreau’s creatures and the clones from Blade Runner can be seen to manifest a hybrid future that blurs the borders between human/non-human, the humane and the in-humane, the converse is equally true where the tomorrow they envision is as much degenerative as it is evolutionary. Here, as in Wells’ the Time Machine, or Lovecraft’s Mountains of Madness, the future is in fact a portal to the past and that the true anxiety we feel is not for inevitable change but for a monstrous stasis that, like the vampire, will lock us forever in a never-ending present (not unlike Wittgenstein’s immortality of the never-ending moment). This then is a call for monstrous visions of the future, whether it is a new and alien land or one that is only too familiar; for the Post-Human, the Non-Human and the Anti-Human, the Robot, the Golem and the Cyborg, the Pure-bred, the Hybrid and the Mudblood, the Unborn, the Unliving and the Undead.

Papers, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to any of the following themes:

Monstrous Places/Spaces of the Future:
~The city, the town, the home of the future
~Environmental disasters, global warming, nuclear meltdowns, plagues and terra incognito
~Dystopias/utopias
~New Worlds, forgotten worlds, undiscovered worlds: Atlantis, Shangri-la, Eldorado

Human Monsters:
~Medical experimentation, cloning, reproduction
~Cyborgs, robots and inanimate bodies made real
~Hybrids, both real and supernatural, post-human and beyond human
~Evolution and degeneration
~Actual bodies and supernatural bodies.
~Monsterisation of the human body: fragmentation, surgical modification and bodies without organs

Monstrous Aliens & Alien Invaders:
~Invasions of unknown beings, conquistadors, Martians, heavenly or alien life forms
~Humans as invaders, Starship Troopers, Iain M. Banks’ The Culture
~Parasites, diseases, flora and influences

Monstrous Generations:
~The glorification of Youth, Logan’s Run and In Time
~Monstrous adolescents
~Demonic children and alien babies
~Middle-aged zombies and serial killers, possessed grandparents
~Romantacising the Monster: Paranormal Romance, dark lovers and heroes, Twilight, Vampire Diaries and Dexter.

Monstrous Politics:
~Protest, revolt and revolution
~Zombie Capitalism and undead labour
~Class, status and the aristocracy
~Post colonialism, diasporas and migration
~Ageism, sexism, health-ism and separatism e.g, District 9, Metropolis, Matrix, Daybreakers

Papers can be accepted which deal solely with specific monsters. This project will run concurrently with our project on The Erotic – we welcome any papers considering the problems or addressing issues on Monsters and The Erotic for a cross-over panel. We also welcome pre-formed panels on any aspect of the monstrous or in relation to crossover panel(s).

300 word abstracts should be submitted by Friday 16th March 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 22nd June 2012. Abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords

E-mails should be entitled: Monsters Abstract Submission

Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Sorcha Ni Fhlainn
Inter-Disciplinary.Net
School of English, Trinity College, Dublin, Ireland

Rob Fisher
Network Founder & Leader, Inter-Disciplinary.Net
Freeland, Oxfordshire
United Kingdom

Simon Bacon
Poznan,
Poland

The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume. Some papers may also be invited for inclusion in the Journal of Monsters and the Monstrous.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 1st Global Conference: Reframing Punishment

2011-12-04T12:10:00.003Z

Monday 3rd September – Wednesday 5th September 2012

Mansfield College, Oxford

Call for Papers:

The concept of punishment has a long history and diverse cultural, social and criminological meanings. Research and debate is often focused on the offender, the offence, the state and legal codification. In contrast, this project seeks to re-frame these debates in order to combine the insights they produce with broader cultural meanings, social representations and ritualistic or other activities. Therefore, the aim of the project is to develop different ways of understanding the penetration and complexity of shared understandings of punishment from a variety of perspectives, approaches and practitioner experiences. Reframing the debate might be done through papers aimed the personal or social levels. We encourage unique approaches to punishment in terms of boundary control, whether it is control of evil, the politically subversive, the economically disruptive, or punishment in pursuit of system stability or marginalisation of liminality. Papers might also cover punishment issues relating to defining the contours of disgust, desire, dread, or the abject. They may even consider the operation and consequences of both wrongdoing and various forms of societal/social punishment. Accordingly the project welcomes papers, work-in-progress and pre-formed panels from diverse areas of study such as the humanities, social sciences, business, science, law schools and the arts, as well as practitioners.

Papers, presentations, reports and workshops are invited on issues broadly related to any of the following themes:

* Cultural (including cross-/inter-cultural) notions of what constitutes punishment

* Religious/spiritual punishment, asceticism, whether self-inflicted or externally imposed

* Pain, fear and corporal punishment

* Punishment, public services and performance measurement

* Punishment and child development/child rearing

* Punishment rituals

* Punishing the body for pleasure (modification, BDSM, smoking, etc)

* Punishing the body in the name of beauty and fashion

* Representations of punishment in contemporary times and across historical periods

* Theories of punishment and deviants: What is punishment’s purpose? Ideal methods? Is punishment limited to humans? What about animals or nature, and in some societies, why is imprisonment such a key form of punishment?

* Proportionality, materiality and other concepts used to administer punishment(s)

* Shame, forgiveness, vengeance, retribution and punishment

* The limits of punishment: whether controlled by the state, institutions or groups, including sports groups, cults, gangs, the military, etc.

* Shifting social attitudes toward punishment

* Self-harm, abuse and control

* Space and its role in enhancing or ameliorating punishment

* The relationship(s) between discipline and punishment

Papers on any other topic related to the theme will also be considered.

This project will run concurrently with our project on Space and Place– we welcome any papers considering the problems or addressing issues on Reframing Punishment and Space and Place for a cross-over panel. We also welcome pre-formed panels on any aspect of Reframing Punishment or in relation to crossover panel(s).

This project will run concurrently with our project on Space and Place– we welcome any papers considering the problems or addressing issues on Reframing Punishment and Space and Place for a cross-over panel. The Steering Group particularly welcomes the submission of pre-formed panel proposals. 300 word abstracts should be submitted by Friday 16th March 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 22nd June 2012. Abstracts should be submitted simultaneously to all Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 key words

E-mails should be entitled: PUNISH Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Joint Organising Chairs:

Shona Hill & Shilinka Smith
Conference Leaders
Inter-Disciplinary.Net
New Zealand

Rob Fisher
Network Founder and Leader
Inter-Disciplinary.Net
Freeland, Oxfordshire,
United Kingdom

The conference is part of the Probing the Boundaries programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at this conference will be eligible for publication in an ISBN eBook. Selected papers maybe invited for development for publication in a themed hard copy volume(s).

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 6th Global Conference: Fear, Horror and Terror

2011-12-04T11:37:00.002Z

Friday 7th September 2012 – Sunday 9th September 2012

Mansfield College, Oxford, United Kingdom

Call for Papers:

This inter-disciplinary and multi-disciplinary conference seeks to examine and explore issues which lie at the interface of fear, horror and terror. In particular the project is interested in investigating the various contexts of fear, horror and terror, and assessing issues surrounding the artistic, cinematic, literary, moral, social, (geo) political, philosophical, psychological and religious significance of them, both individually and together.

In addition to academic analysis, we welcome the submission from practitioners, such as people in religious orders, therapists, or victims of events which have been provoked by experiences of fear, horror and terror – for example, social workers, those involved with the legal system, medical practitioners, or fiction authors whose work aims to evoke these reactions.

Papers, reports, work-in-progress and workshops are invited on issues related to any of the following themes:

1. The Contexts of Fear, Horror and Terror
- case studies
- professions dealing with the Fear, Horror and Terror (Therapists, Clergy, etc.)
- creating and experiencing fear, horror and terror
- the properties of fear, horror and terror
- contexts of fear, horror and terror
- the language, meaning and significance of fear, horror and terror

2. At the Interface of Fear, Horror and Terror
- the role of fear, horror and terror
- emotional releases (pleasant or negative) achieved by Fear, Horror and Terror
- techniques of fear, horror and terror
- marketing fear, horror and terror
- recreational fear, horror and terror
- aesthetic fear, horror and terror
- the body, temperature, touch, taste or sound and fear, horror and terror
- silence as a strategic subversion of the operation of fear, horror and terror
- fear, horror and terror and the visible/invisible

3. Representations of Fear, Horror and Terror and:
- the imagination or the sublime
- pleasure, hope, despair, anxiety, disgust, dread, loathing
- art, cinema, theatre, media and the creative arts
- survival horror video games
- literature (including children’s stories)
- the other
- technology
- the future

Papers will be accepted which deal with related areas and themes. 300 word abstracts should be submitted by Friday 16th March 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 22nd June 2012. 300 word abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords

E-mails should be entitled: FHT Abstract Submission

Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Shona Hill & Shilinka Smith
Conference Leaders
Inter-Disciplinary.Net
New Zealand

Rob Fisher
Network Founder and Network Leader
Inter-Disciplinary.Net, Oxfordshire, United Kingdom

The conference is part of the ‘At the Interface’ series of research projects. The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 3rd Global Conference: Space and Place

2011-12-03T17:19:00.003Z

Monday 3rd September – Thursday 6th September 2012

Mansfield College, Oxford, United Kingdom

Call for Papers:

Questions of space and place affect the very way in which we experience and recreate the world. Wars are fought over both real and imagined spaces; boundaries are erected against the “Other” constructed a lived landscape of division and disenfranchisement; and ideology constructs a national identity based upon the dialectics of inclusion and exclusion. The construction of space and place is also a fundamental aspect of the creative arts either through the art of econstruction of a known space or in establishing a relationship between the audience and the performance. Politics, power and knowledge are also fundamental components of space as is the relationship between visibility and invisibility. This new inter- and multi-disciplinary conference project seeks to explore these and other topics and open up a dialogue about the politics and practices of space and place. We seek submissions from a range of disciplines including archaeology, architecture, urban geography, the visual and creative arts, philosophy and politics and also actively encourage practioners and non-academics with an interest in the topic to participate.

We welcome traditional papers, preformed panels of papers, workshop proposals and other forms of performance – recognising that different disciplines express themselves in different mediums.

Submissions are sought on any aspect of space and place, including the following:

1. Theorising Space and Place
~Philosophies and space and place
~Surveillance, sight and the panoptic structures and spaces of contemporary life
~Rhizomatics and/or postmodernist constructions of space as a “meshwork of paths” (Ingold: 2008)
~The relationship between spatiality and temporality/space as a temporal-spatial event (Massey: 2005)
~The language and semiotics of space and place

2. Situated Identities
~Gendered spaces including the tension between domestic and public spheres
~Work spaces and hierarchies of power
~Geographies and archaeologies of space including Orientalism and Occidentalism
~Ethnic spaces/ethnicity and space
~Disabled spaces/places
~Queer places and spaces

3. Contested spaces
~The politics and ideology of constructions and discourses of space and place including the construction of gated communities as a response to real/imagined terrorism.
~The relationship between power, knowledge and the construction of place and space
~Territorial wars, both real and imagined.
~The relationship between the global and the local
~Barriers, obstructions and disenfranchisement in the construction of lived spaces
~Space and place from colonisation to globalisation
~Real and imagined maps/cartographies of place
~Transnational and translocal places

4. Representations of place and space
~Embodied/disembodied spaces
~Lived spaces and the architecture of identity
~Haunted spaces/places and non-spaces
~Set design and the construction of space in film, television and theatre
~Authenticity and the reproduction/representation of place in the creative arts
~Technology and developments in the representation of space including new media technologies and 3D technologies of viewing
~Future cities/futurology and space
~Representations of the urban and the city in the media and creative arts
~Space in computer games

Papers on any other topic related to the theme will also be considered.

This project will run concurrently with our project on Reframing Punishment – we welcome any papers considering the problems or addressing issues on Reframing Punishment and Space and Place for a cross-over panel. We also welcome pre-formed panels on any aspect of Space or Place or in relation to crossover panel(s).

300 word abstracts should be submitted by Friday 16th March 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 22nd June 2012. 300 word abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords

E-mails should be entitled: SP Abstract Submission

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs:

Matt Melia
Conference Leader
Inter-Disciplinary.Net
Kingston University, United Kingdom

Rob Fisher
Network Founder and Network Leader,
Inter-Disciplinary.Net, Oxfordshire, United Kingdom.

The conference is part of the ‘Ethos’ series of research projects, which in turn belong to the Critical Issues programmes of ID.Net. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and challenging. All papers accepted for and presented at the conference will be published in an ISBN eBook. Selected papers may be invited to go forward for development into 20-25 page chapters for publication in a themed dialogic ISBN hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 7th Global Conference: The Erotic

2011-12-03T17:04:00.003Z

Tuesday 11th September – Thursday 13th September 2012

Mansfield College, Oxford

Call for Papers

Mapping the field of the erotic is a complex and frustrating endeavour; as something which permeates lived experience, interpersonal relationships, intellectual reflection, aesthetic tastes and sensibilities, the erotic is clearly multi-layered and requires a plethora of approaches, insights and perspectives if we are to better to understand, appreciate and define it.

This inter- and trans- disciplinary project seeks to explore critical issues in relation to eroticism and the erotic through its history, its emergence in human development, both individual and phylogenetic, as well as its expression in national and cultural histories across the world, including issues of transgression and censorship. The project will also explore erotic imagination and its representation in art, art history, literature, film and music. These explorations inevitably touch on the relationship between sexualities, gender and bodies, along with questions concerning the perverse, fetishism and fantasy, pornography and obscenity.

Papers, presentations, workshops and pre-formed panels are also invited on any of the following themes:

* the erotic and identity

* disability, ethnicity, gender, class and eroticism

* the erotic in education and the education of the erotic

* eroticism in popular culture and media: cinema, tv, theatre, radio, newspapers and magazines, the internet in all its forms

* the erotic in literature and on the screen exploitative eroticism, e.g., pornography

* the erotic, ethics and philosophy the eroticised (or de-eroticised) body

* absence, control and excess of the erotic

* the erotic and sexuality: is there a difference, and if so, what? the erotic in representation

* the erotic and (post- neo-)colonialism

* eroticism in the making of the exotic

* the erotic in mythology

* the erotic and the non-human’ (vampires, zombies, cyborgs, etc)

* eroticism and technology: sex toys and other turn-ons

This project will run concurrently with our project on Monsters and the Monstrous – we welcome any papers considering the problems or addressing issues on Monsters and The Erotic for a cross-over panel. We also welcome pre-formed panels on any aspect of the monstrous or in relation to crossover panel(s).

We welcome submissions from within specific disciplinary boundaries, but we are also particularly interested in interdisciplinary contributions that balance the scope of insight that disciplines bring with the limitations that disciplinary boundaries create in failing to recognise cross-disciplinary connections, which neglect important historical and cultural perspectives on the development of the ‘erotic’ as a locus of attention. Consequently, we are particularly keen to encourage submissions that are not subsumed within disciplines, but cut across and between disciplinary vocabularies to provide new synergies, domains and inter-disciplinary possibilities. We warmly welcome proposals which go beyond traditional paper presentations and encompass also panels, performances and workshops.

300 word abstracts should be submitted by Friday 16th March 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 22nd June 2012.

Abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords

E-mails should be entitled: The Erotic Abstract Submission

Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs:

Natalia Kaloh Vid
University of Maribor,
Slovenia

Rob Fisher
Network Founder and Network Leader
Inter-Disciplinary.Net
Freeland, Oxfordshire, United Kingdom

The conference is part of the Gender and Sexuality series of research projects, which in turn belong to the At the Interface programmes of Inter-Disciplinary.Net. It aims to bring together people from different areas and interests to share ideas and explore discussions which are innovative and challenging. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 4th Global Conference: Strangers, Aliens and Foreigners

2011-12-03T16:46:00.004Z

Friday 21st September 2012 – Sunday 23rd September 2012

Mansfield College, Oxford, United Kingdom

Call for Papers

This multi-disciplinary project seeks to explore the crucial place that strangers, aliens and foreigners have for the constitution of self, communities and societies. In particular the project will assess world transformations, like phenomena we associate with the term ‘globalisation’, new forms of migration and the massive movements of people across the globe, as well as the impact they have on the conceptions we hold of self and other. Looking to encourage innovative trans-disciplinary dialogues, we warmly welcome papers from all disciplines, professions and vocations which struggle to understand what it means for people, the world over, to forge a sense of self in rapidly changing contexts where it is no longer possible to ignore the importance of strangers, aliens and foreigners for our contemporary nations, societies and cultures.

Papers, workshops and presentations are invited on any of the following themes:

1. Transformations of Self
~ How is Self interweaved with Other? And the many ways in which Self depends on Other
~ Acknowledging the importance of strangers for our lives, for our sense of well-being
~ Recognising our dependence on aliens and foreigners for our communities, cities and towns, for our countries and nations
~ The decline of the value of sameness and homogeneity, the rise of diversity and plurality
~ Opposing the construction of self by othering, excluding and stigmatising

2. Boundaries, Communities and Nations
~ Who is a stranger? Aliens and foreigners to whom?
~ New migrants, new migratory flows and massive movements from peripheral to central countries
~ Trans-national networks and the blurring of boundaries; are we living trans-national and post-national realities?
~ Assimilation, integration, adaptation and other forms of placing the responsibility of change on foreigners
~ What has happened to ideas like acceptance, hospitality and cosmopolitanism

3. Economies, Institutions and Migrants
~ Labour migration as key for economic growth and prosperity
~ The politics of making aliens, foreigners and migratory labour ‘invisible’
~ Global politics of money over people; new forms of global exclusion
~ Social movements, new rebellion and alternative globalisations
~ Trans-cultural connections that escape institutional and political control

4. Art and Representations
~ Production and reproduction of cultural typing and stereotyping
~ The contested space of representing self and other, native and foreigner
~ Art, media and how to challenge the rigid constructions of art and culture
~ Fictions of strangers, stories of aliens, fables of foreigners
~ The artistic constructions of otherness

5. Self (inevitably) linked to Other
~ De-centering selves; who am I if not the relation with others?
~ Thinking and acting with others in mind; orienting life inter-subjectively
~ Tensions, contradictions and conflicts of living recognising aliens and foreigners
~ Bonds of care across boundaries of inequality and exclusion, ideologies and religions, politics and power, nations and geography
~ Non-recognition as social and cultural violence

The 2012 meeting of Strangers, Aliens and Foreigners will run alongside a second of our projects on Beauty and we anticipate holding sessions in common between the two projects. We welcome any papers or panels considering the problems or addressing issues that cross both projects. Papers will be considered on any related theme. 300 word abstracts should be submitted by Friday 16th March 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 22nd June 2012. 300 word abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords

E-mails should be entitled: Strangers Abstract Submission

Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Dr S. Ram Vemuri
School of Law and Business, Faculty of Law, Business and Arts
Charles Darwin University
Darwin NT0909, Australia

Rob Fisher
Network Leader, Inter-Disciplinary.Net,
Freeland, Oxfordshire,
United Kingdom

The conference is part of the Diversity and Recognition research projects, which in turn belong to the At the Interface programmes of Inter-Disciplinary.Net. It aims to bring together people from different areas and interests to share ideas and explore discussions which are innovative and challenging. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 2nd Global Conference: Gender and Love

2011-11-29T13:08:00.003Z

Tuesday 25th September – Thursday 27th September 2012

Mansfield College, Oxford, United Kingdom

Call for Papers:

The study of gender is an interdisciplinary field intertwined with feminism, queer studies, sexuality studies, postcolonial studies, and cultural studies (to name just some relevant fields).

This project calls for the consideration of gender in relation to various kinds of love (with regard, for example, to self, spirit, religion, family, friendship, ethics, nation, globalisation, environment, and so on). How do the interactions of gender and love promote particular performances of gender; conceptions of individual and collective identity; formations of community; notions of the human; understandings of good and evil? These are just some of the questions that occupy this project.

This conference welcomes research papers which seek to understand the interaction and interconnection between the concepts of love and gender; and whether, when, how and in what ways the two concepts conceive and construct each other.

Papers, presentations, workshops and pre-formed panels are invited on issues related to any of the following themes:

1. Love as a Disciplinary Force: Productions of Gender
* Love, Gender, Essentialism and Ontology
* Love, Gender and Narrative
* Love, Gender and the Law
* Love, Gender and Religion

2. Norms, Normativity, Intimacy
* Rituals and Rites
* Conventions, Commitments and Obligations
* Choices and Respect; Loyalty and Trust
* Transgressions and Taboos

3. Gendered Yearnings
* Personhood and Identity
* Body Politics and Belonging
* Love and Gender Performativity
* Transgender Desires
* Queer Kinship Formations
* Queer Conceptualisations of the State

4. Global Perspectives on Gender and Love
* Transformations of Intimacy in a Global World
* Sex and Choice
* Reproductive Rights
* Sexual Citizenship
* Gender, Love and Trans/Nationalism

5. Representations of Gender and Love
* Aesthetics and Intelligibility
* Gendered Narrations of Love
* Media, Gender and Love

For 2012, the Gender and Love project will meet alongside our project on “Skins” and Contemporary Culture. It is our intention to create cross-over sessions between the two groups – and we welcome proposals which deal with the relationship between gender and love and Skins and contemporary culture. The Steering Group particularly welcomes the submission of pre-formed panel proposals. Papers will also be considered on any related theme. 300 word abstracts should be submitted by Friday 16th March 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 22nd June 2012. Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords

E-mails should be entitled: GL2 Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs:

Dikmen Yakalı Çamoğlu
Department of Communication Sciences
Dogus University, Istanbul,
Turkey

Dr Rob Fisher
Inter-Disciplinary.Net
Priory House, Wroslyn Road,
Freeland, Oxfordshire OX29 8HR

The conference is part of the ‘At the Interface ’ series of research projects run by ID.Net. It aims to bring together people from different areas and interests to share ideas and explore various
discussions which are innovative and challenging. All papers accepted for and presented at this conference will be eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into 20-25 page chapters for publication in a themed dialogic ISBN hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

CFP: Preternature 2.2

2011-11-29T11:46:00.002Z

Monstrophy: The Academic Study of Monsters

''Monstrophy'' is a term referring to the academic study of monsters as representational and conceptual categories, which has gained recent currency in several related fields of study (literary and cultural history, sociological theories of identity and difference, et al.), as well as in a number of recent books and articles about monsters as subjects of theoretical interpretation. Etymologically derived from Latin ''mōnstrum'' (meaning prodigy, ominous sign, monstrous creature or person, abomination) and Greek ''sophia'' (σοφία, wisdom), hybrid compounding of monstrophy is not uncommon in disciplinary names, e.g. [[sociology]], another Greek and Latin compound.) Monstrophy literally means "wisdom about monsters," and in academic usage refers to the broader study of monsters in society and history.

Monsters have been widely catalogued in their historical and ethnographic contexts, and have been commonly included in cultural products such as epic, folktale, fiction, and film, but have only begun to be studied seriously as semiological markers indicating the seams of internal cultural tension. Interpreters commonly note the "monstrous" as occupying space at the borders of a society's conceptual categories, such as those relating to sexual and behavioral transgression, or to inherent prejudice and internal conflict (for instance, in race, gender, politics, and religion). Monsters are rarely fully distinct from the "human," but are often comprised of hybrid features
of the human and non-human. This issue of Preternature invites contributions that explore how the category of "monster" is used to define and articulate what a certain group of people articulates to itself to be properly human.

Contributions are welcome from any discipline, time period, or geographic provenance, so long as the discussion highlights the cultural, literary, religious, or historical significance of the topic.

Contributions should be roughly 8,000 - 12,000 words (with the possibility of longer submissions in exceptional cases), including all documentation and critical apparatus. If accepted for publication, manuscripts will be required to adhere to the Chicago Manual of Style, 15th edition (style 1, employing footnotes).

Preternature also welcomes original editions or translations of texts related to the topic that have not otherwise been made available in recent editions or in English. Submissions are made online here.

Final Papers are due February 15, 2012

Queries about submissions, queries concerning books to be reviewed, or requests to review individual titles may be made to the Editor.

Inquiries about book reviews should be sent to the Book Review Editor.

For more on the journal, please consult the website.

CFP: 5th Global Conference: Making Sense of: Madness

2011-11-29T11:25:00.003Z

Thursday 30th August 2012 – Saturday 1st September 2012

Mansfield College, Oxford, United Kingdom

Call for Papers:

This inter-disciplinary research conference seeks to explore issues of madness across historical periods and within cultural, political and social contexts. We are also interested in exploring the place of madness in persons and interpersonal relationships and across a range of critical perspectives. Seeking to encourage innovative inter, multi and post disciplinary dialogues, we warmly welcome papers from all disciplines, professions and vocations which struggle to understand the place of madness in the constitution of persons, relationships and the complex interlacing of self and other. In the 4 previous conferences we had the participation of friends and colleagues who have experienced forms of madness in their personal lives, and they have always been not only welcome, but also moving and illuminating for all: Such contributions based on the actual experience of madness from within are always welcome to our annual events.

In particular papers, workshops, presentations and pre-formed panel proposals are invited on any of the following themes:

1. The Value of Madness or Why is it that We Need Madness?
~ Critical explorations: beyond madness/sanity/insanity
~ Continuity and difference: always with us yet never quite the same
~ Repetition and novelty: the incessant emergence and re-emergence of madness
~ Profound attraction and desire; fear of the abyss and the radical unknown
~ Naming, defining and understanding the elusive

2. The Passion of Madness or Madness and the Emotions
~ Love as madness; uncontrollable passion; unrestrainable love
~ Passion and love as a remaking of life and self
~ Gender and madness; the feminine and the masculine
~ Anger, resentment, revenge, hate, evil
~ I would rather vomit, thank you; revulsion, badness and refusing to comply

3. The Boundaries of Madness or Resisting Normality
~ Madness, sanity and the insane
~ Being out of your mind, crazy, deranged … yet, perfectly sane
~ Deviating from the normal; defining the self against the normal
~ Control, self-control and the pull of the abyss
~ When the insane becomes normal; when evil reins social life

4. Lunatics and the Asylum or Power and the Politics of Madness
~ The social allure and fear of madness; the institutions of confining mad people
~ Servicing normality by castigating the insane and marginalizing lunatics
~ Medicine, psychiatry, psychology, law and the constructions of madness; madness as illness
~ Contributions of the social sciences to the making and the critique of the making of madness
~ Representations, explanations and the critique of madness from the humanities and the arts

5. Creativity, Critique and Cutting Edge
~ Madness as genius, outstanding, out of the ordinary, spectacularly brilliant
~ The art of madness; the science of madness
~ Music, painting, dance, theater: it is crazy to think of art without madness
~ The language and communication of madness: who can translate?
~ Creation as an unfolding of madness

6. Unrestrained and Boundless or The Liberating Promise of Madness
~ Metaphors of feeling free, unrestrained, capable, lifted from reality
~ Madness as clear-sightedness, as opening up possibilities, as re-visioning of the world
~ The future, the prophetic, the unknown; the epic, the heroic and the tragic
~ The unreachable and untouchable knowledge of madness
~ The insanity of not loving madness

7. Lessons for Self and Other or Lessons for Life about and from Madness
~ Cultural and social constructions of madness; images of the mad, crazy, insane, lunatic, abnormal
~ What is real? Who defines reality? Learning from madness how to cope with reality
~ Recognising madness in oneself; relativising madness in others
~ Love, intimacy, care and the small spaces of madness
~ Critical and ethical implosions of normality and normalness; sane in insane places and insane in sane places

Papers will be accepted which deal with related areas and themes.

The 2012 meeting of Making Sense Of: Madness will run alongside the second of our projects on Chronicity and we anticipate holding sessions in common between the two projects. We welcome any papers or panels considering the problems or addressing issues that cross both projects. Papers will be considered on any related theme. 300 word abstracts should be submitted by Friday 26th March 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 22nd June 2012. 300 word abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:
a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up tp 10 keywords

E-mails should be entitled: Madness Abstract Submission

Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Gonzalo Araoz
Project Leader, Inter-Disciplinary.Net and University of Cumbria,
Cumbria, United Kingdom

Rob Fisher
Network Founder and Network Leader, Inter-Disciplinary.Net, Freeland,
Oxfordshire, United Kingdom

The conference is part of the ‘Making Sense Of:’ series of research projects. The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 4th Global Conference: Fashion: Critical Issues

2011-11-29T11:13:00.003Z

Sunday 16th September – Wednesday 19th September 2012

Mansfield College, Oxford, United Kingdom

Call for Papers:

Fashion is a statement, a stylised form of expression, which displays and begins to define a person, a place, a class, a time, a religion, a culture, subcultures, and even a nation. This inter-disciplinary and trans-disciplinary conference seeks to explore the historical, social, economic, political, psychological and artistic phenomenon of fashion, a powerful component of contemporary culture. Fashion lies at the very heart of persons, their sense of identity and the communities in which they live. Individuals emerge as icons of beauty and style; cities are
identified as centres of fashion; the business of fashion is a billions of dollar per annum global industry, employing millions of people. The project will assess the history and meanings of fashion; evaluate its expressions in politics, business, pop culture, the arts, consumer culture, and social media; determine its effect on gender, sexuality, class, race, age, nation and other sources of identity; and explore future directions and trends.

Building on the foundations of previous meetings, publications and collaborations, the conference will be structured around five main areas of focus. Each area will have the opportunity to enjoy specific as well as whole group sessions. Papers, presentations, demonstrations and workshops are invited on the following themes:

1. Understanding Fashion

- Fashion, Style, Taste-Making, and Chic
- Fashion and Fashionability
- Fashion and Zeitgeist
- History of Fashion
-The Future of Fashion

2. Learning and Fashion

- Tools and Methodology
- Theorizing Fashion: Disciplines and Perspectives
-Fashion Education
- Identifying, Defining and Refining Concepts (e.g., ‘style,’ ‘fashion,’ ‘look,’ ‘fad,’ ‘trend,’ ‘in & out’)
- Studying and Documenting Fashion (curatorial practice, collections, archives, and museums)
-Fashion Specialists (e.g., pattern makers, fitters, embroiders, tailors, textile experts)
-The Materials of Fashion

3. Representing and Disseminating Fashion

- Fashion Icons
-Designer and Muses
-Stylists
- Style Guides and Makeover Shows
- Fashion Photography
- Fashion Magazines, Blogs, and Social Media
-Films and Documentaries about Fashion
-Fashion and the Performing Arts, Music and Television
- Celebrities as Fashion Designers

4. Identity and Fashion

- Fashion and Identity (e.g., class, race, ethnicity, gender, sexuality, age, nation, transnationalism, religion, etc.)
- Fashion: (Sub)Cultures
- Fashion, Politics, and Ideology: e.g., ‘message’ fashion; political platform, regimes, and revolutions)
- Ethical Issues in Fashion (e.g., cruelty free fashion, eco-fashion, exploitative labour, the ‘fakes’ market)
-Fashion as Performance
-Fashion, the Body, and Self-Fashioning (e.g., beauty standards, body art, weight, plastic surgery, etc.)

5. The Business of Fashion

-Fashion Professions and Trades
-Fashion Cities, Fashion Weeks, Fashion’s Night Out
-Fashion Marketing (e.g., brands, flagship stores, guerilla stores, eCommerce)
-Fashion Models
-Fashion Forecasting
-Marketing Platforms (e.g., communication, streaming video, social media, etc.)
-Fashion Markets: Vintage, Nostalgia, Mass, Luxury, Emerging
-Producing Displaying Fashion (production sites, showrooms, runways, window displays, websites, etc.)
- The Rise of the Accessory as a Driving Force of Fashion

The Steering Group particularly welcomes the submission of pre-formed panel proposals. 300 word abstracts are due by Friday 3rd February 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 22nd June 2012. Emails containing
the abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords

E-mails should be entitled: FASHION4 Abstract Submission.

Please Note: In this email please attach TWO versions of your abstract as follows:

1) One with title and body of abstract only (no identification of the author—this version will be for our blind peer review process).
2) The other with the following information about the author(s):
affiliation, email, title of abstract, title and body of abstract

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Jacque Lynn Foltyn
Professor of Sociology, Dept of Social Sciences,
College of Letters and Sciences, National University, CA, USA

Dr Rob Fisher
Inter-Disciplinary.Net
Priory House, Wroslyn Road,
Freeland, Oxfordshire OX29 8HR

The conference is part of the Critical Issues series of research projects. The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

Call for Submissions: Black & BLUE

2011-11-29T11:07:00.003Z

Black & BLUE
A Monthly Publication of New Writing

DRAMA
POETRY
PROSE

Black & BLUE is a new paper. Our first issue will be published in September 2012. We are looking for fresh, innovative voices to rival the lifeless literary scene. We are looking for sad and beautiful writing. We will publish lists, receipts, fictional notes, short sketches as well as conventional poetry and prose We are happy to look at anything you feel like writing. We like strange, unique voices.

Send submissions to this address.

And the winner is...

2011-11-25T18:25:00.007Z

For the last month I've been running a poll to find out people's favourite female werewolf. The response has been great. There's been some controversy along the way, and I like to think we've all learned a little something, but it's finally time for me to wrap things up and announce the winner.

But, before I do, here's a little summary of the response I got (like all good awards ceremonies, I know I have to keep my audience waiting).

Apart from the winner(s), the votes were pretty evenly distributed. Honorable mentions go to Nina (from Being Human), Vivien (from Annette Curtis Klause's Blood and Chocolate), Jolie Garoul (from Gill McKnight's Garoul series) and Brigitte Fitzgerald (from the Ginger Snaps trilogy), who blew her sister Ginger out of the water.

Of all the writers whose work was nominated, Martin Millar definitely came out top, getting three characters in the list: Dominil, Kalix and Thrix (from Lonely Werewolf Girl and Curse of the Wolf Girl) placed equally in the final tally.

The she-wolf whose nomination caused the most controversy was Stephenie Meyer's Leah Clearwater. Not only did Leah not get many votes, I actually had two requests to remove her from the list in the first place. I think this says more about the readership of my blog and Twitter account than anything else. Leah is obviously a popular she-wolf, and I would hazard a guess (though I haven't got time to get the stats for this) there is more fanfiction written about her than any of the other nominees. I wonder how much different the voting would have been if any Twilight fans had found my poll?

One other piece of controversy was a vote for Bryn from Jennifer Lynn Barnes' Raised by Wolves. Some people felt that this vote didn't count, as Bryn is not 'technically' a werewolf, she is rather 'raised by wolves'. After some deliberation, I decided to let the vote for Bryn stand. Those of you who read my review of Raised by Wolves might remember that I ended it by suggesting that 'Snarling in anger and revelling in the unrestrained physical freedom of "running with the Pack", Bryn seems to be part-werewolf, despite the impossibility of this. This all raises an interesting question: is it nature or nurture that makes a werewolf?' For that reason, and since we didn't start this poll with a particular definition of 'werewolf', I'm going to let Bryn stay.

And so... with no further ado... to our winner...

Most Popular Female Werewolf

With a huge share of the votes, one werewolf undoubtedly proved herself the alpha female of the pack. She's feisty, sexy and ironically named. She's faced the midnight hour, gone to Washington and raised Hell. From the pen of best-selling author, Carrie Vaughn, she is, of course:

Kitty Norville

Take a bow, Kitty.

But wait... that's not all from the poll... we have another category (that I've just invented)...

As some of you may have noticed, another female werewolf attracted a large number of votes. L.L. Raand (aka Radclyffe)'s Sylvan Mir got a lot of write-in nominations. Some of you suggested that this was a case of spamming or ballot-stuffing, but I can assure you (since I can see the traffic sources for the blog) it wasn't. It was a write-in campaign by Raand's growing band of enthusiastic fans.

I'm going to cite precedent here (and I'd like to thank my good friend, Mike Whalley, for giving me this info). In 1991, the votes for the BBC Sports Person of the Year award were hugely skewed when The Angling Times encouraged all its readers to vote for award-winning angler Bob Nudd. Nudd got a dazzling 100,000 votes from Angling Times readers, despite the fact that the majority of BBC viewers hadn't actually heard of him. The BBC decided to discount these votes, and give the award to athlete Liz McColgan. I have to admit, Kitty Norville is the Liz McColgan of this race.

However, while the BBC decided to ignore the mobilization of Nudd's fans, I'm not going to do that with Raand's. Instead, I am going to name Sylvan Mir

Best New She-Wolf

She might not have the following Kitty has, but she's definitely one to watch. In December, I will be welcoming L.L. Raand (aka Radclyffe) as a guest blogger, and I'll also be posting reviews of the Midnight Hunters books.

So congratulations to Kitty and Sylvan, and to the other fantastic she-wolves that were nominated. And thank you to everyone who voted.

Review: Melissa Marr, Darkest Mercy (HarperCollins, 2011)

2011-11-22T22:02:00.004Z

This review begins rather anecdotally. A few years ago, when I was in the first year of my PhD and had just turned my attention to fairies in medieval romance, I bought a book on a whim. The book, which was shelved next to Stephenie Meyer’s Twilight, was called Wicked Lovely and the blurb on the back read:

“Rule #3 Don’t stare at invisible faeries.
Rule #2 Don’t speak to invisible faeries.
Rule #1 Don’t ever attract their attention.”

I was (reasonably) intrigued by this, and by the funky cover, so I decided to buy it.

I didn’t expect too much of the book. I thought that modern fairies would probably be saccharine, Disney-inspired creations. I had no experience of reading urban fantasy, and assumed it would be a sort of cross between sci-fi and high fantasy. Hard as this might be to believe, I was also dubious about reading a book aimed at young adults. I hadn’t read a book aimed at teenagers since I was 12, and I’m pretty sure that was Sweet Valley High. Still, I decided to give it a go.

I took Wicked Lovely to a festival, so I had something to read in my tent when the weather was bad. It might sound corny, but I really wasn’t prepared for the impact that book would have on both my reading habits and my career. Suffice to say, I didn’t leave my tent much at the festival, and I’ve been hooked on YA urban fantasy since. By the time I came home, I was determined to read (and write) much more YA fantasy.

Since then, I’ve completed a manuscript of my own YA novel, and begun work on the sequel. I’ve also written several articles on YA, including one piece on Marr’s fiction, and written numerous blog posts and reviews of new YA releases. During this time, Marr has published four more titles in the Wicked Lovely series, as well as number of graphic novels and audiobooks in the series. Where Wicked Lovely began by telling the story of Aislinn, a high school stalked by the Summer King Keenan, the subsequent books in the series (Ink Exchange, Fragile Eternity, Radiant Shadows and Darkest Mercy) introduced a whole world of characters and fairy courts: Niall, Irial and the Hounds of the Dark Court; Sorcha, the embodiment of Order, and her twin sister Bananach; Aislinn’s once-mortal boyfriend Seth and close friend Leslie; and Donia, the Winter Girl of Wicked Lovely transformed into the powerful regent of Winter.

Marr’s fairies – like those of Holly Black – are very much in the medieval (rather than the Victorian) mode. They are callous, haughty, cruel – but also seductive, attractive and joyful. They are bound by an inability to lie, loyalty to their courts and centuries-old vows and oaths. Marr consistently follows Celtic (mostly Scottish and Irish) traditions, bringing to life some of the darker beings of folklore (the Ly Ergs and the Gancanagh, for instance), alongside original creations (like the Dark Court’s use of tattoo-spells to bind them to mortals). In addition to this, Marr’s characterization is well-observed and compelling – it is easy to have sympathy for all her characters, despite their marked differences and occasional ‘wrong’ behaviour.

And now, with the release of Darkest Mercy, the series comes to a close – with a climactic finale that brings the stories of all the characters to a (mostly) satisfying endpoint.

Darkest Mercy begins immediately after the events of Radiant Shadows. Bananach has attacked the Dark Court, leaving Irial injured and the daughter of the Hound Gabriel dead. A new court, the Shadow Court, has been formed, and the veil to Faeries has been sealed. The various regents – Keenan, Aislinn, Donia and Niall – are all suffering various turmoils, and no-one truly knows how to deal with War (as Bananach is known).

As a series finale, Darkest Mercy ticks a lot of boxes. It resolves a number of the plot-threads that have run through the series. For example, since Book One, the love triangle between Aislinn, Seth and Keenan has been a constant problem, only made worse when Keenan began a relationship with Donia. This storyline, I would say out of all of them, comes to a satisfying conclusion in the final book. (The epilogue of Darkest Mercy is a very clever piece of writing, and will definitely make fans of the series smile.)

The book also offers some development of what has gone before, particularly in its further exploration of the relationship between Irial and Niall. Antagonists in Ink Exchange, these two fairies have been intertwined since the second book. Darkest Mercy offers us more of their history, which is both heart-breaking and heart-warming. The final hint of the resolution of the Niall-Irial-Leslie triangle (which has always been so much more complicated and, in my opinion, more moving than the Aislinn-Keenan-Seth storyline) is a nice, and rather brave, touch to this YA fantasy.

The fifth book still holds some new introductions though. After the events of Radiant Shadows, Keenan seeks support from fairies not attached to any of the courts. These fairies, though only making a brief appearance in the novel, are fantastic creations, and reminded me of why I am such a fan of Marr’s writing. And it was nice to finally meet Far Dorcha – the Dark Man who has previously only been spoken of.

Reflecting on the series as a whole, it should be noted that Darkest Mercy is the endpoint of a gradual shift in the focus of the series. While Wicked Lovely and Ink Exchange were very much urban fantasy, telling the story of ‘ordinary’ girls with one foot in the ‘real’ world and one (reluctant) foot in the supernatural, the subsequent books have focused more and more on Faerie. By Darkest Mercy, there is almost no mention of the ‘real’ world. Aislinn, the mortal girl with ‘Sight’ is now a powerful fairy embodiment of Summer; Leslie, who ended her book leaving her supernatural lovers and going to college, is now brought back into the otherworld. The only mortals who are mentioned in this final book are hapless bystanders, shielded from fairy conflict by Donia’s winter fey.

This is not necessarily a criticism, as Marr’s fairy world always seems to be grounded by the ‘modern’ and ‘human’ behaviours, mannerisms and language of its inhabitants. However, this shift made me realize how far the story had come, and how much the central characters have given up during their stories.

As a writer of YA fiction, Marr has always impressed me with her focus on the ‘adult’, rather than the ‘young’. While her books are more than suitable (and recommended) for teenage readers, they do not feel constrained or condescending. Marr tackles ‘difficult’ questions of death, addiction (to fairy love, if not to drugs or alcohol) and sexuality with a light touch. Her treatment of sex and sexual relationships is particularly striking, as her characters inhabit a range of identities (heterosexual, bisexual, polygamous and androgynous) without any heavy-handed moralizing or imposition of heteronormativity. I’d suggest that the only other YA writer who is comparable to Marr in this respect is Holly Black.

I am sad to say goodbye to the Wicked Lovely series. Darkest Mercy was a more than suitable farewell to characters I have come to love, and I suppose the good thing about books is that I can always read them again! My only criticism would be that not all the characters got to be a part of the finale. Some (Sorcha, Devlin, Ani and Rae) were notable by their absence. Still, this fills me with a little bit of optimism… maybe, one day, Marr will revisit those characters, and we’ll find out that the story isn’t quite finished.

CFP: 1st Global Conference: Monstrous Geographies: Places and Spaces of Monstrosity

2011-11-22T14:13:00.003Z

Thursday 19th July – Saturday 21st July 2012

Mansfield College, Oxford

CALL FOR PAPERS:

What is the relationship between the monstrous and the geographic – those places monsters inhabit but also places that are configured as being monstrous in and of themselves? Places that engage notions of self and otherness, inclusion and exclusion, normal and aberrant, defense and contagion? From the Necropolis to the Killing Fields and from the Amityville Horror to the island of Dr. Moreau, geographical locations have acted as the repository or emanation of human evil, made monstrous by the rituals and behaviors enacted within them, or by their peculiarities of atmosphere or configuration. Whether actual or imagined, these places of wonder, fear and horror speak of the symbiotic relation between humanity and location that sees morality,
ideology and emotions given physical form in the house, the forest, the island, the nation and even far away worlds in both space and time. These places act as magnets for destructive and evil forces, such as the island of Manhattan; they are the source of malevolent energies and forces, such as Transylvania, Area 51 and Ringu; and they are the fulcrum for chaotic, warping energies, such as the Bermuda Triangle, Atlantis and Pandemonium. Alongside this, there exist the monstrous geographies created by scientific experimentation, human waste and environmental accidents, creating sites of potential and actual disaster such as the Chernobyl nuclear plant, the Gulf of Mexico in the wake of the BP oil disaster, and the devastated coastline of Tohuku, Japan. These places raise diverse post-human quandaries regarding necessities in the present leading to real or imagined futures of humanity and habitation.

Encompassing the factual and the fictional, the literal and the literary, this project investigates the very particular relationships and interactions between humanity and place, the natural and the unnatural, the familiar and the unfamiliar, and sees a multitude of configurations of human monstrosity and evil projected, inflicted, or immanent to place. Such monstrous geographies can be seen to emerge from the disparity between past and present, memory and modernity, urban and rural and can be expressed through categories of class, gender and racial difference as well as generational, political and religious tensions.

Papers, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to any of the following themes:

Monstrous Cartographies:

~Terra incognita

~Real and Mythic lost lands: eg., Atlantis, D’yss, and Shangri-La

~Utopias/Dystopias, future cities in time and space

~Malevolent regions: eg., Lemuria, Bermuda Triangle, Transylvania

~Sublime landscapes

~Bodies as maps and maps as bodies, eg. Prison Break

Monstrous Islands:

~As sites of experimentation. Dr. Moreau, Jurassic Park etcAs a
beacon for evil: eg., Manhattan in Godzilla and Cloverfield

~As site of ritual evil and incest: eg., Wicker Man, Pitkin Islands,
Isle of the Dead

~Imperialist intent and construction: eg., Prospero’s Island, Hong
Kong, Hashima

Monstrous Cosmographies:

~Evil planets and dimensions

~Comets, meteorites and beings from unknown worlds

~Worlds as dark reflections/twins of Earth

~Planets and alien landscapes that consume and mutate earthly
travelers

Monstrous Environmental Geographies:

~Polluted lakes and landscapes

~Landfills, oil spills and mining sites

~Melting icecaps and landforms at risk from global warming

~Land impacted by GM crops and associated experimentation

~Sites of starvation, disaster and pestilence

~De-militarized zones and no-man’s lands

Monstrous Religious Sites & Ritualistic Monstrosity:

~Armageddon, Apocalypse and final battlegrounds

~Hell, the Underworld and Valhalla

~Eden, Paradise, El Dorado, Shangri La

~Sites of religious ritual, sacrifice and burial

~Houses and haunts of murderers and serial killers

Monstrous Political Environments

~The land of the enemy and the other

~Sites of attack and retaliation.

~Sites of revolution and protest

~Landscapes of incarceration

~Border crossings

~Magical realist landscapes of escape

~Ghettos, shanty towns and relocation sites

~Urban and rural, cities, towns and villages and regional and
national prejudice

Monstrous Landscapes of Conflict:

~Battlefields and military graveyards

~Concentration camps and sites of genocide

~Minefields and sites of damage, destruction and ruin

~Arsenals, bunkers and military experimentation

Uncanny Geographical Temporalities:

~Old buildings in new surroundings

~Buildings with too much, and those without, memory

~Soulless Architecture

~Ideological architecture, palaces, museums etc

~Places held in time, UNESCO sites and historical and listed
buildings

~Old towns and New towns, rich and poor

~Appearing and disappearing towns/regions, eg., Brigadoon, Silent
Hill.

Monsters on the Move:

~Contagion, scouring and infectious landscapes

~Monsters and mobile technologies: phone, video, cars, planes,
computers etc

~Fluid identities, fluid places

~Touring Monstrosities, dreamscapes and infernal topologies

This project will run concurrently with our project on Apocalypse – we welcome any papers considering the problems or addressing issues on Monstrous Geographies and Apocalypse for a cross-over panel. We also welcome pre-formed panels on any aspect of monstrous geographies or in relation to crossover panel(s).

300 word abstracts should be submitted by Friday 27th February 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 25th May 2012.

300 word abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords

E-mails should be entitled: Monstrous Geographies Abstract Submission

Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in
cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Jessica Rapson
Goldsmiths University,
London,
United Kingdom

Rob Fisher
Network Founder & Leader, Inter-Disciplinary.Net
Freeland, Oxfordshire
United Kingdom

The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume. Some papers may also be invited for inclusion in the Journal of Monsters and the Monstrous.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 1st Global Conference: Apocalypse: Imagining the End

2011-11-22T13:55:00.002Z

Thursday 19th July – Saturday 21st July 2012

Mansfield College, Oxford

Call for Papers:

From Christian concept of the “Apocalypse” to the Hindu notions of the Kali Yuga, visions of destruction and fantasies of the “end times” have a long history. One purpose of the conference is to explore these ideas by situating them in context – historical, literary, cultural, political, and economic (to name a few). However, the modern period is especially marked by a mixed sense of concern and fascination with apocalypse, and today we are surrounded by scenarios of imminent destruction and annihilation. The second aim of conference is therefore to examine today’s widespread fascination the apocalyptic thought, and to understand its appeal across broad sections of contemporary society around the world.

Papers, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to (but not limited to) the following themes:

* Decline, Collapse, and Decay

* The Second Coming

* The Hindu Kali Yuga

* Sex at the End of Time

* Ironic and/or Anti-Apocalyptic Thinking

* Utopia, Redemption and Rebirth

* Intentional Communities as Communities of the End Times

* Selling the Apocalypse, Commodifying Disaster, and Marketing the End Times

* Death Tourism and Disaster Capitalism

* The Age of Terror

* Global Warming and Its Denial

* Zombies, Vampires, and Werewolves in Post-Apocalyptic Fiction

* Disaster Fiction/Movies

* History as Apocalypse

* 2012

* Remembering and Reliving the Collapse of the Western Roman Empire

* Technology and Mass Destruction

This project will run concurrently with our project on Monstrous Geographies we welcome any papers considering the problems or addressing issues on Apocalypse: Imagining the End and Monstrous Geographies for a cross-over panel. We also welcome pre-formed panels on any aspect of tmonstrous geographies or in relation to crossover panel(s). Papers will also be considered on any related theme. 300 word abstracts should be submitted by Friday 17th February 2012. If an abstract is accepted for the conference, a full draft paper should be
submitted by Friday 23rd May 2012. Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.

E-mails should be entitled: Apocalypse Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Charles W. Nuckolls
Department of Anthropology,
Brigham Young University,
USA

Rob Fisher
Network Founder and Leader, Inter-Disciplinary.Net
Freeland, Oxfordshire, United Kingdom

The conference is part of the ‘Ethos’ series of research projects, which in turn belong to the Critical Issues programmes of ID.Net. It aims to bring together people from different areas and
interests to share ideas and explore various discussions which are innovative and challenging. All papers accepted for and presented at the conference will be published in an ISBN eBook. Selected papers may be invited to go forward for development into 20-25 page chapters for
publication in a themed dialogic ISBN hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: Capturing Witches: Histories, Stories, Images.

2011-11-22T13:37:00.003Z

400 years after the Lancashire Witches.

17-19 August
Lancaster, UK

2012 will mark the 400th anniversary of the trial and execution of the Lancashire Witches. This conference is part of a year long programme of events which will take place in Lancaster and the surrounding area. This interdisciplinary conference uses the Lancashire witches as a focal point to engage with wider questions about witchcraft, and in particular how witchcraft is theorised and represented in and through history and across cultures.

CALL FOR PAPERS:

This interdisciplinary conference uses the Lancashire witches as a focal point to engage with wider questions about witchcraft: its definitions as maleficium will focus particular attention on how witchcraft is theorised and represented in and through history and across cultures. We particularly encourage considerations of literary, musical, artistic and filmic representations of witchcraft.

We invite proposals for 20-minute papers and panels on witches and/or witchcraft which might address - but are not limited to - the following themes:

- antiquity;

- religion and belief;

- Neo-Paganism;

- the developing world;

- human rights;

- gender;

- corporeality;

- location;

- ritual (ceremony, performance, magical practice);

- childhood;

- language;

- law;

- consumption ( dress, fashion, food);

- the arts (literature, music, film, painting, dance, theatre, graphic novels);

- the Gothic;

- new media

Proposals for contributions which go beyond the conventional academic format are also welcome.
Proposals (paper: 250 words, panel/other format: 500 words) including a 50-word bio for each contributor should be sent to the conference team by 1 December 2011 to the conference organizers. Decisions on submissions will be made by 31 January 2012. For more information, see the conference website.

Conference team: Charlotte Baker, Alison Findlay, Liz Oakley-Brown, Elena Semino, Catherine Spooner

Review: Bree Despain, The Lost Saint (Egmont, 2011)

2011-11-17T02:19:00.004Z

The Lost Saint is the sequel to Bree Despain’s YA werewolf fantasy The Dark Divine. The first book told the story of Grace Divine, the daughter of a pastor, and her relationship with Daniel Kalbi, a boy she has known since childhood. Daniel was near enough a member of Grace’s family, and was best friends with her and her brother Jude, but disappeared without warning some time before the novel begins. The Dark Divine tells the story of what happens when Daniel returns, and how Grace struggles to come to terms with the terrible secret that led him to run away.

Daniel is an Urbat, infected with a curse that causes a wolf demon to cohabit his body. If he gives in to his wolf, and commits a predatory act against a human, he will become a werewolf and will be lost forever. In the first book, seventeen-year-old Grace must deal with Daniel’s awful secret, as well as with her growing romantic feelings for him. In the end, she discovers that she is the one who holds the key to saving Daniel’s soul, and must make a horrible choice that leaves Daniel fighting for his life and Jude condemned to life as a werewolf.

The Lost Saint picks up the story ten months after the final events of The Dark Divine. Daniel has been ‘cured’ by Grace’s sacrifice; Jude – now a werewolf – has run away, and the Divine family is falling to pieces as a result. Perhaps more importantly, Grace has become infected with the Urbat curse and is beginning to learn what this might mean.

When Daniel appears to abandon Grace, insisting that she stops training to be a ‘Hound of Heaven’ (i.e. an Urbat warrior who learns to control their wolf and fight for the good of humanity), Grace becomes confused. The arrival of Gabriel Saint Moon, the legendary Urbat whose letters Grace read in The Dark Divine, does little to alleviate the confusion. Add to this the intrusion of a handsome stranger into Grace’s life, cryptic messages from Jude to Grace and best friend April, and the fact that the “Markham Street Monster” was never actually caught at the end of the first book, and Grace’s new life promises to be less than easy.

In many ways, The Dark Divine and The Lost Saint are typical YA urban fantasy/dark romance. True to genre, we have a teen heroine who meets a brooding young man, is both angered by him and drawn to him, and discovers he is a supernatural being. Like many YA books of this genre, Grace must come to terms with her first love, as well as with the fact that the world is not as straightforward as she previously thought. Sure enough, like many teen heroines, we see Grace navigate family problems, friendships and schoolwork, alongside her new relationship with the obligatory ‘supernatural hottie’.

However, Despain’s books also buck many of the trends of the genre, and I feel that it is in their resistance to certain stereotypical elements of dark romance that they are most interesting.

The first major difference lies with Despain’s werewolves. Daniel does not want to be a werewolf. And we’re not talking some Cullen-esque angst here: he really does not want to be a werewolf. In this, though, he is wise. In the world of Despain’s novels, to be a werewolf is not a good thing. It is possible, with care, focus and the help of a moonstone, to utilize the Urbat powers to help save human lives from other demons, but once an Urbat gives in to the anger and rage of the wolf inside them, they become something truly monstrous.

This is an interesting deviation from the more usual portrayal of werewolves in YA fiction. In other books – and I’m thinking particularly of Maggie Stiefvater and Andrea Cremer’s YA excellent YA werewolf fiction here – to be a werewolf is to embrace a sort of primal, raw power and a connection with other natural phenomena and living beings. While Despain’s werewolves share certain characteristics with those of Stiefvater and Cremer (like accelerated healing, heightened senses and increased physical strength), they are most definitely not ‘liberated’ by the transformation.

This results in Despain's stories being narratives of control (with control posited as a good thing). The Urbat is made up of two beings – human and wolf – and an internal battle rages for control. In places, this becomes almost a Jekyll and Hyde-type inner conflict, and the consequences for letting the Hyde-wolf take over are presented as wholly negative.

I’m sure there are werewolf fans who will be shocked or annoyed by this presentation. In recent years, there has been an investment in the ‘good’ werewolf that (I would suggest) even outstrips the investment in the ‘good’ vampire. But, as with vampires, there is no right or wrong way of presenting werewolves. I like the idea of bad, irredeemable werewolves, as much as I like the idea of sympathetic ones. Despain’s creatures are complex, and all the more interesting for swimming against the tide of YA fantasy.

What this ‘Jekyll and Hyde’ set up does is make Grace’s story one about learning to understand the competing forces that operate inside you, and about how to determine and exercise control. While this might seem rather punitive, The Lost Saint suggests that it should be seen as empowering. Grace contemplates this throughout the book:

“It had felt wonderful then… like nothing I’d known before. But this was so much more than that. Not merely energy transferred from someone else. This came from inside of me. This was my power. And no one could take it away from me.” (p. 128)

Like most YA heroines, Grace has to learn how to use this newfound power in order to make some very difficult decisions. However, once again, Despain offers something different. Though she wants to, Grace does not actually learn how to ‘kick ass’ – quite the opposite in fact. As at the end of The Dark Divine, the final choice that Grace makes in The Lost Saint is really quite astounding, and I found myself holding my breath as I read on to see if she really could go through with it.

It should be apparent from this review, for those not yet familiar with Despain’s novels, that these stories take place very much within a Christian framework. Grace Divine, as her name suggests, is Christian, and the Urbat curse is a threat to the soul of the ‘infected’ rather than a danger to the body (unlike in Maggie Stiefvater’s fiction, in which the werewolf ‘infection’ dramatically shortens lifespan but does not ‘curse’ the wolf eternally). Grace’s father is a pastor, but it is made absolutely clear that the heroine is not simply following what she has been told – she is a believer herself.

I am not a Christian, and I, like many readers, have some reservations about the ways in which religious teachings are used in some YA fiction (*cough*Twilight*cough*). However, I found the way in which Christianity was handled in The Lost Saint to be both interesting and thought-provoking.

As I say, Grace herself is a believer. The first person narrative allows for us to see her occasional internal debate around her belief in God. Rather than presenting us with a heroine attempting to live up to a set of expectations imposed on her by patriarchal figures, Despain gives us a young woman who looks at the world from a particular perspective and thinks carefully about the choices she makes. This is especially evident in Grace’s decision not to have pre-marital sex. The book never actually tells us whether Daniel wants to or not (though Grace is aware that he isn’t a virgin). Grace’s own sexual desire is mentioned, but she places this (quite frankly) within her own system of beliefs. Unlike other heroines who feel the burden of societal expectations placed on them from outside, Grace decides not to have sex with Daniel because she doesn’t believe it is right. Whether or not you share Grace’s beliefs, she comes across as a thoughtful young woman who makes up her own mind. Moreover, her Christianity is just one aspect of her characterization, and religious elements do not overpower the narrative - as much time is given to describing Grace suiting up for her first martial arts lesson as to her religious belief that sex before marriage is wrong.

Admittedly, the strength of Grace's convictions meant that I occasionally found her a tiny bit prissy. She is quite adamant that drinking alcohol is wrong, and, at one point, is shocked that her best friend April spells out the word “B-I-T-C-H”. I wonder if my annoyance at this says more about my own alcohol-fuelled and profanity-laden late-teens (and, fuck it, adulthood too) than it does about Despain’s character? I guess adults who read YA often identify with the characters as the teens they wished they had been. The examples given here were the points at which I found it hardest to identify with Grace.

Aside from this, the only other point in the book where I felt uneasy about the portrayal of Grace’s character was when, as she begins to succumb to the ‘wolf’, she becomes enflamed with animal lust for Daniel and leaps on him. Grace appears, at this point, to be displaying the kind of raw sexual energy that we find associated with female werewolves in much contemporary fiction. And yet this is also a scene in which a young woman discovers the pleasures of unmoderated sexual behaviour for the first time. It was very reminiscent of a scene in Annette Curtis Klause’s Blood and Chocolate, in which the heroine (Vivien) reveals her ‘wolf’ to her boyfriend for the first time (in bed). In The Lost Saint, as in Clause’s novel, the young woman is left feeling nothing but shame and disgust at her own animal lust. But while Vivien is able to realize that this shame is actually a reflection of how others see her femininity and sexuality, Grace is left with nothing but the conviction that it was a sign of her becoming a “monster”. I hope that, as Grace matures and her story continues in the next book in the series, she is able to better explore this aspect of her identity.

Despite this criticism, I highly recommend The Lost Saint (though it’s best to read The Dark Divine first). The storyline is compelling, and the central characters likable and sympathetic. Though I have categorized it as ‘dark romance’, the book is also a mystery, with well-sustained tension and suspense. And the ending is so heart-breaking (and so unexpected), it made me quite anxious to read the third book in the series (The Savage Grace)… we really can’t be left hanging like that for too long (though I believe I will have to wait until March 2012)!

Gender and Medieval Studies Conference 2012: Gender and Punishment

2011-11-15T14:47:00.006Z

Martin Harris Centre, University of Manchester
11-13 January 2012

Registration is now open for GMS 2012: Gender and Punishment. Click here to register or here to visit the conference website.

Programme

Wednesday 11 January

12:45-1:45pm: Registration (Foyer)

1:45pm: Welcome and Opening Remarks by Dr. Anke Bernau (University of Manchester) (John Thaw Studio Theatre)

2-3:30pm: Keynote Lecture (John Thaw Studio Theatre)
Chair: Professor Gale Owen-Crocker (University of Manchester)
Professor Dawn Hadley (University of Sheffield): Masculinity and Mass Graves in Anglo-Saxon England

3:30-4pm: Coffee (Foyer)

4-5:30pm: Parallel Sessions

Panel 1a: Torture and Spectacle (John Thaw Studio Theatre)
Chair: TBC
(i) David Matthews (University of Manchester): “Take example, and thereof beware”: The Medieval Execution Ritual
(ii) Megan Welton (University of Notre Dame): Diversis angustiata cruciatibus: Adelheid of Italy and Tenth-Century Capture, Torture, and Gender
(iii) Iain MacInnes (UHI Centre for History): “A somewhat too cruel vengeance was taken for the blood of the slain”: punishment of rebels and traitors in medieval Scotland, c.1100-c.1400

Panel 1b: Holy Women and Punishment (G16)
Chair: TBC
(i) Jessica Cheetham (University of Bristol): Mechthild of Magdeburg and Vicarious Punishment
(ii) Clare Monagle (Monash University): Authority and Punishment in the Letters of Hildegard of Bingen and Catherine of Siena
(iii) Kate E. Bush (The Catholic University of America): Cani Giudei: Anti-Semitism in the Sermons of Saint Catherine of Bologna

5:30pm: Close

6pm: Wine reception at International Anthony Burgess Foundation (Engine House, Cambridge Street)

*****

Thursday 12 January

9:30-11am: Parallel Sessions

Panel 2a: Space and Punishment (John Thaw Studio Theatre)
Chair: TBC
(i) Sergi Sancho Fibla (Universitat Pompeu Fabra): Marguerite d’Oingt’s Pagina Meditationum. The female hell for the “brothers of flies”
(ii) Polly Stevens Fields (University of Nevada, Reno): Reconsideration of Hrothwissa’s Convent Dramas: Source and Site of Female Punishment in Paphnutius
(iii) Kristin Distel (Ashland University): Holy Fear as Incentive for Enclosure

Panel 2b: Presence and Absence in Punishment (G16)
Chair: TBC
(i) Drew Maxwell (University of Edinburgh): “Traytur untrew and trowthles”: Women's roles as punishers and teachers in the concept of trowth within Ywain and Gawain and Sir Launfal
(ii) Hannah Priest (University of Manchester): “De l’altre part la dame a prise”: Hiding Punitive Violence Against Women in Insular Romance
(iii) Carl G. Martin (Norwich University): “Par destresce e par poür”: Bisclavret’s Constrained Bodies

11-11:30am: Coffee (Foyer)

11:30-1pm: Parallel Sessions

Panel 3a: Law and Punishment (John Thaw Studio Theatre)
Chair: TBC
(i) Daniela Fruscione (University of Frankfurt): Adultery, gender and punishment in the 7th century: Legal and social frames
(ii) Charlene M. Eska (Virginia Tech): Castration in Early Irish Law
(iii) Gillian R. Overing (Wake Forest University): Within Striking Distance: Gender, Insult and Injury in Some Anglo-Saxon Laws

Panel 3b: Virgins and Punishment (G16)
Chair: TBC
(i) Christine Williamson (University of York): The Moment of Death in the Passiones of the Virgin Martyrs: Exploring Gendered Forms of Execution in Medieval Hagiography
(ii) Sarah Schäfer (University of Paderborn): “Letting Satan in…” On teeth, tongues, throats and symbolic defloration in Female Saints’ Legends
(iii) Stavroula Constantinou (University of Cyprus): Holy Violence: Crime and Punishment in the Miracles of Saint Thecla

1-2pm: Lunch (Foyer)

2-3:30pm: Parallel Sessions

Panel 4a: Punitive Scripts of Selfhood (John Thaw Studio Theatre)
Chair: TBC
(i) Emily Rhodes (University of Bristol): Punishment & Imitatio Christi: Medieval Holy Women Creating Purgatory
(ii) Sarah Macmillan (University of Birmingham): Punishment, Pain and the Invisible Injuries of Christina Mirabilis
(iii) Michelle M. Sauer (University of North Dakota): Devotional Violence and Sacred Sacrifice: Asceticism, Flagellation, and Penetration in A Talkyng of the Loue of Gode

Panel 4b: Gendered Punishment (G16)
Chair: TBC
(i) Rachel Jones (Cardiff University): Punishing the Unruly Female Saint: The Anomalous Case of Mary Magdalene
(ii) Inna Matyushina (University of Exeter): Punishments in Chastity Tests
(iii) Anastasija Ropa and Edgar Rops (University of Wales, Bangor): Gender specific punishment in the ‘Queste del Saint Graal’ and contemporary legal practice

3:30-4pm: Coffee (Foyer)

4-5:30pm: Keynote Lecture (John Thaw Studio Theatre)
Chair: Dr. Anke Bernau (University of Manchester)
Professor Karen Pratt (King’s College, London): Does the punishment fit the crime, or only the person? The intersection of gender, class and punishment in Old French
Literature

5:30pm: Close

7pm: Conference Dinner at Felicini (Oxford Road)

*****

Friday 13 January

9:30-11am: Parallel Sessions

Panel 5a: Uncanny Bodies and Punishment (John Thaw Studio Theatre)
Chair: TBC
(i) Stephen Gordon (University of Manchester): Post-Mortem Punishment and the Fear of the Errant Corpse in Writings of William of Newburgh
(ii) Patricia Skinner (University of Swansea): The Gendered Nose and its Lack – some thoughts on medieval rhinectomy
(iii) Katja Fält (University of Jyväskylä, Finland): Men, Women and Devils - Representations of Gender and the Diabolic in the Late-Medieval Wall Paintings of the Diocese of Turku (Finland)

Panel 5b: Discipline and Punish (G16)
Chair: TBC
(i) Kathy Frances (University of Manchester): Penance and Punishment: The Male Body and Masculine Bonds in John Audelay the Blind’s Counsel of Conscience
(ii) Frank Battaglia (College of Staten Island/CUNY): Boys Should Be Heroes: Beowulf’s disciplinary discourse
(iii) Rachel Friedensen (Western Michigan University): Si invita passa est: Consent and Gender in Anglo-Saxon and Frankish Penitentials
11-11:30am Coffee (Foyer)

11:30-12:30pm: Panel 6: Timely Punishment (John Thaw Studio Theatre)
Chair: TBC
(i) Beverly R. Sherringham (Farmingdale State College, New York): The Graceful Fall: Medieval Misogyny as a Redemptive Precursor to an Egalitarian Society
(ii) Daisy Black (University of Manchester): Troublesome Flotsam: Verbal Resurrections of a Drowned Past

12:30-1:30pm: Lunch (Foyer)

1:30-2:30pm: GMS Business Meeting (G16)

3-4:15pm: Optional Workshops

(i) John Rylands Library Manuscript Collections (John Rylands Library, Deansgate)
or
(ii) The Heronbridge Skeletons (led by Dr. Bryan Sitch) (Manchester Museum, Oxford Road)

4:15pm Conference Close

*****

Registration is now open. Click here to register. For more information, visit the conference website or the University of Manchester website, or email the conference convenors.

Review of the Bram Stoker International Film Festival (Sunday & Monday)

2011-11-14T02:46:00.008Z

Whitby 29-31 October 2011

This is part two of a two-part review. You can see my review of Friday and Saturday here.

Sunday (for RS and me) started with Axed (Ryan Lee Driscoll), a dark and witty British horror feature. Kurt Wendell loses his job – a victim of the global financial crisis – and the tension begins to show in his relationship with his family. He surprises them with a daytrip to the countryside… though ‘surprise’ is probably a bit of an understatement. Kurt is losing his mind, and the title of the film should give a good hint of what is to come. Axed is wonderfully tongue-in-cheek, and the lead actor (stand-up comedian Jonathan Hansler) played his role with a fantastic mixture of sinister menace and maniacal exuberance. There were, unfortunately, a couple of continuity errors, which might be a result of the shoot taking less than three weeks! But otherwise, RS and I agreed that this was definitely one of the best films of the festival. The cast and crew took a Q and A after the screening, and the director announced that he has just signed a distribution contract. I’d recommend you watch out for this one.

Next up was Shadows (John Penney), which stars Cary Elwes and William Hurt (surely the most prestigious cast of the festival). Set in Thailand, this feature told the story of Jeff Mathews, who survives a car accident that kills his wife and child. Troubled by visions of the dead, Jeff realizes that his soul has remained in the ‘Shadowlands’ and he must go on a scary journey to the underworld to ‘reunite’ with himself. Filmed on location (including some scenes on the River Kwai), Shadows clearly had a far bigger budget than the other films shown at the festival, and the direction and shooting were excellent (not to mention the acting by Elwes and Hurt). Though the story wasn’t the most original, this film felt very much like a mainstream release. The Q and A with writer/director Penney revealed that there has been a problem securing distribution, and so release had been put on hold. This is a shame, as Shadows definitely holds its own against recent studio releases.

Two features wrapped up Sunday for us. Bruce Ornstein’s Vamperifica was a comedy horror (complete with musical number, ‘Ha Bloody Ha’) in which two of the world's last surviving vampires have sworn to bring back their dead king (Raven), but discover that he has been reincarnated as a bitchy and camp wannabe actor called Carmen. Vamperifica was good fun, though a little predictable and didn’t really go anywhere. I’d watch it again though, as it was engaging and (in places) rather witty. And finally, we watched Baby Shower (Pablo Illanes), a rather brutal and bleak Chilean horror. Angela is pregnant with twins, and her friends (Claudia, Manuela, Olivia and Ivana) arrive at her secluded home to throw her a baby shower. Angela has a troubled past, and the truth about her relationship with husband Felipe is revealed slowly as the film progresses. She has become involved with a sort of spiritual leader, and does not welcome the intrusion of her ‘friends’. Things take a turn for the violent, and a series of gruesome attacks occur (including a brutal rape, a man hoisted onto a meat hook and something involving a silver cocaine straw that still makes me a little queasy). Overall, the film was very enjoyable, though full of very bloody and graphic violence. RS and I were a little divided on our final verdict though. He felt the film was rather confusing, with too much left unexplained, whereas I thought it was one of those films that make the audience work a little harder than usual. We also couldn’t decide whether the ‘spiritual leader’ was a Wicker Man-type Pagan or a devil worshipper. Apparently it’s a very fine line…

As a side note, when we got back to our guesthouse, we just couldn’t resist the lure of the B-movies, and watched Omega Cop - crazy post-apocalyptic fun starring Adam West. About as different as you can get from Baby Shower!

Monday was the final day of the festival, and due a long drive home, we couldn’t stay for all the films. What we did see caused some strong feelings though…

The first screening was a selection of shorts by Elisabeth and Brenda Fies. Hard to Do was a comedy horror drawing heavily from Dexter. A man kidnaps his ex-girlfriend and therapist in order to terrorize them. There were some funny lines, but I was too distracted by numerous continuity gaffs (like disappearing tape and a missing drill bit). Scrutinize was based on an urban legend about a woman getting onto a train and seeing two men holding up an apparently unconscious girl; Faux showed a glamorous woman driving down Rodeo Drive, before returning to a slum apartment and removing all the artificial aids to her glamour (false nails, breasts, butt enhancements, eyelashes and wig). Finally, Scream Queen was a slasher-type horror, but with a ‘victim’ who pulls back at the last minute and begins criticizing the film in a brattish way – revealing that we are actually watching a film being shot. The entire selection was poor and fairly lacklustre, as well as being poorly made in places, and RS and I were left wondering why a whole session had been devoted to the work of these filmmakers (but more on that below).

Next was a screening of Joseph Maddrey’s Nightmares in Red, White and Blue: The Evolution of the American Horror Film. As many readers will already be familiar with this documentary (or with Maddrey’s book on which it is based), I won’t say too much about it. Suffice to say, this is a fabulous survey of the genre, with insightful comments from influential filmmakers (John Carpenter and George A. Romero, particularly, won our hearts).

So, finally, our last selection of six shorts. Playthings: Hunt (Wade K. Savage) was a promotional short for a forthcoming feature film, in which two young women are hunted through the woods and must do some horrible things to survive. I really enjoyed this short – almost all the violence took place off-camera, and no explanations were offered, which worked really well. This was all about atmosphere, tension, and the audience’s own imagination, and was a great example of how to make a genuinely scary film on a small budget. Next, Juan Con Miedo [Fearful John] (Daniel Romero) was a Pan’s Labyrinth-inspired Spanish horror, in which two children - Maria and Juan - shelter from a storm and read an unsettling fairy tale in an apparently abandoned house. Stylish and creepy, this film’s debt to Guillermo del Toro was impossible to deny. Next, The Furred Man (Paul Williams) was a brilliant British (and very British) comedy horror about the interrogation of Max Naughton (a campsite owned who is, for the duration of the short, wearing a werewolf costume) for a series of brutal murders on his property. The hapless Max tells his story to two sceptical police officers, and the truth is finally revealed. This short was absolutely wonderful – funny, but with a good dash of horror, and all beautifully underplayed by Daniel Carter-Hope as Max. And after this gem, we had Sacrifice (sadly, I didn’t catch the name of the director and haven’t been able to find this film online). This was a stylish modern Gothic about a priest who hunts vampires. It didn’t do anything new plotwise, but was visually stunning.

Unfortunately, the next film really put a downer on the day for us. We’d seen the cast/crew promoting Attack of the Martian Mutant From Mars during the weekend, and from what we could see it was going to be a spoof B-movie. While this was, in a way, true, the film (which was hardly a ‘short’ at half an hour long) was a joke project by Neal Harvey of Rubber Gorilla Mask Making Studio. Shot in shaky black-and-white, and supposedly mimicking the bad acting and implausible plots of earlier monster movies, this film felt like a (bad) student film project. The humour was heavy-handed (mostly revolving around the vague use of the word ‘science’ and the fact that the main character smoked a pipe), and the filming amateurish. It massively missed the point of the B-movies that allegedly inspired it – however silly those films were, they always took themselves seriously. What really riled RS and me was the fact that this film featured the son of the festival director and, clearly, many of his friends. I was also shocked to see Elisabeth Fies (who I have mentioned above) appear, which explained why she and her sister were offered a full session of their own films earlier in the day. This was a piece of self-indulgent nonsense, which had no place at a serious horror film festival. As far as we could see, this was the festival directors letting their friends mess about on the big screen, which was a bit disrespectful to the serious filmmakers who had shown their films and, in some cases, travelled a long way to attend the festival.

Nevertheless, we had one final ‘real’ film on offer before we had to leave. Jonathan Martin’s An Evening With My Comatose Mother was a 33-minute Hallowe’en horror, giving a twist on the ‘terrorized babysitter’ movie. Dorothy is called in to look after the catatonic mother of Alice Poe… and bad things happen. The film was well-made, with some pretty creepy set pieces. In the Q and A afterwards, director Martin said that the film was made on a $10,000 budget, and this certainly showed in the production values. However, the premise and execution seemed a little dated – though maybe I’ve just seen too many babysitter horror films. Martin said he is planning a feature film, as the short has been well-received. It might not be the most original film ever, but I would definitely watch a feature-length Evening With My Comatose Mother, maybe on a dark and creepy Saturday night.

Final thoughts on the festival? I’m not sure it quite lived up to last year’s success. The focus on indie horror was good – though I did enjoy the classic movies in last year’s programme. But the organizers seemed to have different priorities this year. By taking over Hallowe’en weekend – meaning that the main events of the Whitby Goth Weekend were moved to the following week – the festival promoters were obviously trying to cash in on the number of Goths who flock to Whitby at Hallowe’en. For this reason, a number of non-film-related events threatened to overshadow the screenings, designed as they were to pull in cash-laden Goths instead of indie horror geeks. As noted, Monday’s programme was too self-indulgent for our tastes, and seemed to imply a lack of respect for the hardworking filmmakers who were showing their films.

This is a real shame, as the festival has the potential to be a great horror film festival. I mean… come on… horror films at Hallowe’en in Whitby, you shouldn’t be able to go wrong. And if we ignore the questionable choices on the final day, this year’s schedule was really good. I would love to see the festival return to showing a range of good quality indie horror, coupled with a few classics for balance. RS and I will definitely look forward to seeing what’s on offer in 2012.

Next year’s festival will take place on 25-28 October. For more details, visit the festival website.

You can see the awards given out by the festival here, but here are mine and RS’s ‘awards’:

Best Feature: Vampires (Vincent Lannoo)

Second Best Feature: Axed (Ryan Lee Driscoll)

Best Short: The Furred Man (Paul Williams)

You can see my review of Friday and Saturday at the festival here.

Review of the Bram Stoker International Film Festival (Friday & Saturday)

2011-11-14T02:18:00.006Z

Whitby 29-31 October 2011

This is part one of a two-part review. You can see my review of Sunday and Monday here.

In October, my partner (RS) and I headed to Whitby for the Bram Stoker International Film Festival. The festival is an annual event, showcasing horror features, shorts and documentaries from around the globe. I attended last year’s festival, which featured a number of classic Hammer horror films alongside independent shorts and features. This year’s programme promised a greater focus on indie films, as well as a Vampire Ball, a couple of live performances and horror-themed stalls and merchandise. So… here’s what we thought…

We arrived in Whitby on Thursday and the festival started on Friday. RS hadn’t been to Whitby before, but I’ve been many times – I was a Gothy teenager, so it’s only to be expected. I mention this only to explain why we spent Friday morning wandering around the town, and didn’t arrive at the film festival itself until the 2.30pm screening. This was a duo of shorts, followed by a feature (all of which were allegedly premiering at the festival). First up was Zombiefication, a seven-minute short (available to watch on the YouTube). The film is a fairly fun little take on a safety instruction video, offering a guide to how to deal with a zombie outbreak in a movie theatre. Following this was the French short Cabine of the Dead (Vincent Templement). Again, this was a zombie outbreak film, with a man called Patrick trapped in a phone booth, trying desperately to call for help. The production values and acting were excellent, and the basic idea (though not completely original) was compelling.

However, this leads to my first criticism of the festival as a whole. In the course of writing this review, I happened to look up a few of the films online. I was a bit disappointed to find that the screening of Cabine of the Dead was far from being a premiere, as the short was shown at a number of other festivals prior to the Bram Stoker Festival. I suspect ‘premiere’ on the programme meant ‘UK premiere’, but it would have been better if this had been made clearer.

This session was finished off with the 2008 Chilean-American feature film Descendants – AKA Solos – directed by Jorge Olguin (again, not strictly a 'premiere'). This post-apocalyptic zombie infection movie told the story of Camille, a young girl born with an undefined genetic immunity to the ‘infection’ that is destroying humanity. Highlights included the good (and somewhat unsettling) portrayal of Camille and the development of the ‘beware of other survivors’ trope. However, the film was somewhat let down by a very odd ending involving a giant squid (which was almost entirely incomprehensible). Up to the final scene, though, RS and I thoroughly enjoyed Descendants.

The next screening was the undoubted highpoint of the festival for us. The Belgian ‘documentary’ Vampires (Vincent Lannoo) followed a family of vampires living in modern-day Belgium. George Saint-Germain, his wife Bertha and their ‘children’ Grace and Samson share their daily (or, rather, nightly) lives with a rather nervous film crew. The film was beautifully shot and acted, and very funny in places. Yet it was also creepy, sinister and, at times, really rather dark. This was without doubt our favourite film of the festival, and I can’t recommend it highly enough.

Next was a selection of short films, each retelling a story by Edgar Allen Poe. We had a black-and-white Spanish version of El Corazon Delator [The Telltale Heart], which had the feel of a much older horror film (which is not necessarily a bad thing). This was followed by The Raven, featuring a Professor Yaffle-like raven that was surprisingly sinister, then a ‘Ray Harryhausen Presents…’ retelling of The Pit and the Pendulum. Finally, we had a very dark animated version of Annabel Lee. We did disagree about which of these shorts were the best. RS preferred The Raven, in part because he has a real soft spot for this poem (and he did like the animatronic raven). But I loved Annabel Lee for its puppet Edgar Allen Poe (with nails in his eyes!) and the very creepy baby-doll angels. We were in complete agreement about The Pit and the Pendulum, though, which was a silly little short, missing most of Poe’s original story and with the feel of a kid’s cartoon rather than a horror short.

We decided to call it a night after the Poe shorts, and go for dinner. I do just want to add a word about the guesthouse we were staying in. Prospect House was clean, friendly and welcoming. But one of the highlights for us was the collection of DVDs available for guests to watch – particularly the superb selection of B-movie horror. As if we hadn’t got enough films to watch, we decided to end the night with Psycho Cop. Not exactly of the same quality as the films shown at the festival, but very, very funny.

On Saturday, we were also a bit rubbish at getting to the start of the screenings. Instead of heading straight to the festival, we spent the morning at Whitby Abbey – possibly one of my favourite places in the UK.

We got to the Pavilion at 3pm for Cassadaga (Anthony DiBlasi). This was a rather disjointed feature, telling the story of a deaf woman (Lily) who moves to Cassadaga (the ‘psychic capital of America’) following the death of her younger sister. Lily takes part in a séance, which leads to her being attacked by the ghost of a murdered woman. She decides to investigate the murder, which was apparently at the hands of a deranged psychopath attempting to build a woman-marionette. The problem with Cassadaga was that it appeared to be several different films sewn together. Lily’s story had the tone and plotting of a TV movie about coming to terms with grief; the séance storyline (complete with spiritual black woman in tribal-esque clothes) was more psychological thriller; the marionette killer felt more like Saw-inspired torture porn. Everything about these storylines was different – from the lighting and direction to the levels of violence and sexual reference. Lily’s story was by far the weakest, with way too much backstory (some of which didn’t go anywhere) and over-sentimentalization. Anyone who follows me or RS on Twitter might be aware of our recent Saw binge, so it should come as no surprised that we thought the strongest part of the film was the deranged puppet man. It’s a shame that these elements didn’t come together to create a coherent narrative.

No more films for Saturday, as we decided to go to the Vampire Ball (compered by the wonderful Rosie Lugosi).

You can read my review of Sunday and Monday here.

CFP: Current Research in Speculative Fictions 2012

2011-11-12T13:53:00.004Z

Call for Papers

Monday 18th June 2012
University of Liverpool

Keynote Lectures from: Professor David Seed (University of Liverpool), Professor Fred Botting (Kingston University London)

Now in its second year, the CRSF is a one day postgraduate conference designed to promote the research of speculative fictions, including science fiction, fantasy and horror, showcasing some of the latest developments in these dynamic and evolving fields. Last year’s conference attracted an international selection of delegates and provided a platform for postgraduate students to present their current research, encouraging discussion with scholars in related subjects and the construction of crucial networks with fellow researchers, this year we are looking to continue these successes. The University of Liverpool is a leading centre for the study of speculative fiction, being home to the Science Fiction Foundation Collection, and is thus an ideal venue for fostering the next generation of scholars of the fantastic.

We are seeking abstracts relating to speculative fiction, including, but not limited to, papers on the following topics:

•Alternate History •Apocalypse •Body Horror •Eco-criticism •Gaming •(Geo) Politics •Genre •Gender and Sexuality •Graphic Novels •The Grotesque •The Heroic Tradition •Liminal Fantasy •Magic •Meta-Franchises •Morality •Monstrosity •Music and SF •Non-Anglophone SF •Otherness •The Pastoral •Politics •Post-Colonialism and Empire •Proto-SF •Quests •Realism •Slipstream •Spiritualism •Steampunk •The Supernatural •Technology •TV and Film •Psychology and Consciousness •Urban Fantasy •Utopia/Dystopia •(Virtual) Spaces and Environments •Weird Fiction •World Building •Young Adult Fiction.

Please submit an abstract of 300 words for a 20 minute paper and a 100 word biography to the conference convenors by 23rd March 2012.

For further information, email the conference team or visit the website.

Welcome to the Medieval Carnival!

2011-10-23T23:42:00.004+01:00

It's my pleasure to host this month’s edition of Carnivalesque, showcasing the best in recent blogging on ancient and medieval history.

However, I’m actually going to start with some stories from prehistory. Something really rather 'ancient', is this piece on Quigley’s Cabinet about artefacts discovered in South Africa that point to the existence of a 100,000-year-old ochre-processing workshop. The History Blog discusses human-inflicted wounds on a 13,800-year-old mastodon skeleton, which prove that 'American hunting is 800 years older than we thought'. And something quite close to my ginger heart, The Ancient Standard tells us that the gene responsible for red hair and freckles may have been found in Neanderthals living 100,000 years ago in Europe.

Stonehenge Thoughts offers a story about a new full geological map of the UK the British Geological Survey, and how this might be of use to those interested in the 'bluestone quarry' at Rhosyfelin and the mystery of the Stonehenge bluestones.

Moving into the early Middle Ages, at Medieval History Geek, Curt Emanuel reviews Nicholas Everett’s Literacy in Lombard Italy, c. 568-774 and Michelle Ziegler discusses childhood illness and mortality in early medieval Ireland, in 'The Mortality of Children, Ireland 683-685' at Heavenfield. 'Even the Bishop of Girona doesn’t always win' writes Jonathan Jarrett at A Corner of Tenth-Century Europe. And what's this? The Staffordshire Hoard blog looks for suggestions and explanations of their 'mystery object'.

A story that has captured the attention of history bloggers this month was the 945th anniversary of the Battle of Hastings. Again, this appears on numerous blogs and websites, including the Ordnance Survey blog, Mr Brame’s Blog, Kaye Jones and E.C. Ambrose. The Historical Novel Society asks nine authors to post on the anniversary on their own sites, and collects the posts on the HNS blog.

And another piece of medieval news this month is the research done into the discovery of the UK's first fully intact Viking burial site in Scotland, discussed on Medieval News. I'm glad I can mention this story, as the co-director of the project, Dr. Hannah Cobb, is an archaeology teaching fellow at the University of Manchester (my own institution).

Perhaps one of the most popular 'medieval' stories of the past month has been the reconstruction of the 'Black Death genome', using DNA samples taken from a fourteenth-century plague pit in East Smithfield, London. I won't list all the blogs that pick up the story, as there are many, but among them are Contagions, nature.com and MIT's technology review. For Francophone readers, the story also appears on Docbuzz.

Elsewhere, King's College London's Henry III Fine Rolls project offers a week in the life of Henry III: Sunday 16 October to Saturday 25 October 1261. New York's Metropolitan Museum of Art blogs about rose hips and their significance in medieval seasonal celebrations at The Medieval Garden Enclosed. And at In the Middle, Karl Steel writes about the Canarian's Ship of Fools.

The British Museum's fabulous Treasures of Heaven Exhibition came to a close on October 9th. Over on the museum’s blog, metalworker Jamie Hall discusses medieval metalwork. The 8th October was the anniversary of the execution (or lynching?) of Cola di Rienzi (killed in Rome in 1354). ExecutedToday marks the date with Rienzi's story.

On Esmeralda’s Cumbrian History & Folklore, Diane McIlmoyle introduces us to the Cappel: Cumbria’s 'spooky black dog'. Haligweorc offers a piece by Derek Olsen on liturgical naming: 'Naming Spiritual Communities in the Sarum Rite'. And there's an introduction to medieval superstitions about revenants at Pure Medievalry.

Finally, although it's not a blog (and a little older than strictly appropriate for this Carnival), I thought this Flickr collection was worth a mention. Juliana Lees has been collecting images of pre-1200 Eastern textiles found in Western churches and cathedrals, with a particular interest in Silk Road influences.

Hope you enjoyed this tour of ancient and medieval blogging. If I've missed anything, leave a comment and let me know. Next month's Carnivalesque will be an early modern edition, hosted by Anchora.

VOTE NOW! Who's Your Favourite Female Werewolf?

2011-10-21T21:12:00.023+01:00

Since this blog was originally intended to focus on female werewolves in popular culture, I thought it would be good to devote a whole post to our favourite she-wolves.

A little poll is in order, I think. Who is your favourite female werewolf of all time? Have a read through the nominations, and cast your vote (or nominate your own) in the comments.

1. Kelsey 'Boobs' Bornstein (in 'Boobs' by Suzy McKee Charnas)
Nominated by K.A Laity, academic, novelist and short story writer, author of Unikirja and Pelzmantel

"It's really hard to choose: I love the Ginger Snaps films and shaking my booty to Shakira's 'She Wolf' but I have to say I have a real fondness for Suzy McKee Charnas' 'Boobs' which I was lucky enough to experience the author herself reading once. 'Boobs' Bornstein is a developing teen whose developments get unwanted notice from a local bully. The trauma of her first period, despite the well-meaning kindness of her stepmother, seems poised to make adolescence a living hell - until another transformation occurs. I think what I like best about Charnas' story is the self-assurance Bornstein gains when she understands how powerful she really is - and not just because she becomes a wolf."

2. Sergeant Angua (in Terry Pratchett's Discworld series)
Nominated by Kirsty Buchanan, English student and Pratchett fan

"Delphine Angua von Uberwald, daughter of the Baron and Baroness of Uberwald and sister of Wolfgang, Elsa and Andrei, is a Captain of the Ankh Morpork City Watch. She frequently outwits both criminals and fellow watch members, and often uses her werewolf nature to solve crimes and apprehend perpetrators. Despite being entirely independent and single minded in her work she is at times conflicted about her position within the city as a whole and in particular in her relationship with the naïve Captain Carrot Ironfoundersson (who happens to be the true heir to the throne). She frequently puts herself in danger to help others both in wolf and female human form. However she is all too aware that in human form, people only see the wolf in her and while in wolf form 'people' only see the human in her. Angua exhibits loyalty to the Watch above all, stating after she's been kidnapped and Carrot fails to make chase immediately that 'personal is not the same as important'. Pratchett plays with this example of inequality in relationships and exploits the sense of loyalty felt by her wolf side to make his point. Angua states plainly in Jingo that there’s a name for wolves who live with humans, and that name is 'dog'. Angua is a many layered female werewolf who frequently forces us to examine the extent of prejudice in society, our perceptions of others and the relative value of loyalty in relationships."

3. 'Wolfgirl' (in The Company of Wolves)
Nominated by Steve Rouse, writer, learning and development trainer and stalwart of Manchester's longstanding creative writing workshop, the Monday Night Group

"A werewolf that's always stayed in my mind is the 'Wolfgirl' from Neil Jordan’s 1984 film, The Company of Wolves. I think what appeals is the tenderness with which she’s treated in the film. She emerges as a she-wolf from the underworld, is shot by a villager, then treated kindly by a priest who tends her wound; and returns to the underworld thereafter. She is a very non-aggressive werewolf, who becomes both victim and beneficiary during her brief visit to the human (male?) world. It’s a very short passage in the film (4 minutes or so) but neatly seems to summarise our nervous and contradictory relationship to the 'wild' (the Wolf Girl reminds me of so-called 'wild children' such as Kaspar Hauser) - fascinated, repelled, afraid in equal measure. And, of course, there's the whole Freudian/feminist underpinning of Company of Wolves, with its (hardly) sub-text of sexual awakening, the 'otherness' of the female, etc. The Wolf Girl was played by Danielle Dax, an experimental musician and producer."

4. Nina (in Being Human)
Nominated by Rob Shedwick, musician and songwriter with Th3 M1ss1ing and Digital Front

"My girlfriend is a big fan of Being Human (the television series, not the general state of being a human), and after explaining the premise to me of a vampire, werewolf, and ghost living together I was intrigued - soon to be marginally obsessed, insisting that we watch the first three series virtually back-to-back. My allegiance quite quickly fell on the side of George and his girlfriend Nina, mainly because of their relationship as werewolves. I can't lie, George's gnome wallpaper was also a factor. Nina initially has a fairly tough exterior, probably as a result of an abusive childhood. She hints at this when she reveals scars on her stomach, in an attempt to show George she also has secrets and to get him to open up about his own problems. Eventually she does discover what he's been hiding, unfortunately during his transformation, and he accidentally scratches her - sharing his werewolf curse. What I particularly like about Nina as a werewolf is the complication of her becoming pregnant, and the concerns and fears that brings about for her - much like any mother during her first pregnancy, she is afraid of the unknown. But, unlike most first-time parents, she has additional concerns like whether the baby will survive her transformation process each month, and whether or not the child will be a werewolf. As the foetus is developing at twice the normal rate (by the end of Series 3), I'd say there's a fairly good chance that it will be. I'm looking forward to the upcoming fourth series and the further development of Nina’s character."

5. Kitty Norville (in Carrie Vaughn's Kitty Norville books)
Nominated by Carys Crossen, PhD candidate and werewolf scholar

"First of all, who could resist a werewolf named Kitty? (The name came first, apparently). But it takes a lot more than a gimmick to produce a truly memorable female werewolf, and Kitty delivers. Vaughn's fast-thinking, fast-talking heroine is a radio DJ with a nice line in sarcasm and a penchant for trouble. Vaughn’s series charts Kitty's development from the lowest-ranking member of a dysfunctional pack to becoming the alpha of her group of werewolves, a celebrity and expert in paranormal phenomena, providing plenty of angst, adventure and one-liners along the way. Kitty herself is a refreshing change of pace – she doesn't waste time agonising over whether lycanthropy has turned her into a monster, instead choosing to spend her time fighting the good fight and playing good music to her multitude of fans."

6. Brigitte Fitzgerald (in Ginger Snaps: Unleashed)
Nominated by Andrew Quinton, writer and creator of Werewolf News

"The Ginger Snaps films are fantastic, but they're also poorly named, and I'm not talking about the tiresome pun. Granted, each film features a protagonist named Ginger whose behaviour (poor Sam, poor Fort Bailey) could be attributed to a mental 'snap', but I don't feel the films were really about her. Despite her metamorphoses she doesn't change much throughout the series – she's not even alive in Ginger Snaps 2 – and when she does act to drive the story forward, the catalyst tends to be bestial instinct rather than the growth of her character. No, despite what their titles imply, I think the Ginger Snaps films are really about Ginger's younger sister Brigitte. Pale, meek, unsmiling, forever trapped in the shadow (or haunted by the shade) of her older sister, she's constantly forced to be the strong one, to think for them both, to make all the sacrifices and bear all the consequences. In the first film, Ginger Snaps, Brigitte watches helplessly as her sister and best friend turns into a monster. While Ginger reacts to her changes first with denial and then with petulant hostility, Brigitte doesn't have the luxury of such emotional indulgences. She's forced to act as her monster -sister's caretaker – first researching the affliction, then helping develop the cure, and eventually cleaning up the carnage left by an increasingly monstrous Ginger. When her efforts fail, Brigitte's final appeal to her sister is made not with reason but with blood, and ultimately even that sacrifice is in vain. Brigitte's connection to the life she knows is irrevocably broken, and she doesn't even have the comfort of her sister's companionship to soften the blow. Yet when we meet Brigitte at the start of the second film, it's clear that while she might mourn the life she left behind, she's determined to move forward, resolute and unflinching in the faces of her ghosts. Brigitte is easily my favourite female werewolf, not because of who or what she is but what she does. Ignore her incipient lycanthropy and she’s still the character who changes the most throughout the Ginger Snaps series, endures the worst hardships, and still manages to embody some of the very finest human qualities."

7. White Fell (in Clemence Housman's The Were-Wolf)
Nominated by Carys Crossen

"Heard of Clemence Housman? No? Unsurprising – Housman has been overshadowed for decades by her more well-known brothers, poet Alfred Edward (A. E. Housman) and suffrage campaigner Laurence. This also means, sadly, that her werewolf White Fell, who is one of the central characters of her novella The Were-Wolf, has also largely fallen into undeserved obscurity. It's undeserved because White Fell is beautiful, dangerous, and deadly, and is a refreshing contrast to the rather goody-goody hero who serves as her main opponent. More than this, White Fell is arguably one of the earliest instances in which a female author has written about a female werewolf and used the figure of the werewolf to express 'the complex and antagonistic forces that constitute one soul'. Although not famous enough to be termed ground-breaking, the character of White Fell marks a significant development in the portrayal of female werewolves in literature – the moment when women authors began to utilise the figure of the female werewolf to express feminine concerns and anxieties."

8. Leah Clearwater (in Stephenie Meyer's Twilight series)
Nominated by Hannah Kate, writer, blogger and editor for Hic Dragones

"Okay, this is a somewhat controversial choice. And I would like to make it clear that I am definitively NOT a Twilight fan. I really did not enjoy the books. However, I am absolutely fascinated by the character of Leah Clearwater - the only (and unexpected) female werewolf in Meyer's books. Leah gets no choice about whether or not she gets to be a werewolf. But lycanthropy is not a curse for her - it's a sacred duty. The problem is, until Leah, this sacred duty has been reserved for strictly men only. As soon as she transforms, her outsider status is secured. The other male werewolves are horrified by the prospect of this young woman sharing their 'pack mind'. What makes the presentation of Leah so compelling is the utter cruelty of her situation. She is forced to share her entire psyche with a group of young, testosterone-fuelled men, including her ex-boyfriend who has now 'imprinted' on her cousin. Her physical development is halted (Meyer has said in interviews that she imagined the werewolf state halted Leah's menstrual cycle) and she does not know whether or not she will be able to bear children. At the end of Breaking Dawn, when every single other character is paired off for a 'happy ending', Leah is left completely on her own. How does our teenage werewolf handle this cruel life she is forced into? With bitterness, anger and angst. No lying down and losing a few months like Bella... Leah complains, grumbles and torments her male 'pack'. This is what I love about her. Who says the best female werewolves have to be brave, noble, self-sacrificing and loyal? It's an angsty and aggressive, pained and petulant anti-heroine for me every time."

Voting is now closed. View the results here!

CFP: MANCASS Postgraduate Conference: Domestic Life and Lifestyle

2011-10-21T18:43:00.002+01:00

Manchester Anglo-Saxon Society Post Graduate Student Conference

John Rylands Library, Deansgate, Manchester, UK
March 5-6, 2012

Domestic Life and Lifestyle

What did the simple folk do? We are looking for papers on the average daily life of Anglo-Saxon people. Topics may include, but are certainly not limited to textiles, making of pottery, domestic architecture, farming, animal husbandry, wood carving, cooking, glass making, and metal working. If your topic is secular and related to the Anglo-Saxon world, it will be considered. Send abstracts to Christina Petty by 1 Jan 2012.

Further Adventures in Wonderland: The Afterlife of Alice

2011-10-14T13:31:00.004+01:00

Registration is now open for the Hic Dragones Further Adventures in Wonderland: The Afterlife of Alice conference. See here for more details.

This one-day inter-disciplinary conference in Manchester, UK, explores the influence, interpretation and representation of Alice in Wonderland in contemporary popular culture. Dress and style, music and film - Alice is out of the rabbit hole and into our collective psyche. This conference seeks to address the perennial popularity of Lewis Carroll's creation, and to explore her most recent incarnations.

Venue: The International Anthony Burgess Foundation, Manchester

Date: Thursday 1st December 2011

Programme:

9.30-10.00 Registration

10.00-11.00 Plenary Paper
Dr. Will Brooker (Kingston University): The Further Adventures of Alice

11.00-11.30 Coffee

11.30-1.00 Panel 1: Adaptation and Literature

Laura-Jane Maher (Monash University): Taking Liberties: Adaptation and Transmedia Narrative in Frank Beddor’s The Looking Glass Wars

Hannah Priest (University of Manchester): Steampunk, Cyberpunk, Whimsy: Genre Definition and Jeff Noon’s The Automated Alice

Deidre Flynn (Mary Immaculate College, Limerick): Adventures in the Postmodern Wonderland

1.00-2.00 Lunch

2.00-4.00 Panel 2: Performing Alice

Michael Goddard (University of Salford): Alice in Radioland: Radio Alice and the Movement of 77 Through the Looking Glass

Justine Houyaux and Neil Elliott Beisson (UMONS, Belgium): Waltz in Wonderland – Tom Waits and Alice

Guilia Sandelewski (Shakespeare Institute, University of Birmingham): Behind Bars and yet in Wonderland – Alice Refracts Hamlet, Reflects Italy’s Fractured Identity

Alexander Sergeant (King’s College London): Twas Brillig! Nonsense, Play and Inconsequentiality in Paramount’s Alice in Wonderland (1933)

4.00-4.30 Coffee

4.30-6.00 Panel 3: Alice at Play

David Allen (Midland Actors Theatre): Alice In Wonderland – The Disneyland Dark Ride

Franziska Kohlt (University of Sheffield): Into the X-Box and what Alice Found There: American McGee's Alice: Madness Returns

Jennifer Hardy Williams (Calvin College): Alice Meets Lolita: Quinrose’s Alice in the Country of Hearts

To register, visit the website or email the conference convenors.

CFP: 4th Global Conference: Videogame Culture and the Future of Interactive Entertainment

2011-10-14T10:54:00.002+01:00

Wednesday 11th July 2012 – Friday 13th July 2012

Mansfield College, Oxford, United Kingdom

Call for Papers:

This inter- and multi-disciplinary conference aims to examine, explore and critically engage with the issues and implications created by the mass use of computers and videogames for human entertainment and focus on the impact of innovative videogame titles and interfaces for human communication and ludic culture. In particular the conference will encourage equally theoretical and practical debates which surround the cultural contexts within which videogames flourish.

Papers, presentations, workshops and reports are invited on any of the following themes:

1. Videogames and Gaming

- Theories and Concepts of Gaming.
- Identifying Key Features and Issues.
- Videogames as Text. Videogames as Interactive Image.
- Multidisciplinary Approaches to Videogame Analysis.
- Film, Literary, Art Studies and Cultural Studies Approaches to the Analysis of Videogames.

2. Videogame Cultures

- Emerging Practices in Online and Offline Gaming.
- Games as Cultural Artifacts.
- Pervasive Gaming, Convergence and the Integration of Videogames.
- Videogames as Art.

3. Games and Society

- Ethical Issues in Videogames, Videogame Controversy – Rating, Violence, Sex, Morality and their relation to Maturity.
- Videogames and Politics.
- Propaganda Games.
- Censorship.

4. Games with Meaning?

- Social Impact Simulations.
- Educational Use of Videogames.
- Serious Games.
- Documentary Videogames.
- Political Issues.
- The Relationship between Game and Gamer.

5. Reception, Temporality and Videogames

- Player Generations.
- Old Originals vs. Retro games.
- Indie Games and Low-Tech Aesthetics.
- Innovations in Independent Game Movements.

6. Immersion and Embodiment

- New Forms of Interaction, Immersion and Collaboration in Videogames.
- Sound, Music, Touch, and Game Space.
- The Role of Innovative Interfaces.

7. Works in Progress

- Games in Development.
- Approaches to Game Design.
- Discussion Workshops on Games under Production.
- Best Practice and Know-How Exchange.

A presentation with a quick demo of the game and workshop proposals are strongly encouraged. We might offer 2 hour slot for 1-3 intensive workshops on design methodologies and media comparative sessions. Delegates presenting in the frame of workshops are eligible for publishing in special track of Videogames 4 ebook on methodologies.

The Steering Group particularly welcomes the submission of pre-formed panel proposals. Papers will also be considered on any related theme.

300 word abstracts should be submitted by Friday 13th January 2012.

If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 11th May 2012. Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information
and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords

E-mails should be entitled: VG4 Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Joint Organising Chairs

Daniel Riha
Charles University
Prague,
Czech Republic

Rob Fisher
Network Founder and Network Leader
Inter-Disciplinary.Net
Priory House, Freeland, Oxfordshire OX29 8HR
United Kingdom

The conference is part of the ‘Critical Issues’ series of research projects run by Inter-Disciplinary.Net. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and challenging. All papers accepted for and presented at the conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into 20-25 page chapters for publication in a themed dialogic ISBN hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 3rd Global Conference: Revenge

2011-10-12T14:08:00.002+01:00

Sunday 15th July 2012 – Tuesday 17th July 2012

Mansfield College, Oxford, United Kingdom

Call for Papers:

Revenge, so we are told, is a dish best served cold: a ‘sweet’ wreaking of vengeance on those who have – either in reality or in our minds – slighted, wronged or in some way ‘injured’ us and who are now ‘enjoying’ their just deserts by an avenging angel (or angels) on the great day of reckoning.

This inter- and multi-disciplinary research and publications project seeks to explore the multi-layered ideas, actions, and cultural traditions of vengeance or revenge. The project aims to explore the nature of revenge, its relationship with issues of justice, and its manifestation in the actions of individuals, cultures, communities and nations. The project will also consider the history of revenge, its ‘legitimacy’, the ‘scale’ of vengeful actions and whether revenge has (or should have) ‘limits’. Representations of revenge in film, literature, television, theatre and radio will be analysed; cultural ‘traditions’ of retaliation and revenge will be considered. And the role of mercy, forgiveness and pardon will be assessed.

Papers will be consider the following indicative themes:

~ philosophies of revenge

~ vengeance in history, literature, and popular culture

~ revenge cross-culturally

~ is there any proper and improper time for revenge? Can an act of revenge be carried across generations?

~ revenge, vengeance, retaliation: to avenge

~ justice and revenge; redressing the balance, just deserts

~ betrayal, humiliation, shame, resentment and revenge

~ revenge and the individual; revenge and the group; revenge and the nation

~ revenge in music and the arts

~ revenge in television, film, radio and theatre

~ relationship between revenge and mercy, forgiveness, pardon

~ revenge case-studies: individual, cultural, and historical

Papers on any other topic related to the theme will also be considered.

The Steering Group particularly welcomes the submission of pre-formed panel proposals. Papers will also be considered on any related theme.

300 word abstracts should be submitted by Friday 13th January 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 11th May 2011. Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 key words

E-mails should be entitled: REV3 Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Joint Organising Chairs:

Charles W. Nuckolls
Department of Anthropology,
Brigham Young University,
USA

Rob Fisher
Network Founder and Leader
Inter-Disciplinary.Net
Freeland, Oxfordshire,
United Kingdom

The conference is part of the Probing the Boundaries programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting.

All papers accepted for and presented at this conference will be eligible for publication in an ISBN eBook. Selected papers maybe invited for development for publication in a themed hard copy volume(s)

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: Thinking Though Time and History in Feminism Colloquium

2011-10-07T12:19:00.003+01:00

Birkbeck, University of London, 23 March 2012

Keynote Speakers:
Rebecca Coleman (Sociology, Lancaster University) & Lynne Segal (Psychosocial Studies, Birkbeck)

There has been an emergent call within the field of gender and feminist studies to consider themes that might be broadly situated under the umbrella term of “temporality”. Nostalgic and apocalyptic narratives of feminism abound in both popular culture and academic writing, with feminism’s death or out-datedness being the dominant narrative. Countering these narratives is crucially about unravelling the logic that makes them viable as well as interrupting their production. Explorations of alternative narratives have productively emerged from work in the field of collective and personal memory, new technologies as they impact feminist organizing, and creative activism and archival practices. There is a continued political need to explore alternative mechanisms of telling feminist time, alternative relationships to be forged with the recent and historical past and alternative means for considering how feminism might forge a future for itself both in and out of the academy.

This colloquium aims to provide the opportunity for an interdisciplinary, creative and exploratory approach to time and history in feminism. We welcome contributions from academics, artist and activists working in the area. Contributions could include but are not limited to, paper presentations, digital media, photography, film, poetry and performance.

Contributions could consider, but are by no means limited to, some of the following questions:

- How does the personal, social and collective memory of the feminist past create, sustain, or challenge feminism in the present?
- How might we forge relationships between temporal periods that resist generational affects of duty or shame?
- How might remembering and forgetting occur not only within the spaces of activism and the institution, but also between them?
- How can we think critically about how, for example, citing, course building, and curating are practices of remembering and forgetting?
- How might feminist activists, artists and theorists respond to the narratives of ‘the death of feminism’ or the ‘post-feminist’ era?
- How does time, and the various ways we think of it, both enable and constrain politics?
- Is the time of activism the same as the time of the institution?
- What are the theoretical and methodological challenges of working within feminist archives?
- How can we account for the multiple and diverse voices that comprise ‘feminism’ and the relationships between these voices? How can the use of creative methodologies enable the exploration of these issues?

Please submit a 200 word abstract by 25 November 2011 to Carly Guest and Sam McBean. If you have any questions, please contact us.

CFP: Fifty Years of A Clockwork Orange

2011-09-29T15:11:00.002+01:00

28 June - 1 July 2012
Manchester, United Kingdom

WITTY : FUNNY : SATIRIC : MUSICAL : EXCITING : BIZARRE : POLITICAL : THRILLING : FRIGHTENING : METAPHORICAL : COMIC : SARDONIC : BEETHOVEN

To mark the fiftieth anniversary of Anthony Burgess’s A Clockwork Orange (1962), the International Anthony Burgess Foundation is organising a multi-disciplinary conference to examine its profound and enduring impact on literature, film, music, theatre and society.

The conference will assess the history and reception of A Clockwork Orange in all its manifestations. Papers of 20-30 minutes in length are invited on any aspect of A Clockwork Orange and its legacy. Possible topics might include the linguistic and/or musical aspects of Burgess’s novel; invented languages; the film versions directed by Andy Warhol and Stanley Kubrick; the stage adaptations by John Godber, Anthony Burgess and Ron Daniels; translations into other languages and media; the history of book design; the political and Cold War contexts of the book and films; and the continuing influence of Burgess’s text on popular music, fashion, or other aspects of youth culture and counter-culture.

The conference will be supported by, a new Burgess/Kubrick exhibition at the John Rylands Library (in collaboration with the Stanley Kubrick Archive), a film season at the Cornerhouse cinema, new commissions of contemporary classical music, and more.

If you would like to submit a paper, please send an abstract of 200-300 words to the International Anthony Burgess Foundation.

CFP: Identity and Image

2011-09-20T12:24:00.002+01:00

18th Annual Postgraduate Medieval Studies Conference

24th‐25th February, 2012

Centre for Medieval Studies, University of Bristol, UK

The University of Bristol hosts the longest‐running international medieval postgraduate conference in the UK. This annual event offers medievalists the opportunity to present their research and discuss ideas in an interdisciplinary setting. The conference is now in its 18th year, and proposals are invited for papers from postgraduates and early career scholars on the theme of Identity and Image.

The aim of this year’s conference is to explore how identity was formed, expressed and understood in the Middle Ages. We are interested in the way individuals and groups constructed images of themselves and others, and how identity was affected by religious, racial, political and other social factors on an international, national or local scale. The theme ‘Identity and Image’ invites consideration of how, and if, we can interpret medieval notions of identity from the textual, visual, musical and material sources that have survived to the present day. We welcome a wide range of discussion from issues of religious and artistic patronage, devotional practice, language choice and material culture to considerations of how the self or the other is presented in literary and visual culture.

Topics may include but are not limited to:
- Religious identities
- National identity
- Linguistic choice or identity
- Autobiography and biography
- Representation of outsiders
- Artistic and religious patronage
- Architecture
- Material culture
- Images of the self and others

Papers must be no more than 20 minutes long

Abstracts of 250‐300 words should be sent by email (by preference) to:
Hannah Walters or to Hannah Walters, Centre for Medieval Studies, University of Bristol, Graduate School of Arts and Humanities, 7 Woodland Road, Bristol BS8 1TB, UK

Deadline for receipt of abstracts: 10th December, 2012

Registration deadline: 21st January, 2012

For further information please visit our website.

Bursaries may be available for travel.

Review: Doctor Fantastique's Show of Wonders, Issue 1 (July 2011)

2011-09-12T11:09:00.004+01:00

Doctor Fantastique's Show of Wonders is a new steampunk magazine, available in digital and print formats. Aimed at steampunk enthusiasts of all types, the magazine includes articles, reviews, new fiction and advertisements.

Issue One (now available here) contains reviews of Nickel Children, a film by Kevin Eslinger, and Alison DeLuca's The Night Watchman Express. I was particularly pleased to see Ren Cummins' review of Nickel Children, as I saw this short film at last year's Bram Stoker Film Festival and was pleased to see that Eslinger's work is continuing to get the attention it deserves. Cummins' review includes a brief interview with Eslinger, in which they discuss the genesis of the film and the reasons why the filmmaker chose to work within the steampunk/Weird West genre.

The articles included in this first issue of the magazine cover a number of steampunk-related topics. Adam Heine offers advice to writers on creating believable slang, and Sophie Playle offers a guide to airships. As steampunk is often criticized for its obsession with empire, colonial life and Victorian England, it is refreshing to also see articles on writing multi-cultural steampunk worlds (by Alison DeLuca) and recent offerings from an Italian publisher (by Lorenzo Davia). Davia's article was particularly interesting for its insights into Italian history, which explored the ways in which steampunk might have specific resonances with the Italian cultural psyche.

On the whole, the article content of the magazine is more geared towards the steampunk writer, rather than 'lifestyle steampunks', though I'm sure there is a crossover between the two. The inclusion of short fiction in the second half of the magazine suggests that this is more of a magazine for readers and writers than self-styled steampunks. It will be interesting to see how this balance pans out in future issues.

As noted, the magazine contains four pieces of new fiction. Two of these - Steamsteel (by Walter Shumate) and Calliope Strange's Aeryn Daring and the Scientific Detective - are the first installments of serialized novels. I felt that this was a nice touch, as serial fiction was such a staple of the Victorian literary diet, and the inclusion of these stories was a nod to the culture that inspires so many steampunks and steampunk writers. The other pieces included in Issue One are the first chapter of Alison DeLuca's The Night Watchman Express and a standalone short story, 'The Hand of Fate' (by Prof. Cayne Armand). Of the writing offered, I would say that I prefered Armand's short story; however, this is personal taste and other readers might feel differently.

If I have one criticism of this first issue of Doctor Fantastique's Show of Wonders, it would be that it is not quite varied enough in its content. This is not a reflection of the scope of the magazine, but rather its infancy as a print publication. For instance, the question of airships is a constant companion throughout this issue: not only do we have Playle's article, but three of the four pieces of fiction feature airships of some sort or another. While airships are fairly ubiquitous in steampunk fiction, they are becoming something of a cliche, and I would like to see the magazine address this in future issues. I hope, though, that as the magazine expands its 'reporter' base, and attracts submissions from the wider steampunk world, we will see less reliance on the genre standards and more innovation of ideas.

Overall, I recommend Doctor Fantastique's Show of Wonders for anyone interested in steampunk fiction and film. It's an enjoyable, informative read and well put-together. I'm looking forward to seeing future issues.

For information about subscriptions to Doctor Fantastique's Show of Wonders, please click here.

CFP: Kings and Queens: Politics, Power, Patronage and Personalities in Medieval and Early Modern Monarchy

2011-09-08T13:44:00.003+01:00

To be held at Corsham Court in conjunction with Bath Spa University on April 19th & 20th, 2012

The institution of Monarchy was absolutely central to the political developments and events of the medieval and Early Modern world. This conference aims to celebrate monarchy in all of its various aspects, from examining the institution itself to assessing the impact of particular monarchs in their own realms and beyond. Historic Corsham Court, located just outside of Bath, is a beautiful and appropriate setting for this conference, with its origins as a summer palace for the Kings of Wessex.

We welcome papers and/or panels on any theme which connects to monarchs or monarchy in any way including (but not limited to):

Kingship/queenship/rulership
The relationship between monarchs and consorts
The relationship between monarchs and their subjects
The involvement of monarchs in politics, religion and war
The patronage and representation of monarchs
The monarch and their court

We encourage a multi-disciplinary approach including papers which draw on gender studies, art, military, political and/or cultural history. Graduate students and early career researchers are particularly invited to submit a proposal. We hope to produce a published volume of the papers generated by the conference.

Please submit a proposal of approximately 250 words for a paper OR a panel of three papers to the organizers by October 31, 2011.

CFP: 4th Global Conference: Evil, Women and the Feminine

2011-09-08T13:29:00.002+01:00

Sunday 6th May – Tuesday 8th May 2012

Prague, Czech Republic

Call for Papers:

This inter-disciplinary conference seeks to examine issues surrounding the conjunction between evil and the feminine. In many cultures women have been long suspected as the source of sundry human miseries, however basic to society they may be. At the same time as ideals of purity and dedication to family have been exalted and feminine beauty lauded, women have been viewed as embodying sinister forces of evil. Mistrusted as seductive and beguiling, women are also often thought of as vengeful, manipulative and even malevolent. In grappling with our understanding of what it is to be ‘evil’, the project aims to shine a spotlight on this dark area of the human condition and explore the possible sources of the fear and resentment of women.

Papers, reports, work-in-progress and workshops are invited on issues related to the following themes:

~ Evil Women and Feminine Evil
~ Representing and Misrepresenting the Female
~ Motherhood; Monstrous Motherhood
~ Monstrous Births and Infanticide
~ Matriarchy / Matricide
~ Devious Sexuality and Feminine Perversions
~ Women and the Abject
~ Menstruation, Castration
~ Fears and Myths: Feminine Blood
~ Anthropological Perspectives
~ Historical Perspectives
~ The Evil Woman in Literature
~ Psychoanalytic perspectives: “Vagina Dentata” etc
~ Sexualizing the Female or Evil Objectification
~ Jezebel, Delilah, Lilith, Harpies and the Femme Fatale
~ The Bitch
~ Women and Power
~ Beauty as threatening or evil
~ Portrayals of Evil Women
~ Fantasy
~ Mythology
~ Vampires, Witches and Sirens
~ Case Studies

The Steering Group particularly welcomes the submission of pre-formed panel proposals. Papers will also be considered on any related theme. 300 word abstracts should be submitted by Friday 4th November 2011 If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 9th March 2012.

300 word abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.

E-mails should be entitled: EWF4 Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs:

Natalia Kaloh Vid
University of Maribor, Slovenia

Stephen Morris
Hub Leader, Independent Scholar, New York USA

Rob Fisher
Network Founder and Leader,Inter-Disciplinary.Net,Freeland,
Oxfordshire, United Kingdom

The conference is part of the At the Interface programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume(s).

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 10th Global Conference: Violence

2011-09-08T13:18:00.002+01:00

Sunday 13th May – Tuesday 15th May 2012

Prague, Czech Republic

Call for Papers:

This conference is one of a continuing series that aims to bring together people from a wide range of disciplines to focus on Violence. Our intention is to contribute to the body of thought which seeks to understand the nature and causes of this endemic feature of society. Such a complex phenomenon has many faces, a multitude of contexts (real or imagined), and many possible explanations in relation to causation and to the role Violence has played and still plays in societies all over the world and at every stage of development. Perpetrators may be states, political or religious factions within states, military groups, state or private institutions, communities, gangs, families or individuals. The range of possible victims is equally diverse and possible explanations range across historical, cultural, political, ethical, literary, functional, psychological, criminological, sociological, biological and economic sources. We therefore invite contributions from any and all of these disciplinary areas.

Our inter-disciplinary and multi-disciplinary approach seeks to do justice to the richness of this theme at a conference where fruitful dialogue between and across disciplines is highly valued.

The Steering Group particularly welcomes the submission of pre-formed panel proposals. 300 word abstracts should be submitted by Friday 4th November 2011. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 9th March 2012.

300 word abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.

E-mails should be entitled: Violence Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Joint Organising Chairs:

Diana Medlicott
Independent Scholar
London, United Kingdom

Rob Fisher
Network Founder and Leader
Inter-Disciplinary.Net
Freeland, Oxfordshire,
United Kingdom

The conference is part of the Probing the Boundaries programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting.

The first Diversity within Unity was held in Prague in 1999 and focused on the theme of Human Community and Civil Society. The second conference was held in Oxford in 2000 and focused on the theme of Culture, Conflict, and Belonging. Subsequent conferences have met in Prague and Budapest and looked at the general theme of the Cultures of Violence.

Multiple eBooks and volumes of themed papers have been published or are in press from the previous conference meetings of this project. All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 2nd Global Conference: Femininities & Masculinities

2011-09-08T13:06:00.004+01:00

Thursday 3rd May – Saturday 5th May 2012

Prague, Czech Republic

Call for Papers:

Gender studies is an interdisciplinary field of academic study on the issues of gender in its social and cultural contexts. Since its emergence from feminism, gender studies have become one of the most deliberated disciplines. The following project aims at an interdisciplinary exchange of ideas and perspectives on the issues of femininity and masculinity in the 21st century. It invites ground-breaking research on a plethora of topics connected with gender, to propose an interdisciplinary view of the frontiers and to stake out new territories in the study of femininity and masculinity.

Papers, presentations, workshops and pre-formed panels are invited on issues related to any of the following themes:

1. Representations of Femininity and Masculinity

~ Femininity and masculinity in history and the history of gender
~ The representation of gender in culture, art, film, literature
~ The representation of gender in popular culture and media
~ Gender in the relation to politics, law and social studies

2. Gender Borders and Transgressions

~ Performativity of gender
~Female masculinities / male femininities
~ Androgyny
~ Transgender issues
~ The body and its transgressions

3. New Directions in Femininity and Masculinity Studies

~ New perspectives in masculinity and boyhood studies
~ Men in feminism
~ Third wave feminism, womanism
~ Postfeminism, post-feminism and postfemininity
~ Lesbian feminism
~ Eco-feminism
~ Cyberfeminism
~ Individual feminism
~ Feminist disability studies

4. Global and Regional Perspectives on Gender

~ Gender and race
~ Gender and nationality
~ Gender and (post)colonialism
~ Case studies of gender issues in local/regional/national perspectives
~ Global masculinity/ femininity

5. Gender in Relationships

~ Motherhood/fatherhood
~ Gender and family
~ Matriarchy/ patriarchy
~ Sororophobia and matrophobia
~ Misogyny and misandry
~ Female genealogy
~ Gender and maturity

6. Gender in Experience

~ gender in visual and performance arts
~ gender in advertisement
~ gender mainstreaming
~ gender in psychotherapy
~ gender equality education
~ gender in religion
~ gender and NGOs

Papers will also be considered on any related theme. 300 word abstracts should be submitted by Friday 4th November 2011. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 9th March 2012.

300 word abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 key words

E-mails should be entitled: FM Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs:

Barbara Braid
English Department,
University of Szczecin,
Szczecin, Poland

Rob Fisher
Network Founder and Network Leader,
Inter-Disciplinary.Net, Oxfordshire, United Kingdom.

The conference is part of the At the Interface programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume(s).

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: Sensualising Deformity: Communication and Construction of Monstrous Embodiment

2011-09-08T12:41:00.003+01:00

The University of Edinburgh

June 15-16, 2012

Confirmed Plenary Speakers:

Prof. Jeffrey Jerome Cohen
George Washington University

Dr. Peter Hutchings
Northumbria University

“Although he was already repellent enough, there arose from the fungous skin-growth with which he was almost covered a very sickening stench which was hard to tolerate... with the use of the [daily] bath the unpleasant odour... ceased to be noticeable”
~ Sir Frederick Treves

The prominent surgeon Frederic Treves’s description of Joseph Merrick, the Elephant Man, exposes a body which is simultaneously an assault on the senses and one which has traditionally been de-sensualised. Deformity is sanitised and fitted into a structure of normality. The academy tends to obscure the complexity of the sensuous/sensual/sensed body of the deformed subject, and of the questions, anxieties, and denials which surround deformity when it is located within a continuum of sense.

From freak exhibitions and fairs, medical examinations and discoveries to various portrayals in arts and literature, images of deformity (or monstrosity, used separately or interchangeably depending on context) have captivated us for centuries. The result is a significant body of critical and artistic works where these bodies are dissected, politicized, exhibited, objectified or even beatified. Nonetheless, there remains a gap, an unexplored, unspoken or neglected aspect of this complex field of study which needs further consideration. This two-day interdisciplinary conference aims to bring the senses and the sensuous back to the monstrous or deformed body from the early modern period through to the mid-twentieth century, and seeks to explore its implications in diverse academic fields.

We hope to bring together scholars and students from a wide range of disciplines to engage in a constructive dialogue, network, and exchange ideas and experiences, connecting a community of researchers who share a fascination with deformity, monstrosity, and freakery.

Possible topics may include (but are not limited to):

● Spectacle/fetishisation of monstrosity and deformity; monstrous sexuality/eroticisation
● The monster as a catalyst of progression/ historical perspectives
● Monstrous symbolism, prodigality, or beatification
● The racialised body; exoticising difference
● Monstrosity in medical literature; disability narratives
● Monstrous becoming; the ‘sensed’ body
● Deformed aesthetics; monstrosity in the visual arts
● (De) gendering the deformed body; humanisation vs objectification

We welcome proposals for 20-minute presentations from established scholars, postdoctoral researchers and postgraduate students from various teratological backgrounds, e.g. in literature, history, media and art studies, philosophy, religious studies, history of science,medical humanities, and critical and cultural theory. Proposals should be no more than 300 words, in .doc format, and should include a brief 50-word biography.

Please submit your abstracts no later than 31 January 2012 to the conference organisers:

Dr. Karin Sellberg (The University of Edinburgh)
Ally Crockford (The University of Edinburgh)
Maja Milatovic (The University of Edinburgh)

CFP: 1st Global Conference: Storytelling: Global Reflections on Narrative

2011-09-08T12:19:00.003+01:00

Sunday 13th May – Tuesday 15th May 2012

Prague, Czech Republic

Call for Papers:

Human life is conducted through story, which comes naturally to us. Sharing stories is arguably the most important way we have of communicating with others about who we are and what we believe; about what we are doing and have done; about our hopes and fears; about what we value and what we don’t. We learn about and make sense of our lives by telling the stories that we live; and we learn about other lives by listening to the stories told by others. Sometimes, under the influence of the culture in which we are immersed, we live our lives in ways that try to create the stories we want to be able to tell about them.

Members of many professions, including medicine, nursing, teaching, the law, psychotherapy and counseling, spend a great deal of their time listening to and communicating through stories. Story is a powerful tool for teachers, because it is a good way of enabling students and other learners to integrate what they are learning with what they already know, and of placing what is learned in a context that makes it easy to recall. Story plays an important role in academic disciplines like philosophy, theology, anthropology, archaeology, history as well as literature Narrative methods for the collection of data are increasingly used in research in the social sciences and humanities, where the value of getting to know people in a more intimate and less distant way – almost as if we are getting to know them from the inside, begins to be viewed as having some value. Some academics have begun to realise the value of storytelling as a model for academic writing.

Most of us have lots of experience of relating to other lives through narrative forms, including the nursery stories we encounter as children; the books we read and the movies we watch. When we are moved by a play or a film or by a novel, we are moved because we begin imaginatively to live the lives of the characters that inhabit them. If we are lucky we will encounter as we grow up, fictional stories that stay with us like old friends, throughout our lives that we will revisit again and again as a way coming to terms with and responding to experiences in our own lives.

Storytelling: global reflections on narrative, will provide a space in which stories about story can be told, and in which the use of stories in the widest possible range of aspects of human life, can be reported. Abstracts are invited for individual contributions and for symposia of three closely related papers. They may address any aspect of story or narrative, including, for example:

* Story as a pedagogical tool in academic disciplines such as history; anthropology, psychology, theology, cultural theory, medicine, law, philosophy, education, and archaeology.

* Narrative and the gathering of stories of lived experience, as a research approach in any area of academic, professional and public life.

* The place of story and storytelling in the practice of journalism; PR advertising; conflict resolution; architecture; religion; tourism, politics and the law, and in clinical contexts such as medicine, psychotherapy, nursing and counselling.

* Finally abstracts may feature storytelling in any aspect of culture, including music (from opera to heavy metal, folk and sacred music); fine art; theatre; literature; cinema and digital
storytelling.

Alongside traditional conference papers, participants are invited to propose presentations of other kinds including, for example, theatrical performance or song, or workshops aimed at engaging participants in active learning about story and its possibilities.

The Steering Group particularly welcomes the submission of pre-formed panel proposals. Papers will also be considered on any related theme.

300 word abstracts should be submitted by Friday 4th November 2011. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 9th March 2012. Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.

E-mails should be entitled: STORY Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Gavin J Fairbairn
Professor of Ethics and Language
Leeds Metropolitan University
Leeds
United Kingdom

Rob Fisher
Inter-Disciplinary.Net
Priory House, Wroslyn Road
Freeland, Oxfordshire OX29 8HR

The conference is part of the Persons series of ongoing research and publications projects conferences, run within the Probing the Boundaries domain which aims to bring together people from different areas and interests to share ideas and explore innovative and challenging routes of intellectual and academic exploration.

All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

A Journey Through Wonderland: Alice in Multi-Media

2011-09-08T10:41:00.004+01:00

An exhibition of books, pictures, videos and more

The Portico Library, Manchester M2 3HY
7th October - 30th November 2011
Preview on Thursday 6th October

Lewis Carroll created, in Alice, one of the most enduring and endearing characters in literature. An escape from boredom plunges this easily distracted child into a surreal and fantastical Wonderland at once exciting and frightening as she meets, along the way, such whimsical, yet sinister, characters as the White Rabbit, the Mad Hatter and the Duchess. Carroll had already imagined their appearance and John Tenniel, already an established illustrator, was given clear instructions on their depiction for the first edition of Alice’s Adventures in Wonderland followed by her return to a dream-land in Through the Looking Glass.

Since its first publication in 1867 Alice has continued to inspire illustration, theatre, films, cartoons, toys and more. Walt Disney, Salvador Dali, Jonathan Miller are just three of the innumerable people who got the Alice bug and were inspired to produce their interpretation of one of the most fascinating and mind-boggling children’s stories ever.

This exhibition, curated by Emma Marigliano and Lynne Allan, for The Portico Library, seeks to capture some of the magic of the tale through a range of books, comics, pop-ups, artworks, film and other media along with a programme of events throughout October and November.

• The exhibition will launch at the preview on 6th October and will be opened by none other than Vanessa St Clair, great-granddaughter of Alice Liddell, the real little girl who was Carroll’s inspiration for his made-up Alice

• Leah Moore and John Reppion will delight graphic novel fans with a talk on their production of The Complete Alice on 12th of October

• From Hat Works Hat Museum, Stockport, Howard Green, will reveal the reason behind the Mad-Hatter’s insanity in his talk, Top Hats and Mercury on 25th October
This event is part of Manchester Science Festival; a programme of over 150 events, shows, debates, installations and more across Greater Manchester from 22 – 30 October 2011.

• Disney fans will be enchanted with Robin Allan’s talk, on 12th November, about Europe’s influence on Walt Disney

• Alan Shelston will talk about the grotesque in the Alice illustrations near the end of the exhibition on 29th November.

• In between there will be film/video showings, children’s activities and more. Look out for the full programme on our website and our Portico Quarterly newsletter.

All events begin at 6.30 and cost £7 per person, including wine and nibbles and may be booked by email, telephone or post.

Alice has been enjoying attention throughout the year in exhibitions and performances in the UK. The Portico will be linking in to some of those that will be taking place in the North West.

• Tate Liverpool launches a major exhibition of Alice with Lewis Carroll manuscripts and drawings as well as paintings and drawings from well-known artists and illustrators - from 4th November to 4th January

• A one-day inter-disciplinary conference - Further Adventures in Wonderland; the Afterlife of Alice - will be held at the International Anthony Burgess Foundation, Manchester, on 1st December. The conference is organised by Dr Hannah Priest, founder of Hic Dragones, a creative writing and literature organisation based in Manchester.

We are most grateful for permission to use illustrations for publicity and promotion and for loans of books and artworks to the exhibition from the following (placed in no particular order):

Bryan Talbot, Manchester Metropolitan University Library Special Collections, Leah Moore and John Reppion, David Blamires, Walker Books for Anthony Browne’s illustrations, Rodney Matthews for his illustrations, Chris Beetles Gallery, Bryan Haworth, Robin Allan, Viv Doyle and the two curators Lynne Allan and Emma Marigliano

We are also grateful for the support of (in no particular order):

The Lewis Carroll Society, Vanessa St Clair, Manchester Science Festival, Manchester Children’s Book Festival, The Portico Library Trust, Dr Hannah Priest

For further information please contact Emma Marigliano, Librarian, telephone 0161-236 6785

CFP: 6th Global Conference: Ethics, Evil and the State

2011-09-04T15:49:00.003+01:00

Sunday 6th May – Tuesday 8th May 2012

Prague, Czech Republic

Call for Papers:

Ethics, evil and the state is an interdisciplinary project that seeks to interrogate issues surrounding the relationship between the state, the concept of evil and alternative ways of thinking about the state, including challenging the very idea of its existence. The idea of the state is continuously open to question and challenge: what alternatives might be put into practice? What is the relationship of the idea of the state and that of government? Perhaps the idea of linking the concept of evil with the state is problematic, yet the capacity for power to corrupt and the promotion of sovereign self-interest over that of a community is frequently encountered in many forms of government. Does it make sense to speak of the state as a force for evil? Are there better ways of conceiving of social organisation beyond statist conceptions of politics, considering the possibility of its abolition, or a move to regionalisation and localisation? Perspectives are sought from those engaged in any field relevant to the study of political science communication, journalism, critical media, policy, history, legal studies, philosophy, theology, cultural theory, media studies, sociology, peace studies, government, law/legal studies, justice, psychology and other areas. Contributions are also encouraged that look to alternative and experimental ideas concerning the state, in the form of short abstracts for presentations or proposals for action-workshop sessions.

Papers, reports, work-in-progress and workshops are invited on issues relating, but not restricted to the following themes:

- Is the state a necessary construction?
- Is the state necessarily evil? Is the state a power for good?
- The legitimisation of authority.
- The state and elitism.
- The state and policing.
- Is federalism the answer to the dissolution of the nation-state?
- Anarchism as a viable solution.
- Legitimate and illegitimate protest.
- Rioting, looting and banking
- The state and oppression
- Alternative forms of government.
- The ‘Arab Spring’
- Real communities.
- The state and violence.

Papers will also be considered on any related theme. 300 word abstracts should be submitted by Friday 4th November 2011. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 9th March 2012.

300 word abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.

E-mails should be entitled: Ethical Living Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year.

All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Niall Scott
International School for Communities Rights and Inclusions,
Philosophy Section
University of Central Lancashire
Preston, United Kingdom

Rob Fisher
Network Founder and Leader
Inter-Disciplinary.Net
Freeland, Oxfordshire,
United Kingdom

The conference is part of the At the Interface programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume(s).

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 4th Global Conference: Heavy Fundamentalisms: Music, Metal and Politics

2011-09-04T15:33:00.002+01:00

Wednesday 9th May – Friday 11th May 2012

Prague, Czech Republic

Call for Papers:

The success of the heavy metal music movement is due in no small measure to its ability and openness to experiment, diversify and innovate. Throughout the 42 year history of heavy metal, these changes and innovations have led to a plethora of subgenres and spinoff musical styles, and also seen heavy metal interact culturally and artistically with other musical forms. Yet at the same time heavy metal remains doggedly ‘true’ to form. There is no doubt that heavy metal now exists across generations, languages and cultures. Now that some of its progenitors and orginators are no longer with us, what will the future hold for heavy metal?

As the identities that have been formed over heavy metal’s generations continue to make way for young blood, this the 4th conference in the series Heavy Fundametalisms: Music Metal and
Politics abstracts on themes related, but not restricted to:

- The Future of Heavy Metal
- The Driving forces behind the movement: secrets of success
- Too old to rock? Ageism and heavy metal
- Live fast, die young!
- Life after death
- Somewhere in time: heavy metal and history
- Heavy metal genealogies, heavy metal maps
- Tribute bands and re-living the past
- Globalisation of heavy metal
- How local scenes sustain global metal across generations
- Nu-metal vs old school
- Heavy metal and the cultural voice
- Genres and crossing over
- Musical diversification metal and punk, jazz, blues, rock, rap, opera
- Groupies at the age of 60 and beyond
- How do time and place function in heavy metal’s signification
- Is metal still too US/Euro centric?
- Age, income and consumption of the heavy metal product
- Heavy metal generations and festivals

Papers will be considered on any related theme. 300 word abstracts should be submitted by Friday 4th November 2011. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 9th March 2012.

Abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.

E-mails should be entitled: Metal Abstract Submission

Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in
cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Niall Scott
The International School for Communities Rights and Inclusion
University of Central Lancashire
Preston, Lancashire, United Kingdom

Rob Fisher
Inter-Disciplinary.Net
Priory House, Wroslyn Road
Freeland, Oxfordshire OX29 8HR

The conference is part of the Ethos Hub series of ongoing research and publications projects conferences, run within the Critical Issues domain which aims to bring together people from different areas and interests to share ideas and explore innovative and challenging routes of intellectual and academic exploration.

All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume, or for the launch edition of a new interdisciplinary journal examining intersections of music and politics and published by the Inter-Disciplinary Press.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

Doctor Fantastique's Show of Wonders - Subscription Drive

2011-09-01T10:59:00.002+01:00

A little message from the steampunk-tastic Doctor Fantastique's Show of Wonders:

Faithful readers! I'm quite proud to announce that Doctor Fantastique's
Show of Wonders is officially offering SUBSCRIPTIONS!

Click on the link and fill out the form for us to get your information. Once you do that, we'll be in contact with payment details.

Tell your friends! Tell your neighbors! Tell your dog to subscribe!

Oh, and we're also offering some impetus to tell your friends. For every 10 people you convince to subscribe, you'll get a $25 gift card to a retailer of your choice.

If you convince 100 people to subscribe, then you'll get a personal phone call from Chief Editor Matthew Delman and a copy of the 2012 Great Plains Steampunk calendar, signed by James Conrad Agin and his team. All proceeds of the calendar go to charity, so this is for a good cause!

Get 1,000 subscribers to sign up and you'll select a prize of your choice. Your
prize has to be $500 or less though; that's the only rule.

The best part about this? Is that you can win these prizes MULTIPLE times.

The Rules

1.Only paying subscriptions are counted. An email newsletter sign-up, while good, is not counted toward your referral number.

2.All referrals must be submitted by December 31, 2011.

3.The person you refer MUST LIST YOU AS THE REFEREE in the "Who Referred You?" box on the sign-up form.

Happy referring!

CFP: Monsters: Subject, Object, Abject

2011-08-21T17:00:00.003+01:00

April 12th-13th 2012

The Manchester Museum, Oxford Road
Manchester, United Kingdom

This two-day interdisciplinary, cross-period conference will explore humanity’s perennial fascination with the monstrous. From children’s toys to religious architecture, from medical and legal definitions to Gothic romance – cultural products resonate with fear, obsession and desire for the monster.

CALL FOR PAPERS

Proposals are sought for 20-minute papers. Possible topics include (but are not limited to):

- Monsters in literature, art, music and film
- Architectural monsters
- Subjectivity and the monster
- Objectification and the monster
- Historical definition of the monstrous
- Medical and legal monsters
- Theorizations of the monstrous
- Mythology, folklore and legends
- Hybrids and hybridity
- Cyborgs and the posthuman

Please send 300-word abstracts to the conference convenors by Sunday 1st January 2012. For more information, please see our website.

Following the conference, there will be a two-day public Monsters Convention in Manchester. We would be interested in hearing from anyone interested in offering a talk or seminar at this convention. Please email Dr. Hannah Priest.

Review: Jack Williamson, Darker Than You Think (1948; Gollancz, 2003)

2011-08-17T21:14:00.007+01:00

Last year, in one of the discussion sessions at our conference on female werewolves, the keynote speaker (Prof. Peter Hutchings) mentioned a piece of 'classic' werewolf fiction that has been sadly overlooked in the later twentieth and early twenty-first centuries - Jack Williamson's Darker Than You Think. Hutchings' description of the book's content and genre sparked a lot of interest. He mentioned that the book had been out of print for several years, but had recently been reissued. I remember predicting that sales of the new edition would probably go up immediately following the conference - and, though I don't know about any of the other delegates, I certainly went out and immediately bought a copy.

Embarrassingly, despite buying the book last September, I have only just found time to read it. Mea culpa. But I've now read it, and here is my review!

Williamson's novel, first published in 1948, tells the story of Will Barbee, a former student of Dr. Lamarck Mondrick (an anthropologist/palaeontologist/archaeologist, with a background in psychiatry - bear with me on this one!) who is currently working as a journalist. The novel begins with Barbee arriving at an airport to cover the return of Mondrick and his team, who have been researching 'something' in Asia for the past two years. As he waits for the plane to land, he meets a mysterious young woman named April Bell, who is also apparently a journalist.

Immediately intrigued, attracted and frightened by April, Barbee begins to get a feeling of foreboding. As he surveys the families of Mondrick and his team, this feeling grows. Sure enough, when Dr. Mondrick arrives, the professor begins to make a startling announcement about a shocking discovery... and then promptly dies. This begins a series of frightening events, as Barbee becomes more closely involved with April Bell and slowly learns the truth of Mondrick's discoveries. As the title of the book suggests, the truth is "darker than you think".

The first chapter of the novel is entitled "The Girl in White Fur". The first description of April Bell reads as follows:

"She looked as trimly cool and beautiful as a streamlined electric icebox.
She had a million dollars' worth of flame-red hair. White, soft, sweetly
serious, her face confirmed his first dazzled impression - that she was
something very wonderful and rare. She met his eyes, and her rather large
mouth drew into a quick pleasant quirk." (p. 1)

It shouldn't be too difficult for you to guess what sort of creature April Bell is. If I add that dogs growl at her, she has an aversion to the silver jewellery worn by Rowena Mondrick and that she carries a bag with a kitten in it (the second chapter of the book is called "The Kitten Killing"), I don't think there is much room for doubt.

Sure enough, it is soon apparent that April is intent on leading Barbee into the world of "lycanthropy" (or, as is probably more accurate, shapeshifting). Much of the presentation of lycanthropy in Williamson's book will be familiar to fans of werewolf fiction. In 'were' form, Barbee and April speak of being "free", enjoying human blood and hunting, are nocturnal and murderous. Barbee's first transformation is somewhat painful, but it becomes easier and more desirable. As noted, the sexual allure of the female werewolf is made apparent throughout the book.

However, though Williamson's presentation of lycanthropy is (in some ways) a standard one, there are some interesting to note about Darker Than You Think. Firstly, and most obviously, the book is a very early example of this 'standard' representation. We might all know a lot of the tropes Williamson employs, but this is a result of the vast swathes of fiction that has come since (some of which has been influenced by Williamson's book directly, but not all).

Secondly, the novel's genre is quite difficult to define. The opening chapters have a noirish quality, with the hardbitten reporter meeting the femme fatale and getting drawn into a dangerous mystery - it should come as no surprise that Will Barbee drinks way too much whisky! Elsewhere, the book feels more like what is now known as urban fantasy, with episodes that read like science fiction, science fantasy and psychological thriller. For instance, the explanation of the mechanism of lycanthropy draws heavily on theoretical physics - though this may seem somewhat dated for those with a background in science - as well as on more traditional ideas of the animal 'spirit'.

I will confess, some parts of Williamson's novel left me less than enthused. The reason for this was that I felt that too much had been explained too soon. April offers Barbee a fairly lengthy explanation of her own circumstances early in the novel, as well as the 'scientific' explanation of lycanthropy. She tells him about the murders and why they must happen, and (apparently) what the strange box Mondrick has brought from Asia contains. Barbee's attempts to come to terms with this, and his vacillations between his 'human' nature and his murderous lycanthropy take up a large part of the novel.

However, what I wasn't prepared for was how much Williamson holds back until the final chapters of the novel. The final 'reveal' is most definite worth waiting for. Though the novel appears to be about the mystery of who the "Child of Night" actually is - and I must confess, I did work that out - what is really worth waiting for is the final 'tying together' of all the strange threads of the novel - Mondrick's research, his strange wife, the references to palaeontology, archaeology, psychiatry and physics, and the strange box that has returned from the expedition.

And I'll say no more on what that explanation is, as I think the book is well worth reading for that alone. The characters may be a little dated and cliched, and the plot a little far-fetched in places, but the final 'solution' and the novel's ending are certainly unlike most things you will find in a werewolf book. At the risk of sounding a little trite, lycanthropy in Williamson's novel really is "darker than you think".

On the back of the 2003 Gollancz paperback edition, Douglas E. Winter describes Darker Than You Think:

"It is arguably the best, and certainly the best remembered, American novel about lycanthropy."

I'm not sure I necessarily agree with this assessment, but I would certainly suggest that Williamson's novel is a must-read for any fans of werewolf fiction, and April Bell certainly belongs on a list of fascinating female werewolves.

CFP: 1st Global Conference: Celebrity: Exploring Critical Issues

2011-08-10T20:31:00.002+01:00

15th March - 17th March 2012

Prague, Czech Republic

Call for Papers:

The dream to be famous is as old as humanity itself. Celebrities are born every day and they often disappear after their Warholian fifteen minutes. Celebrity culture has long ceased to be of interest only to tabloids and merchandisers and the people that consume them. Its analysis permeates all disciplines of study, making celebrity a multifaceted concept. Though more obvious in the late 20th century, academics have continually called for a broader programme of celebrity studies; anthropologists have been identifying connections between celebrity status and religion (shamanism; idolatry; reliquaries); psychologists have been discussing the consequences of ‘celebrity worship’ and warning about the fate of those who rose to questionable fame within a fortnight. With the seemingly insatiable desire for the lifestyle, style-tips and emulation of celebrity sociologists have been describing new ways of representing, producing and, most importantly, consuming celebrity; all manner of consumer products, not least the medical world, has been engaging celebrities to promote a cornucopia of products as well as health-awareness programmes or as spokes-persons for the UN, UNICEF, ambassadors, charities and beyond.; more recently, economists have pointed to the entertainment sector to find areas which have not been drastically touched by recession.

This call for papers addresses a serious, interdisciplinary and multicultural analysis of the phenomenon of celebrity. Papers, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to the following themes:

Definitions of celebrity-hood, stardom, charisma, uniqueness/singularity across cultures
The history of celebrity: the idols in the past and now
From zero to hero
The modern celebrity culture
Ideological conditions of celebrity culture
Celebrities as commodities
Representation of celebrities; ‘celebrification’ processes; the making of the ’star’
Celebrity and identity formation; empowerment or objectification; self-fashioning (public vs private self)
Celebrity culture and the audience (i.e. fandom; celebrity worship; stalking; role models; franchising)
Good and bad PR
Celebrities as cultural fabrications
Celebrity and power; political function of celebrity status
Politics and celebrities; celebrities in politics
Mass media and the formation of celebrity culture
Celebrity in the media: news, shows, tabloids
Celebrity and the law, accountability, morality, crime, transgressions
Celebrity status and gender
Celebrity as educators; their positive impact; celebrities and humanitarian actions; awareness-raising
Notorious celebrity/fame: The anti-heroes
Celebrities and their personnel
Child celebrities: Too young for fame?
Celebrity status as a burden; The weight of stardom
Forgotten celebrities: What happens when fame disappears?
Celebrities and ageing
Unwanted fame
Intercultural perspective on celebrity: i.e. Bollywood vs Hollywood
(Post)colonialism and celebrity
(Auto)biographies of/by stars and idols: self-representation, truth/fiction
Celebrity confessional literature; Self-help books by celebrities

Papers will be accepted which deal with related areas and themes. Papers will also be considered on any related theme. 300 word abstracts should be submitted by Friday 30th September 2011. If an abstract is accepted for the conference, a full draft paper of no more than 3000 words should be submitted by Friday 27th January 2012.
Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract

E-mails should be entitled: Celebrity Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a
week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Katarzyna Bronk
Adam Mickiewicz University,
Poznan,
Poland

Dr Rob Fisher
Inter-Disciplinary.Net
Priory House, Wroslyn Road,
Freeland, Oxfordshire OX29 8HR

The conference is part of the Critical Issues series of research projects. The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 13th Global Conference: Perspectives on Evil and Human Wickedness

2011-08-10T19:33:00.003+01:00

15th March - 17th March 2012

Prague, Czech Republic

Call for Papers:

Hitler. Spitzer. Torquemada. Weiner. Genghis Khan. Lucrecia Borgia. Ronald Reagan. Ivan the Terrible. Bill Clinton. What do all these people have in common? They are all considered “evil” by a few, some, many, or all others who know anything about them. Why? What makes them evil? Or even just plain old “wicked?” What makes them not-evil or not-wicked? How does the label “evil” or “wicked” change our estimation of them? How has the use of those labels for these folk — and others — changed over time? How will the use of these labels continue to evolve?

Further, is evil an all-or-nothing term? Is some one either evil or not evil? Is it a term reserved for use in relation to ’special cases’? Serial killers? Paedophiles? Mothers who kill their children? Children who kill other children? Is it only people who can be evil? Can animals be evil? Can countries or nations be evil?

Papers, presentations, reports and workshops are invited on issues on or broadly related to any of the following themes:

1. Wrestling with ‘Evil’
- does the language of ‘evil’ make sense in the 21st Century?
- what is ‘evil’? What is the concept of ‘evil’?
- when we use the term ‘evil’ what do we seek to convey?
- understanding the language of evil
- ‘evil’ and other possibilities: morally objectionable; morally wrong; bad; immoral; iniquitous; reprobate; sinful; wrong; depraved; diabolical; heinous; malevolent; wicked

2. The Nature of Evil
- the contexts of evil; the ‘meaning’ of evil as context dependent
- the roots of evil
- what counts as evil? Evil, Evils. Is there such a thing?
- the boundaries of evil; the forms of evil; types of evil; instances of evil. Universal evil?
- the practices of evil
- taking evil seriously; enjoying evil; satisfying evil

3. Explanatory Frameworks
- what are we looking for? The possibility of explanations
- what is an explanation?
- what does or should an explanation seek to achieve?
- is evil capable of explanation?
- explanation as evil

4. Understanding Evil
- from the perspectives of the disciplines indicative examples: anthropology, art, art history, criminology, cultural studies, history, legal studies, literature, philosophy, psychology, sociology, and theology
- from the perspectives of professions indicative examples: accountants, architects, diplomats, doctors, engineers, lawyers, pharmacists, planners, teachers, vets; people working in economics, forensics, medicine, nursing, politics, prison services, psychiatry
- from the perspectives of vocations indicative examples: people working in altruistic vocations,
professional vocations, voluntary vocations, religious vocations, humanitarian campaigning and activities
- from the perspectives of ngos indicative examples: United Nations, international ngo’s, business oriented ngo’s, governmental ngo’s, quango’s, civil society ngo’s; people working with interest groups, lobbying activities; charity organisations; relief organisations; occupational organisations; not-for-profit networks

5. Representations of Evil
- art, art history, visual culture
- cinema, tv, theatre, radio
- music; metal
- media
- technological and multi-media representations
- video games and on-line communities
- subcultural formations and identities
- fashion and evil
- gothic subjectivities and Othering

6. Confronting Evil
- how is it possible to confront evil?
- can evil be resolved? Should evil be resolved?
- the work of Truth and Reconciliation commissions; the International Criminal Court; the role of law and local criminal justice procedures
- the work of international organisations
- the role of charities

The Steering Group also welcomes the submission of pre-formed panel proposals. 300 word abstracts should be submitted by Friday 1st October 2010. All submissions are minimally double blind peer reviewed where appropriate. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 4th February 2011.

Abstracts should be submitted simultaneously to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Stephen Morris
Hub Leader (Evil)
Independent Scholar
New York, USA

Rob Fisher
Network Founder and Network Leader
Inter-Disciplinary.Net,
Freeland, Oxfordshire, UK

The conference is part of the ‘At the Interface’ programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting.

All papers accepted for and presented at this conference will be eligible for publication in an ISBN eBook. Selected papers maybe invited for development for publication in a themed hard copy volume(s) or for inclusion in the Perspectives on Evil journal (relaunching 2011).

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 3rd Global Conference: Urban Fantasies: Magic and the Supernatural

2011-08-10T18:55:00.003+01:00

15th March - 17th March 2012

Prague, Czech Republic

Call for Papers:

Jimmy Paz. Harry Dresden. Matthew Swift. Felix Castor. Sookie Stackhouse and Bill Compton.

These are among the more recent characters that fill the shelves of “Urban Fantasy” in local or online bookshops. The novels that constitute the genre are set in cities or gritty inner-cities and contain one or more fantastic elements. Alien races, mythological characters, paranormal beings, and the manipulation of magical forces all appear in these novels. Self-esteem issues and tragic pasts often color or shape the principal characters. Although most often “contemporary,” the tales are sometimes set in the past or future as well. The books and stories demonstrate how magic or the supernatural interact with everyday quotidian life, either changing it forever (as in the *Shadow Saga*) or remaining a hidden force that protects the unknowing residents of the city (as in *The Chamber of Ten*).

This “Urban Fantasy” thread is part of a larger project concerned with Magic and the Supernatural in all its myriad forms. The fascination and appeal of magic and supernatural entities pervades societies and cultures. The continuing appeal of these characters is a testimony to how they shape our daydreams and our nightmares, as well as how we yearn for something that is “more” or “beyond” what we can see-touch-taste-feel. Children still avoid stepping on cracks, lovers pluck petals from a daisy, cards are dealt and tea leaves read.

A belief in magic as a means of influencing the world seems to have been common in all cultures. Some of these beliefs crossed over into nascent religions, influencing rites and religious celebrations. Over time, religiously-based supernatural events (”miracles”) acquired their own flavour, separating themselves from standard magic. Some modern religions such as the Neopaganisms embrace connections to magic, while others retain only echoes of their distant origins.

Papers from any discipline are welcome on any aspect of the Urban Fantasy genre as well as those concerned with Magic and the Supernatural in more general terms or other subheadings. Possible subjects include, but are not limited to, these:

* Gender and sexual stereotypes/roles in UF stories

* Updating and rewriting of traditional mythologies in UF

* Role of / interaction of magic/philosophy/religion in UF

* Magical practice as religion in UF

* Changes in UF as reflections of /opposition to contemporary culture

* Cultural and racial stereotypes in UF

* Comparison of UF and other fantasy sub-genres

* Importance of geographic location (ex. London, Salzburg, Venice) in UF

* Importance of historical accuracy and fidelity in UF

* Explanations for how “magic” functions/operates in varying UF stories

* Magic as “paranormal,” anything alleged to exist that is not explainable by any present laws of science

* the distinctions between “magic” and “religion” and “science”

* Magical thinking and the equation of coincidence with causality

* Folk magic and “traditional” systems of magic

* “Magick” and “Wicca” as religious systems in modern society

* Witchcraft in the European context

* “Witchcraft” and animism in African or Asian contexts

* Magic as illusion, stagecraft, sleight-of-hand

* Magic in modern literature (ex. Harry Potter, Harry Dresden, the saga of Middle Earth, the Chronicles of Narnia, etc.) and in traditional literatures (folk or fairy tales, legends, mythologies, etc.)

* Magic in art and the depiction of magical creatures, practices or practitioners

* the associations of magic with the “monstrous” or “evil;” does one imply the presence of the other?

* the portrayal of magic, magical creatures, and magical practices or practitioners on television and in film

* the roles or uses of magic in video games, on-line communities, role-playing games, subcultural formations and identities

* the similarities and differences of magical creatures across societies and time periods

* the interplay of “magic” and “religion” as well as “science”

* the “sciences” of demonology and angelology

* the role of divination or prophecy in societies or religions

* the use of “natural” vs. “supernatural” explanations for world events

* Magic and the supernatural as coping mechanisms for individuals and societies

The Steering Group also welcomes the submission of pre-formed panel proposals. 300 word abstracts should be submitted by Friday 30th September 2011. All submissions are minimally double blind peer reviewed where appropriate. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 27th January 2012. Abstracts should be submitted simultaneously to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Stephen Morris
Hub Leader (Evil)
Independent Scholar
New York, USA

Rob Fisher
Network Founder and Network Leader
Inter-Disciplinary.Net,
Freeland, Oxfordshire, UK

The conference is part of the ‘At the Interface’ programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting.

All papers accepted for and presented at this conference will be eligible for publication in an ISBN eBook. Selected papers maybe invited for development for publication in a themed hard copy volume(s) or for inclusion in the Perspectives on Evil journal (relaunching 2011).

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 1st Global Conference: Sin, Vices and Virtues

2011-08-10T18:07:00.004+01:00

18th March - 20th March 2012

Prague, Czech Republic

Call for Papers:

In 2008, Archbishop Girotti triggered a heated public discussion when he identified new types of sins that wreak the modern world. The traditional list of the Church Fathers was unofficially updated to include social sins prevalent in what he called the era of “unstoppable globalisation”. and not necessarily embracing Christians only. Thus, apart from the familiar, but Christianity specific: Pride, Envy, Gluttony, Lust, Anger, Greed, Sloth, which individuals were to test their conscience for, the Church now cautions the whole of humanity inter alia about: Genetic modification and human experimentations; Polluting the environment; Social injustice; Causing poverty; Paedophilia, contraception, abortion; Taking drugs; and Financial gluttony. Not only are the ‘new sins’ not necessarily Christian in nature but they seem inter- and transcultural, disregarding religious persuasion. It seems no longer the matter of individual transgression that has spiritual repercussions, but rather the sin whose subject is the entire, global society.

Are we then to talk about a completely new hamartiology, new schematization, or are we just are revising, or adapting the Seven Deadly Sins to fit the secularized world of the 21st century? What are the real changes between medieval, originally Christian hamartiology and today’s religious/moral doctrines preached across the modern world? And what about non-Christian cultures with different categories of religious/spiritual transgressions. May one actually still talk about ’sin’ at all or is it an obsolete word in a multicultural world? Is the concept of religious transgression being secularised as well? Are all Western sins and virtues other cultures’ vices too?

This interdisciplinary conference seeks a new, provocative, intercultural perspective on some enduring truths concerning virtues and vices, sins and transgressions. Do we need a new list of moral commandments in the globalised, multicultural 21st century? Should they be religious or secular in nature? What are the foundations behind morality of the ‘modern (wo)man’. And, finally, is it possible, reaching back to the origins of humanity, to find common denominators between religious/spiritual definitions of vices and virtues of all belief systems?

Papers, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to the following themes:

* The genealogy of the idea of sin or religious transgression in Christian and non-Christian cultures

* Sinful/Transgressive actions and evil thoughts in Christian and non-Christian cultures

* Lexicon of sinfulness/transgression and virtuousness in Christian and non-Christian cultures

* Social functions of sins and virtues

* Modern sins and vices: Individual and social; religious and secular; intercultural

* Social sins: ‘Institutional’ and ’structural’; their social ramifications

* Communal versus individual sins/transgressions: Do societies sin?

* The concept of sin or spiritual transgression/deviation and philosophy

* Sins and vices on the political arena (secular morality or no morality)

* Psychology of sin (’sinful’ or ‘abnormal’?; the concept of sin after Darwin, Nietzsche and Freud)
* Representation of sins and sinners, vices, transgressions and virtues in art, literature, movies in Christian and non-Christian cultures

* Genderization of sins, vices and virtues in Christian and non-Christian cultures

* Ideology of sin/religious transgression and technological progress: G/god or the Machine; 'sins' of productive necessity

* Sins/Vices and/in the Media (ie advertising)

* Medieval crusades and modern (holy) wars

* Sinless, non-transgressive life in 21st century: Possibility or wishful thinking?

* Fear of the confessional or ‘McDonald-isation’ of spiritual life; is confession needed at all?

* Penitential practices across the ages and cultures

* Punishment for sin/transgression and rewarding virtue across the ages and cultures: individual and collective

* Visions of Hell and Paradise across cultures

* Virtues in the modern times; virtues in a modern man

Papers will be accepted which deal with related areas and themes. Papers will also be considered on any related theme. 300 word abstracts should be submitted by Friday 30th September 2011. If an abstract is accepted for the conference, a full draft paper of no more than 3000 words should be submitted by Friday 27th january 2012.

Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract

E-mails should be entitled: Sins and Virtues Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a
week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Katarzyna Bronk
Independent Scholar,
Poznan,
Poland

Dr Rob Fisher
Inter-Disciplinary.Net
Priory House, Wroslyn Road,
Freeland, Oxfordshire OX29 8HR

The conference is part of the At the Interface series of research projects. The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 2nd Global Conference: Trauma: Theory and Practice

2011-08-10T17:47:00.003+01:00

21st March - 24th March 2012

Prague, Czech Republic

Call for Papers:

This inter-disciplinary and multi-disciplinary conference seeks to examine and explore issues surrounding individual and collective trauma, both in terms of practice, theory and lived reality. Trauma studies have emerged from its foundation in psychoanalysis to be a dominant methodology for understanding contemporary events and our reactions to them. Critics have argued that we live in a “culture of trauma”. Repeated images of suffering and death form our collective and/or cultural unconscious. The second global conference seeks papers on a variety of issues related to trauma including the function of memory and trauma, collective and cultural trauma, time and trauma, testimony and trauma, and strategies of dealing with/coming to terms with personal/political trauma.

In addition to academic analysis, we welcome the submission of case studies or other approaches from those involved with its practice, such as people in the medical profession and therapists, victims of events which have resulted in traumas on either an individual or mass scale, journalists or authors (including playwrights and poets) whose work deals with both fictional and factual trauma, and theatre professionals.

Papers, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to any of the following themes:

1. Public and Political Trauma
~ War and trauma, both past and present
~ Public disasters and trauma including environmental catastrophes
~ Disease, public health and trauma
~ Political trauma, silencing dissent/voicing dissent

2. Personal and Individual Trauma
~ Bereavement
~ Murder and Assault
~ Domestic Violence
~ Child Abuse
~ Survivor guilt
~ Disability
~ Witnessing Trauma

3. Diagnosing and Treating Trauma
~ Psychotherapy, cognitive psychology and other psychological approaches to treating victims of trauma
~ Psychiatry
~ Other medical approaches
~ non-medical approaches, for example, narrative approaches, music, art

4. Theorising Trauma
~ Trauma and post colonialism
~ Memory and trauma
~ National identity and trauma
~ Trauma studies and psychoanalysis
~ Individual versus Collective trauma
~ Cultural trauma
~ Gender and trauma
~ The body and trauma
~ External and internal trauma

5. Representing Trauma
~ Affect, trauma and art
~ Dramatizing trauma on screen and on stage
~ Vision and Trauma
~ Media images: reality and fiction
~ literature and poetry
~ Eyewitness testimony
~ video games, violence and trauma
~ technology and trauma
~ reporting on trauma
~ the aesthetics and experience of trauma
~ fear, horror and trauma
~ Otherness and trauma

The Steering Group also welcomes the submission of pre-formed panel proposals. 300 word abstracts should be submitted by Friday 1st October 2010. All submissions are minimally double blind peer reviewed where appropriate. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 27th January 2012.

Abstracts should be submitted simultaneously to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a
week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Colette Balmain
Hub Leader (Horror), Inter-Disciplinary.Net
Independent Scholar
United Kingdom

Rob Fisher
Network Founder and Network Leader
Inter-Disciplinary.Net,
Freeland, Oxfordshire, UK

The conference is part of the ‘At the Interface’ programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting.

All papers accepted for and presented at this conference will be eligible for publication in an ISBN eBook. Selected papers maybe invited for development for publication in a themed hard copy volume(s) or for inclusion in the Perspectives on Evil journal (relaunching 2011).

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 2nd Global Conference: Spirituality in the 21st Century: At the Interface of Theory, Praxis and Pedagogy

2011-08-10T17:31:00.006+01:00

21st March - 24th March 2012

Prague, Czech Republic

Call for Papers:

The contemporary study of spirituality encompasses a wide range of interests. These have come not only from the more traditional areas of religious scholarship—theology, philosophy of religion, history of religion, comparative religion, mysticism—but also more recently from management, medicine, and many other fields.

This inter-disciplinary and multi-disciplinary conference seeks to examine and explore issues surrounding spirituality in regard to theory, praxis and pedagogy. Our first Conference, held in March 2011, was highly successful, with more than 50 presenters from greater than 25 countries around the world participating.

We seek to expand the range of ideas, fields, and locales of Spiritual work for the 2nd Global Conference. Perspectives are sought from those engaged in the fields of Alcohol and Drug Rehabilitation, Business, Counseling, Ecology, Education, Healing, History, Management, Mass/Organizational/Speech Communication, Medicine, Nursing, Performance Studies, Philosophy, Psychiatry, Psychology, Reconciliation/Refugee/Resettlement Projects, Social Work, and Theatre. These disciplines are indicative only, as papers are welcomed from any area, profession and/or vocation in which Spirituality plays a part.

Papers, reports, works-in-progress and workshops are invited on issues related to any of the following themes:

* Conceptualizations of Spirituality

* Social and/or Cultural Aspects of Spirituality

* History(ies) of Spirituality

* Interpreting elements and examples of Spirituality

* The Liminal elements and facets of Spirituality

* Research and/or Pedagogical Approaches to Spiritual Work

* Social and cultural aspects of Spirituality

* Spirituality and Children

* Spirituality in Education, Curriculum Development and/or Pedagogy

* Spirituality Compassion and Reconciliation

* Spirituality and Cultural Identity

* Spirituality and Healing

* Spirituality and Addiction, Health Care, Medicine, and/or Nursing

* Spirituality in Counseling, Healing, Hospice Care, Psychology,
Psychiatry, Social Work, Therapy and/or Wellbeing

* Spiritual and Ecological Maintenance of Health and Life of Human
Beings

* Spirituality as Therapy

* Development of Personality as a Process of Spirit Creation

* Cultural Expressions of Spirituality via Art, Dance, Film, The
Internet, Literature, Music, Radio, Television and/or Theatre

* Spirituality and Communication

* Spirituality and the Environment

* Spirituality in Business and/or Management

* Spirituality and Gaia

* Teaching Spirituality

* Theology and Spirituality – use and/or abuse

* Teleology and Spirituality

* Comparisons and/or Contrasts between Spiritual Theory, Praxis and
Pedagogy

The Steering Group particularly welcomes the submission of pre-formed
panel proposals. Papers will be considered on any related theme.

300 word abstracts should be submitted by Friday 30th September 2010.
All submissions are minimally double blind peer reviewed where appropriate. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 27th January 2012. Abstracts should be submitted simultaneously to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a
week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend. If an abstract is accepted for the conference, a 8-10 page full draft paper should be submitted to both Organising Chairs by Monday 27th January 2011.

Organising Chairs

John L. Hochheimer
College of Mass Communication and Media Arts
1100 Lincoln Drive, Mail Code 6609
Southern Illinois University
Carbondale, IL. 62901 USA

Rob Fisher
Network Founder and Leader,
Inter-Disciplinary.Net
Freeland, Oxfordshire, OX29 8HR

The conference is part of the ‘At the Interface’ programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting.

All papers accepted for and presented at this conference will be eligible for publication in an ISBN eBook. Selected papers maybe invited for development for publication in a themed hard copy volume(s).

For further details of the project, please click here.

For further details of the conference, please click here.

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

Review: K.A. Laity, 'Vironsusi'

2011-07-15T17:44:00.009+01:00

I'm suddenly aware that it's been a while since I recommended a good werewolf story. And given my interest in werewolves, that seems a little odd. So to put that right, today I recommend the short story 'Vironsusi' by K.A. Laity.

'Vironsusi' is found in Laity's 2009 collection, Unikirja: Dream Book (published by Aino Press). The stories in this collection draw on Finnish myth and legend, retelling old stories in a fresh and original way.

I won't go into too much detail about 'Vironsusi', as it is a short piece and to discuss the specifics would spoil it for first time readers. Rather, what I will say is that, as an English writer, researcher and reader of werewolves, it is all to easy to focus one's attention on the Western European (and North American) werewolf tradition. If you're not careful, it's easy to imagine the history of the werewolf as beginning in Latin literature, and moving steadily through medieval romance, early modern witchhunts and Victorian poetry, before arriving comfortably in Hollywood.

Amongst the many things that are lost, if one adheres to this neat little lycanthropic timeline, are the 'other' werewolf traditions - though perhaps 'werewolf' is not quite the right word here - the other rich traditions (from Scandinavia and the Baltic, for example) of human/wolf shapeshifters. And it is in some of these often over-looked legends that Laity's work is based.

'Vironsusi' is a charming example of the way in which Laity retells the old tales of Finland in Unikirja. It is, on the surface, a rather simple story of a... well, let's say 'werewolf' for the sake of brevity. Yet the story bubbles under the surface with unspoken desire, longing and sadness. There is something very sympathetic about the central character, though they are far removed from the 'sympathetic werewolf' of cinema and urban fantasy.

As I said, I'll not go into too many details and risk giving away too much. But I will say that I thoroughly enjoyed this story, and the particular take on shapeshifting it offered. It is a well-written and evocative story, based firmly in the fascinating folktales of Finland. I highly recommend 'Vironsusi' - and the other stories in the collection, of course!

CFP: Shield Maidens and Sacred Mothers: Medieval Women in Truth and Legend

2011-07-12T16:33:00.002+01:00

Cardiff University
October 7, 2011

Call for Papers

This forthcoming interdisciplinary international conference seeks to examine images and representations of medieval women. Our aim is to promote new scholarship and innovative approaches to the study of this figure within the wider context of literary and historical studies. Our purpose is to foster an interdisciplinary discussion of the ways in which the medieval female is depicted within myth, folklore, legend and historiography.

Keynote Speaker: Dr. Roberta Lynn Staples, Sacred Heart University, Connecticut, USA.
Author of The Company of Camelot. Arthurian characters in Romance and Fantasy (with Charlotte Spivack)

Abstracts of not more than 250 words are invited for individual 20-minute papers on the theme of the conference (interpreted in literary or historical terms, or both). Abstracts should be emailed to the conference convenors.

Deadline for receipt of abstracts: August 31, 2011

The Conference will take place at Cardiff University’s main campus

General Enquiries:
Conference Organisers
Nicole Thomas
Sarah Williams

Please visit our Facebook page: Shield Maidens and Sacred Mothers.

CFP: 10th Medieval English Studies Symposium

2011-07-12T14:33:00.009+01:00

19-20 November 2011
Poznań, Poland

The 10th Medieval English Studies Symposium, organised by the School of English, Adam Mickiewicz University, will be held in Poznan from 19-20 November, 2011. MESS10 will have as its aim bringing together specialists in the areas of medieval English literature and linguistics. Two plenary lectures, at least two parallel sessions and over twenty section meetings are planned.

Literature Section at MESS10

Princes and Paupers: Class, Money and (social and physical) Otherness in medieval and medievalist literature in English

The main aim of the literary section is that class and wealth and their literary representations appear in the form of endorsements as well as admonitions. Princes and Paupers feature in secular literature of advice as well as in religious works on sins and transgressions, both types offering insight into the nature of medieval social life. Early medieval penitentials outline not only ideas on penance (exile which meant social exclusion being one of the most frequently prescribed punishments), but first and foremost demonstrate how crimes were punished differently according to the social class of the perpetrators. Mess10 welcomes all papers dealing with the above mentioned aspects of medieval literature but we will also try to accommodate other papers, if need arises.

500-word abstracts should be submitted by the end of August 2011, preferably by email, in the .rtf or .doc format. As the number of paper slots is limited, all proposals will be reviewed by the organising committee and the authors will be notified about acceptance by mid-September 2011. Participants without papers are also welcome.

Venue

The conference will be held at Collegium Iuridicum Novum building, officially inaugurated in December 2010 to house the AMU Faculty of Law and Administration (Polish: Wydział Prawa i Administracji).

All the rooms offer audio and video equipment, including data projectors.

Registration

New registration forms will soon be available on the conference website.

All enquiries concerning the Symposium should be addressed to the organisers, preferably by e-mail.

For more information, see the main website here.