The Gothic is having a moment, as it tends to do in times of collective panic and uncertainty. Even Latin America, whose geographical, linguistic and historical distinctiveness have supported its all-but-exclusion from global Gothic Studies, has experienced a rise in scholarship on contemporary Gothic horror—from studies on the double and hybridity to zombies and cannibals, among others. Typically excluded from this narrative, however, are theories on the origins and early representations of the Gothic, and how regional, linguistic and historical particularities nourished a Latin American Gothic tradition that, although indebted to its European Gothic predecessors, deviated from it in unique and meaningful ways.

This session invites those who have experience in research, course development and/or teaching with partners from another discipline to share how to (and perhaps how not to!) build and sustain those relationships. We are interested in hearing about triumphs as well as learning from less successful attempts. The organizers (a mathematician and a humanist) will discuss their own roller coaster experiences co-leading Humanistic STEM, a major, highly interdisciplinary, project at their university and invite participants to share their own stories.

The goal of HAS Magazine is to discuss pressing topics through the analysis of a wide range of themes in the humanities, the social sciences, and the arts. Conceived as a magazine for the broadest possible range of readers, HAS offers a space for staging the most creative, enlightening, imaginative, and socially relevant interactions of the humanities and the arts.

Since Carol J. Clover’s seminal work Men, Women, and Chainsaws (1992), feminist readings of horror movies have gained an enthusiastic theoretical momentum. In employing various frameworks and lenses and by complicating our spectatorial position, this rich corpus of literature has perhaps contributed to a resignification of the genre and its tropes. However, amid the emergence of luminous movies that defy and challenge horror’s misogynistic and racialized foundations, several questions arise: Is contemporary horror cinema really abjuring its heteronormative, original structure? Does mainstream horror still convey trite reactionary messages with renewed vigor?

Strange Country – Ireland in politics and culture, 1998-2020

SOFEIR annual conference, 16, 17, 18 March 2021, Université Paris Nanterre

The months of May and June, 2020, saw unprecedented global protests against anti-Black racism and calls for a more equitable and just society that recognizes the humanity and lives of people of African descent. While these protests initially originated across the United States, protesters around the world quickly galvanized in support of these issues organizing events in a growing number of countries, including Canada, Mexico, Haiti, the United Kingdom, France, Germany, South Africa, Australia and Japan. This has been an important moment for Black scholars, activists, and cultural producers everywhere—as well as their friends and allies—to reflect not only on the crisis that has marked Black lives, but also on our future possibilities.

Gender Research Workshop

The workshop will be divided into three sessions with breaks for tea, coffee and snacks. All the participants who will attend the workshop will receive certificates.

In order to book a place, please register by 15 July 2019 on http://registration.lcir.co.uk.

Goal: With obvious propagandistic aims, the feature films and documentaries produced in the Eastern Bloc would ‘rewrite’ the history in the making, providing their home audiences with the image of a system that should have been perceived as victorious against the evils of the corrupt, capitalist West, and as a blessing for the ones fortunate enough to be under the protection of the Party.

Equally worth commenting on are the few cultural products of the age that escaped censorship in their attempt to fight the regime, either by subtle insertion of subversive elements in the communist visual propaganda or by ‘emigration’ to a free world that was more than willing to find out what was going on behind the Iron Curtain.

Deadline for Submission: November 27, 2020

Since the beginning of the COVID-19 pandemic, numerous scholars have been unable to physically access archival records, locked away for an indefinite period of time. In the present, various media industries—studios, streaming services, talent agencies, and more —have continued to announce deals, make public statements, and present a digital front that veils the story underneath. With continued conglomeration and corporate security practices winnowing access to materials, even smaller stakes questions—even the amount of eyes on any particular work on digital platforms—are becoming increasingly impossible to uncover without records.

This interdisciplinary panel invites submissions for papers that examine the subversive aspects of the Southern Gothic genre in literature, film, television, or music. Creative new readings of traditional Southern Gothic texts from O'Connor, Faulkner, Williams, etc. are welcome. Also encouraged are explorations of contemporary texts such as the HBO series True Detective, fiction from Toni Morrison and Dona Tartt, or music from The Handsome Family and Iron and Wine.

Please submit a 250-word abstract, brief biographical statement (including academic affiliation and contact information), and A/V requirements to Mary McCampbell at mmccampbell@leeuniversity.edu by July 29, 2020.

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THE JOURNAL OF HISPANIC AND LUSOPHONE WHITENESS STUDIES (HLWS) is open access, peer-reviewed, interdisciplinary journal. The Journal promotes the research on non-Anglocentric Studies of Whiteness in the Lusophone and Hispanic cultural productions from any period.

Roll for Initiative: Writing Dungeons & Dragons

            We seek submissions in the genres of the essay (creative nonfiction or critical/theoretical), poetry, and the interview for an anthology that will take a literary perspective to examine all aspects of Dungeons & Dragons (D&D).

CFP Platform: Journal of Theatre and Performing Arts
BALANCING ACTS No. 14, Vol. 2

Balance is an insecure state. When extreme acts of falling (releasing) and suspension (being unable to move) push bodies off balance, into a state of disorientation, balance is put into question. Following Sara Ahmed’s observation that bodies lose their balance if they do not move along the straight vertical line of capital (2016) and Anne Cooper Albright’s analysis which explores how we can practice realigning ‘at the edge of our balance’ (2019), this issue of Platform investigates moments in which balance is put at stake.

"Humor and the Law"Proposed Special Issue for Law and Literature (Cardozo Law School)

https://www.oslit.nl/proposed-special-issue-for-law-and-literature-cardozo-law-school-humor-and-the-law/