Saturday, August 13, 2016

Finding Neverland

Based on the feature film, Finding Neverland ( tells the story of J. M. Barrie and his writing of the play Peter Pan. The thrust of the musical is about the power of the imagination. The songs are infectious and highly memorable (and there is even a King Arthur reference).

Friday, August 12, 2016

CFP Damsels in Redress: Women in Contemporary Fairy-Tale Reimaginings Conference (11/1/2016; Belfast 4/7-8/2017)

One more post for the night:

CfP: Damsels in Redress: Women in Contemporary Fairy-Tale Reimaginings, Queen’s University Belfast

Call for papers for a conference at Queen’s University Belfast:
Damsels in Redress: Women in Contemporary Fairy-Tale Reimaginings

Dates: Friday 7th April and Saturday 8th April 2017
Keynote Speakers: Professor Diane Purkiss (University of Oxford); Dr Amy Davis (University of Hull)

With the ever-growing profusion of fairy-tale reimaginings across literature, film, television, theatre, and other artistic forms, a continuing concern among critics today is the portrayal of women. How do these reimaginings represent women’s roles? To what extent do they redress portrayals that have been considered problematic from a feminist standpoint in traditional tales? To what extent do they perpetuate those portrayals? What constitutes a feminist reimagining? How have the fairy-tale heroine, the witch, the (step)mother, the (step)sister, and the fairy godmother evolved since the dawn of second-wave feminism?

This conference aims to foster interdisciplinary scholarship by bringing together a range of ideas about the representation of women in contemporary reimaginings of traditional fairy tales, such as those from the Brothers Grimm and Charles Perrault. We welcome proposals that explore this representation from a variety of perspectives and fields of study, including but not limited to literature, film, television, theatre, gender, feminist, and queer studies. We also welcome creative exploration on the theme of the fairy tale and how this theme can be interpreted with regard to women.

Topics might include but are not limited to:

  • Feminist revision
  • Subversive female characters
  • The witch figure
  • Women in Disney adaptations
  • Physical depictions of women
  • Mother/daughter relationships
  • Sexuality and gender
  • LGBTQI relations
  • Marriage and Prince Charming
  • Voice and agency

Please submit a title and an abstract of no more than 250 words, and a bionote of up to 50 words, to by 1st November 2016.

The Facebook event can be found here:

CFP ICFA 2017 (proposals 10/31/2016)

Too bad not everyone's spring break is the week of the conference:

CfP: International Conference for the Fantastic in the Arts 38, “Fantastic Epics”

CfP: International Conference for the Fantastic in the Arts 38, “Fantastic Epics”

Please join us for ICFA 38, March 22-26, 2017, when our theme will be “Fantastic Epics.” We welcome papers on the work of: Guest of Honor Steven Erikson (World Fantasy and Locus Award nominee), Guest of Honor N.K. Jemisin (Hugo, Nebula, and World Fantasy Award nominee, Locus Award winner), and Guest Scholar Edward James (Pilgrim, Hugo, British Science Fiction Association, and Eaton Award winner). 

The hero(ine)’s tale is as old as storytelling itself. We trace our way from Gilgamesh to current practitioners of the art through routes that lead to – and beyond – other kingdoms, including those of Malazan and the cities of Gujaareh, Sky, and Shadow. Papers may tread the paths of Thomas the Unbeliever, Bren Cameron, Sundiata Keita, and Boudica, or follow a dark road through Gondor, Camelot, or any valley of shadow. We can find the Epic in the hall of Heorot and in the rooms of Schaherazade. Examinations of modern epics might include the American west, the Marvel Universe, or the world of Miyazaki. A journey, a quest, an awakening – all these and more are part of Fantastic Epics. 

We also welcome proposals for individual papers and for academic sessions and panels on any aspect of the fantastic in any media. 

The deadline for proposals is October 31, 2016. We encourage work from institutionally affiliated scholars, independent scholars, international scholars who work in languages other than English, and graduate students.

For more information on the IAFA and its conference, the ICFA, or to download a PDF version of this CfP, see To submit a proposal, go to

The submission portal opens on September 1st and closes on October 31st.
To contact the Division Heads for help with submissions, go to

CfP Fantastika Journal, First Special Edition Issue (9/15/2016)

CfP: Fantastika Journal, First Special Edition Issue


“Fantastika” – a term appropriated from a range of Slavonic languages by John Clute – embraces the genres of fantasy, science fiction, and horror, but can also include alternative histories, gothic, steampunk, young adult dystopian fiction, or any other radically imaginative narrative space. The goal of Fantastika Journal is to bring together academics and researchers who share an interest in this diverse range of fields with the aim of opening up new dialogues, productive controversies and collaborations. We invite discussion of all mediums and disciplines which concern the Fantastika genres.

The first issue aims to explore and evaluate current research into Fantastika. As well as cataloguing and challenging established critical stances and recent developments, we are looking for approaches which embrace the self-reflexivity latent in the study of speculative and fantastical texts. It is our position that to ask questions about and within Fantastika studies is also to ask ‘what is Fantastika?’ – that to read or identify Fantastika as Fantastika is to probe and strengthen our own hermeneutics. 

Research topics and questions which relate to our theme include, but are not limited to, the following:

  • Parameters: the relation between genres and fields. What constitutes genre, and what is its relation to Fantastika? How significant are ideas of genre to Fantastika?
  • Critical categories and taxonomies. What is the value of constructing new terminologies to encapsulate given affects, fields, intersections or modes? What is the relative worth of an umbrella term or category as opposed to a discrete one, and vice-versa?
  • Fantastika and history. What is the relationship between attempts at definition, hermeneutics or critical reading and the fluctuating field of history? How can historical contexts and studies constitute a lens through which new critical methods and perspectives become available?
  • Liminality and ‘ownership’. Why do distinct fields of study attempt to incorporate or ‘possess’ certain texts, authors and subgenres under their banners? What is the significance of fields of study which could be considered modes rather than genres? How does reading a text within or against a generic or modal definition change, enhance, or determine the reading? What is the relationship between the umbrella term and the specific texts that might be studied under it, especially when considering close textual analysis?
  • Developments and trajectories. What is (or could be) the meaning of Fantastika – both as a set of literatures and discourses and as a collective categorisation – in academia today? What are the most important trends and developments in the study of Fantastika and how do they relate to the shifting position of academia in the 21st century?

We invite articles of 5,000 – 7,000 length. Please submit articles in doc or docx format to by 15th September 2016 along with a 300 word abstract and short bionote in separate documents. Articles should be in accordance the MLA Style Manual. 

Submissions should be made under the subject line “First Special Edition.” Please note that all articles published with Fantastika Journal will undergo peer-review before publication.