A massive ‘Thank You’ to everyone who attended Monday’s Fantasies of Contemporary Culture symposium at Cardiff University, either in person or on Twitter. I enjoyed the day (and all the papers) immensely, and feel very honoured to have been a part of it.
I’ve compiled some of the images, tweets, and Facebook posts into a (very long) Storify thread. Browse them at your leisure. Here’s how it all starts:
This week at Cardiff University, delegates gathered from around the world for the Fantasies of Contemporary Culture symposium. The event was an opportunity to explore the political and cultural functions of fantasy, in all its forms.
‘How might the fantastical characters and environments that populate our contemporary cultural landscape be informed by the experience of twenty-first-century metropolitan life,’ asked the event’s call for papers, ‘and how do such texts (in)form that experience in return?’ Delegates answered this question in many different ways, over two plenary talks, eight panel sessions, and numerous informal discussions throughout the day.
A lot of people were enthusiastic about doing this kind of thing again next year – and in fact we’ve already had a chat with a couple of delegates who might like to bring Fantasies of Contemporary Culture to their universities in the future. If we’re going to do this, however, we’d like to know what you thought of this year’s symposium.
We’ve compiled an anonymous survey of 10 questions. If you can spare the time (it should take about 2 minutes), we would love to hear your honest thoughts and points for improvement.
In addition to all the wonderful conferences I’m hoping to attend in 2016, I happen to be co-organising a symposium of my own, on the role fantasies play in the construction of contemporary reality. Whatever your background, discipline, or career phase, we want your abstracts (and we just want to meet you). Have a look at the call for papers below, and see if it sparks your fancy:
From the record-breaking sales of J. K. Rowling’s Harry Potter series, both in print and on film, to the phenomenal success of various forms of hyperreal ‘reality television’, contemporary Western culture seems singularly obsessed by the spectacular and the fantastic. This desire to experience other(ed) realities is also evidenced by the continued popularity of neo-historical literature and period drama, the domination of Hollywood cinema by superhero movies, and by the apocalyptic and dystopian imagery that abounds across genres and target audiences. With a long critical and cultural history, conceptualised by scholars as diverse as Tzvetan Todorov, Farah Mendlesohn, John Clute, Brian Attebery, Fredric Jameson, Lucie Armitt, and Darko Suvin, fantasy has arguably become the dominant mode of popular storytelling, supplanting the narrative realism of the nineteenth and early twentieth centuries.
Rather than attempting to define fantasy, horror, weird, or science fiction as distinct genres, we wish to take up Katheryn Hume’s expansive definition of fantasy as anti-mimetic, or as ‘any departure from consensus reality’ (Fantasy and Mimesis, 1984, p. 21), in order to engage with the broader artistic motivation to question the limits of the real. This symposium, then, will explore the political and cultural functions of such fantasies. To what extent does the impulse to create fantasy art comment back upon this ‘consensus reality’, and to what extent does it represent a separate reality? How might the fantastical characters and environments that populate our contemporary cultural landscape be informed by the experience of twenty-first-century metropolitan life, and how do such texts (in)form that experience in return?
Roger Schlobin claims that the ‘key to the fantastic is how its universes work, which is sometimes where they are, but is always why and how they are’ (‘Rituals’ Footprints Ankle-Deep in Stone’, 2000, p. 161). With this claim in mind, we invite submissions from any discipline that address the relationship between current cultural, social and political dialogues and fantasy texts – specifically ones that interrogate dominant structures of power, normativity and ideology. Suggested topics include, but are not limited to, the relationship between fantasy texts and contemporary culture through the lens of:
Theories of fantasy
Ideology and world building
Categories of monstrosity and perfection
The humanities (fantasies, futures)
Genre studies/border crossings
Age studies (childhood fantasy versus adult fantasy)
Alternate histories and retrofuturism
Postcolonial fantasy (incl. Welsh)
Nationalism and politics
Inequality and race relations
We welcome paper and panel proposals from postgraduate students, independent researchers, affiliated scholars, writers, and artists from any background or career phase. Paper proposals must be between 200-300 words; panel proposals should be between 400-500 words. Please send abstracts, including your name and e-mail, institutional affiliation (if any), and a short biography (100 words maximum), to Dr Tom Harman (HarmanTL@cardiff.ac.uk) and Megen de Bruin-Molé (DeBruinMJ@cardiff.ac.uk), using the subject line ‘CFP Fantasies of Contemporary Cultures’. The deadline for abstracts is 21 March, 2016.
The programme will include coffee/tea breaks, lunch and a wine reception. This will be covered in the registration fee (£10 for students and part-time staff, £20 for salaried staff). For additional information and updates, please consult this website, or follow us on Twitter at @cultfantasies.
Things are happening in the world of popular (neo-)Victorianism! This week not one, but two calls for papers graced my inbox. The first is for a symposium (a.k.a. a one-day conference) in Amsterdam on historical and neo-historical fiction, and the second is for a symposium in Portsmouth on Victorian materiality and the material object. If you’re interested in alternate history, material culture, steampunk, period drama, retrofuturism, nostalgia, or just the past (or the present) in general, do submit an abstract.
If you’re not in the business of giving conference papers, you can come along and listen for free, or, since I’m likely to attend both of these events, you can follow my experience at the symposium on Twitter, and read my thoughts about the event here, after the fact.
And now the CFPs!
1. Reading the Present through the Past: from Historical to Neo-Historical Fiction
Ever since the turn of the twenty-first century, literary and cultural returns to earlier periods have become increasingly frequent and visible. Novels on past eras dominate the shortlists of literary prizes and the number of historical films and TV series has exploded. The popularity of Hilary Mantel’s books about Henry VIII’s court, the success of TV series like Sherlock and The Americans and of graphic novel series like Alan Moore and Kevin O’Neill’s The League of Extraordinary Gentlemen are cases in point. Many of these works, however, seem to relate to the past in ways that are different from earlier historical novels and films.
According to Elodie Rousselot, editor of the recent collection Exoticizing the Past in Neo-Historical Fiction (2014), literary contributions to this trend belong to a new subgenre of contemporary historical fiction, the ‘neo-historical novel’. Even though it is set in the past, ‘neo-historical’ fiction aims to discuss and mediate the concerns and occupations of our current age. In establishing overt connections to the present day, these works display an awareness of their own constructedness and open ways for a critical reflection on exoticizing approaches to the past. For this one-day symposium, we invite contributions that take up the challenge to think about the continuities and specificities of contemporary (neo)historical fiction and explore it as a literary and cultural phenomenon.
Possible topics include, but are by no means limited to:
• the neo-historical imagination as a literary movement and/or broader cultural phenomenon (literature, film, TV, art, adaptations, etc.)
• comparisons between (re)constructions of different historical periods (neo-Victorian, neo-Gothic, neo-Tudor, neo-medieval, neo-Golden Age, neo-WWI/WWII, alternate history, etc.)
• theoretical and conceptual approaches to neo-historical fiction (postmodernism and post-postmodernism, mashup, cultural memory, affect, postcolonialism, posthumanism, utopia/dystopia, etc.)
• connections within and across national and linguistic borders and communities; world literature and cosmopolitan memory
Please submit abstracts of 250 words for 20-minute papers in English, together with a short biography, to Daný van Dam at email@example.com by 18 December 2015.
2. All Things Victorian: Exploring Materiality and the Material Object
The rapid industrialisation of the nineteenth century, with its unprecedented increase in the mass-production, proliferation and consumption of machine-made material objects and things, forced a reconsideration of the relationship between the self and the physical world in Victorian culture. Since then, neo-Victorian re-imaginings of the past have recurrently appropriated Victorian materialities as both a means of re-fashioning the past for contemporary consumption and of engaging with the past through haptic communication. This interdisciplinary conference seeks to explore the material object, its invested meaning and the ways in which this has been presented and re-presented in Victorian culture and contemporary neo-Victorian re-imaginings.
We invite delegates to submit abstracts exploring Victorian materiality and the material object in literature, cultural studies, the visual arts, film, television adaptation, fashion and consumer culture. Topics of interest include, but are not limited to:
• The representation of Victorian things, objects and artefacts in: Victorian and/or neo-Victorian literature; film, television and drama adaptations; fashion and textiles; Victorian and/or contemporary consumer culture.
• The material object: Victorian clothing, jewellery, furniture, architecture, photographs, mementos, keepsakes, memorials, archives etc.
• Human interactions and engagements with materiality and the material object.
• Theories of material culture: thing theory, object theory, cultural memory theory, trace theory.
Please submit proposals of 250-300 words for papers of no more than 20 minutes along with a 50-70 word bio-note to firstname.lastname@example.org. The deadline for accepting proposals is 31 December 2015 and acceptance will be notified by 15 January 2016.