The 37th ICFA (my 19th!) is coming up and it is time to start thinking about paper proposals.
Conference Date: 16-20 March, 2016
Location: Orlando, Florida
Deadline for proposals: 31 October, 2015
Please join us for ICFA 37, March 16-20, 2016, when our theme will be “Wonder Tales.” Folklorists often use this term to refer to the stories commonly known as “fairy tales” due to the genre’s emphasis on the marvelous and its invocation of wonder, but what is wonder and where can it be found? Many events, characters, or objects generate a response of wonder—transformations and resurrections— but wonder also may be generated in technological advances and from the “sense of wonder” in science fiction. Papers might explore wonder tales and their modern incarnations, readers’ responses of wonder to fantastic texts, uses of wonder within fantastic texts, how wonder is invoked across mediums and genres, and the relationship between wondering (marveling) and wondering (questioning).We welcome papers on the work of our guests:
- Guest of Honor Terri Windling (author and editor, winner of nine World Fantasy Awards, the Mythopoeic Fantasy Award, the Bram Stoker Award, and the Solstice Award)
- Guest of Honor Holly Black (author of The Spiderwick Chronicles, and winner of the Mythopoeic Fantasy Award in Children’s Literature and a Newberry Honor book for Doll Bones)
- Guest Scholar Cristina Bacchilega (author of Postmodern Fairy Tales: Gender and Narrative Strategies and Fairy Tales Transformed: 21st-Century Adaptations and the Politics of Wonder).
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, 2015. We encourage work from institutionally affiliated scholars, independent scholars, international scholars who work in languages other than English, and graduate students.
Here’s a call for papers for a conference that those of you who know me can understand makes me very happy. (Oh, and I have been asked to deliver a keynote lecture, which also makes me happy.)
Conference Date: 21 – 23 January, 2016
Location: Katowice, Poland
Deadline for proposals: 30 October, 2015
Mapping the imaginary has always been a challenge for world-building and storytelling alike. Map of the fictional world subverts the very essence of an actual cartography: it represents a territory that cannot be discovered or traversed in a non-fictional realm and yet it delivers much more than a usual map: a promise of the journey into unknown. An exquisitely quotable phrase by J. R. R. Tolkien, who claimed to have “started with a map and [then] made the story fit”, is only reprising what have always been evident to cartographers and creators of imaginary worlds: maps precede territories and are inevitably becoming the most essential part of modern and postmodern storyworlds. Ambrosius Holbein’s wood-cut in the first edition of Thomas More’s Utopia, collectors editions map in video games, atlases of fictional universes, animated map routes in online reportages, or even interactive maps outlining the worlds of blockbuster TV shows — these are all indications of a significant shift in contemporary storytelling that looks for creating many and more access points to the fictional storyworld. Hence conference attendees will be asked to submit abstracts of presentations or poster descriptions revolving around:
- fictional topography and geopotics
- map theory & theorists
- the dichotomy of a map and a territory
- ways of mapping the imaginary
- fictional cartography (maps, atlases, mini-maps, plans, charts, etc.)
- maps of secondary, imaginary, fictional, possible or impossible worlds
- relationship between world-building and map-making
- function of maps: between navigating and augmenting the world
- navigating the actual and the imaginary: Tim Ingold’s trail-following and wayfaring
- case studies in literature
- case studies in video games
- case studies in movies and TV shows
- case studies in comic books, graphic novels and other media
- case studies in transmedia storytelling and transmedial franchises
- case studies in fictional worlds
OK, folks, many of you may not be familiar with Fafnir, which is something as wonderful as a Nordic scholarly journal on the Fantastic. I know the editors well and they are great people (and yours truly is on the Advisory Board), whom you can trust with an article, conference report, or review. So go on, take a look at the CfP below.
CALL FOR PAPERS FAFNIR 3/2014
Fafnir – Nordic Journal of Science Fiction and Fantasy Research invites authors to submit papers for the upcoming edition 3/2014.
Fafnir – Nordic Journal of Science Fiction and Fantasy Research is a new, peer-reviewed academic journal which is published in electronic format four times a year. The purpose of Fafnir is to join up the Nordic field of science fiction and fantasy research and to provide a forum for discussion on current issues on the field. Fafnir is published by FINFAR Society (Suomen science fiction- ja fantasiatutkimuksen seura ry).
Now Fafnir invites authors to submit papers for its edition 3/2014. Fafnir publishes various texts ranging from peer-reviewed research articles to short overviews and book reviews in the field of science fiction and fantasy research.
The submissions must be original work, and written in English (or in Finnish or in Scandinavian languages). Manuscripts of research articles should be between 20,000 and 40,000 characters in length. The journal uses the most recent edition of the MLA Style Manual. The manuscripts of research articles will be peer-reviewed. Please note that as Fafnir is designed to be of interest to readers with varying backgrounds, essays and other texts should be as accessibly written as possible. Also, if English is not your first language, please have your article reviewed or edited by an English language editor.
The deadline for submissions is 15 June 2014.
In addition to research articles, Fafnir constantly welcomes text proposals such as essays, interviews, overviews and book reviews on any subject suited for the journal.
Please send your electronic submission (saved as RTF-file) to the following address: submissions(at)finfar.org. For further information, please contact the editors: jyrki.korpua(at)oulu.fi, hanna.roine(at)uta.fi and paivi.vaatanen(at)helsinki.fi.
This edition is scheduled for September 2014. The deadline for the submissions for the next edition is scheduled at 31 August (4/2014).
Jyrki Korpua, Hanna-Riikka Roine and Päivi Väätänen
Editors, Fafnir – Nordic Journal of Science Fiction and Fantasy Research
I’m incredibly honoured to find that my book, Here Be Dragons, made the finalists for the Locus Awards in the category Best Non-Fiction. When I begun writing my dissertation, I never suspected that it would end up there. Truth be told, I never would have suspected it once I was done, either.
On the Locus Index to SF Awards, you can find this to read about the award:
The Locus Awards are presented to winners of Locus Magazine‘s annual readers’ poll, which was established in the early ’70s specifically to provide recommendations and suggestions to Hugo Awards voters. Over the decades the Locus Awards have often drawn more voters than the Hugos and Nebulas combined. In recent years Locus Awards are presented at an annual banquet, and unlike any other award, explicitly honor publishers of winning works with certificates.
You can find the complete list of finalists at the Locus Magazine website. As you can see, I’m in very distinguished company!
At the same time, I found out that my book is also on Locus’s Recommended-Reading List for 2013, which is almost as humbling. At the same time, I realised that I must have been working far too much this past year or so, to have missed all this. (The reason I’m so late with this post, however, is a flu-turned-sinusitis that has pretty much kept me under its thumb for weeks now.)
This autumn has been highly demanding in terms of work, hence the absence of blog posts. These past two days offered a welcome reprieve, in a way. I have attended a great course in digital humanities with Susan Schreibman of Trinity College Dublin and Jenny Bergenmar of Gothenburg University. Although two days are too short a time to do more than offer an introduction to the discipline (or is it a sub-discipline?), that introduction was very inspirational.
As some of you may know, I’m a great fan of close-readings. The closer, the better, in fact. But I also see the value of quantitative research. Nor am I a stranger to discussing the traits of an entire genre – the fantasy genre, to be practise. Over the past two days, I have come to realise how what could conceivably be termed ‘distance reading’ can bridge these three approaches. Using text analysis tools to look for patterns and clusters, it is possible to explore texts – in particular large texts or many texts – and find new ways into them. Even in cases when the text is fairly short, some patterns can surprise.
I explored Ted Chiang‘s wonderful short story ‘Exhalation’ with some of the tools. In my opinion, this story captures the very essence of science fiction, as it illustrates how the scientific process and scientific inquiry leads to a greater understanding of the world. It features a scientist for its protagonist and entropy as its central scientific concept. When I used Wordle to see which words figured prominently in the story, I ended up with this (click to watch at the Wordle website):
In this ‘word cloud’, the only relevant variable is the relative size of the words. Colour and position have only aesthetic value. Even so, a few words stand out in this cloud. It is obvious that this is a story about air, pressure, the universe, and thoughts, for instance. Given the title of the story and what I just told you about it, this is not surprising. What possibly surprised me was how clear the connection was between the story and its most prominent words. And I was intruiged by what I found when I used another tool, Voyant Tools , to dig a little deeper. The four graphs below show where in the text the prominent words appear (I have left out ‘one’, which should probably have been excluded as a ‘stop-word’, words that are very common but tell us litte about the content of a text):
What strikes me in all these graphs are how late in the story the bulk of the prominent words show up. ‘Pressure’ and ‘universe’ enter the text some 60% of the way into the story (the X-axis are tenths of the total word count, each tenth corresponding to about 650 words). ‘Air’ is more wideley dispersed, but there is a clear hump around 60-70%. ‘Thought/s’ is even more spread out, but still have a clear accumulation towards the end. To the extent that these words capture a central theme in Chiang’s story – and I believe they do – they also show how that theme only really gets going well into the second half of the story.
So what? Well, I don’t really know, yet. But now I can return to the text and try to find out. What does it mean to the plot that the most prominent words only really show up in the latter half? I can guess, but I had never thought about it. (And I have linked to the story, so feel free to find out for yourselves.)
These digital tools seem to offer new ways into texts that I thought I new, and my next step will probably be to apply some of them on my urban fantasy project. But more about that at a later date.
This is not really about fantasy or sf but about the nature of scholarship and the life as a scholar, so feel free to stop reading if you like.
My book Here Be Dragons has been out for about six months now, and reviews have started to appear. Some have been good (Thank you!), some have been annoying (It is a book of literary scholarship!), some have been indifferent, and, occasionally, some have raised interesting points (The settings of H. P. Lovecraft deserve a study of their own!). In a way, it is very much like a drawn out work-in-progress seminar, except no one tears your work apart at quite such fundamental level. Even a bad, annoying review cannot compare to the experience of having several really smart people inform you of every problem your text has, page by page. That pretty much inoculates you against disappointing reviews down the road.
But I thought I’d share one review with you, not because it is glowingly positive – it isn’t, not really – but because it drew my attention to something that I needed to have pointed out to me. Something I once was completely aware of but had forgotten. Jonathan Crowe, in a review of my map chapter, returned to the fact that what I have written is not the final word on fantasy maps but the first. And although I believe that the first words on this subject have been said (well, written) long before by other scholars, I agree: there is a long way yet to go, a lot more to do. And reading Crowe’s saying this, I suddenly remembered how much I wanted to go on looking at fantasy maps when I wrote the final sentences of my chapter. I have taken a slight look at fantasy city maps in a conference paper since then, but that’s about it.
And thanks to Crowe, I have come to realise how I can combine more map work with my current project about urban fantasy. In a way, the map and the city seem incompatible in fantasy, and yet, there are some maps that deal with urban environments. Time, thus, to drag maps into my thoughts about cities. Thank you, Jonathan!