Archives par mot-clé : comics

Call for papers : Representations of Childhood in Comics

Representations of Childhood in Comics

Call for papers

Childhood is now widely recognized as a social construct (Fass, Jenks, Mintz). As the artifice behind the construction of childhood has been revealed, there has been a marked increase in the analysis of children and childhood in contemporary culture (Demarr and Bakermann, Edelman, Latham, McLennan, Renner, Stockton). Despite the increase in scholarly attention, depictions of childhood in comics and other forms of comic art are ripe for further study. The forthcoming issue of the Journal of Graphic Novels and Comics, focusing on comics, picturebooks, and childhood, should provide interesting insights into these depictions. Yet there remains plenty of room for consideration regarding how different comics construct childhood. This is an especially interesting area of inquiry given the somewhat vexed association comic books have traditionally maintained with childhood. In an attempt to continue developing the scholarly focus on childhood, as well as comics, we seek proposals for  scholarly articles that analyze, explore and interrogate depictions of childhood in comics or comic art for inclusion in a book-length anthology.

Potential topics include:

  • What do comics teach us about current constructions of childhood?
  • How do comics resist or undermine contemporary constructions of childhood?
  • How can comics help us better understand the role of children in a given societal context?
  • How do comics shed light on the relationship between children andadults? Between adults and their own childhood?
  • How can depictions of childhood be understood as metaphors for specific cultural phenomena, values, disruptions or evolutions?
  • What anxieties regarding culture, politics, education, etc. do comics reveal?
  • How have ideas regarding childhood affected comics?

Please submit an abstract of 300 words and a short CV to Mark Heimermann and Brittany Tullis at heimermanntullis@gmail.com by January 1st, 2014 for consideration. Full papers will be due by June 1st, 2014.

Colloque: Le statut culturel de la bande dessinée : ambiguïtés et évolutions

Le colloque international : « Le statut culturel de la bande dessinée : ambiguïtés et évolutions – The Cultural Standing of Comics : Ambiguities and Changes », jeudi 2 et vendredi 3 mai à Louvain-la-Neuve (Collège Erasme – Salle du Conseil).

L’événement est organisé par le Groupe de Recherches sur l’Image et le Texte / GRIT (UCL), avec l’aide du Fonds National de la Recherche Scientifique / FNRS, de l’Institut des Civilisations, Arts et Lettres / INCAL (UCL), du Service culturel de l’Ambassade de Pologne en Belgique et de l’ASBL « Lire, apprendre, étudier avec l’image et le texte ».

Continuer la lecture de Colloque: Le statut culturel de la bande dessinée : ambiguïtés et évolutions

Dis Papa, c'était quoi le patriarcat?, Anne Larue

Dis Papa, c’était quoi le patriarcat?, Anne Larue, mars 2013, Editions iXe. Avant-propos de Geneviève Pruvost: « le tee-shirt de Spiderman ».
«Comment penser autrement? Comment sortir du sillon, c’est-à-dire, au sens propre, « délirer »? Comment penser hors des sentiers balisés par une idéologie plusieurs fois millénaire? Le projet paraît perdu d’avance. Pourtant l’histoire – et la préhistoire – peuvent nous aider à revenir sur certaines idées toutes faites, et nous apprendre pas à pas, une pièce après l’autre, à démonter le grand mécano.

Cet essai envisage le patriarcat comme une «mégacivilisation» confondue avec l’ordre du monde. Par une prodigieuse opération de propagande menée sous l’égide d’institutions taillées pour le servir (la religion, la famille, la propriété), il a longtemps imposé sa conception de la vie, de la mort, de l’art. La littérature a largement contribué à accréditer l’idéologie qui le structure. Après tout, elle est partie prenante de la  «civilisation du Livre»!

Voilà près de quatre mille ans que les « grands textes fondateurs », les épopées et le tout-venant des chefs-d’œuvre célèbrent la figure du héros en remettant sur le métier le vieux scénario à la gloire d’Un Seul – de sa lignée, de sa vaillance et de sa force. Mais le souffle épique se fait court et cela s’entend dans la langue, qui désormais s’insurge contre la fausse neutralité d’un masculin arrogant. La patriarquie a beau contre-attaquer, plus elle résiste, plus son manteau craque aux coutures. Comme le tee-shirt de Spiderman ! jubile Geneviève Pruvost dans son avant-propos.

Cette civilisation de la domination (du chef sur tous, des hommes sur les femmes, des adultes sur les enfants, des humains sur les animaux) se prétendait éternelle, et elle se sait aujourd’hui menacée de disparition. Pour la voir en future Atlantide, il faut, imitant Anne Larue, ôter les lunettes qui donnent au réel l’apparence de la nécessité et observer les choses telles que nous les vivons. L’exercice passe par une relecture décapante des best-sellers patriarcaux du passé (L’épopée de Gilgamesh, l’Iliade, le Code de Hammurabi), assortie d’un examen panoramique des comics américains, de la littérature contre-utopique et de la science-fiction.

Plus d’information : http://www.editions-ixe.fr/content/dis-papa-cétait-quoi-le-patriarcat

CFP: Graphic Art: Violence and Healing in Comics and Graphic Novels (1e mars 2013)

Call for Papers
Graphic Art: Violence and Healing in Comics and Graphic Novels
Rocky Mountain Conference on Comics and Graphic Novels (ROMOCOCO)
May 28-30, 2013
Contact email: cfp@romococo.com

Recent tragedies, including the Aurora shooting that struck close to the heart of the ROMOCOCO and Denver Comic Con family, have turned the national conversation towards the roots and consequences of violence. Though there are many sociological and psychological areas of study that theorize about the relationship between violence in the media and “real world” violence, it is also important to examine this pervasive topic through literary analysis. For ROMOCOCO 2013, we are particularly interested in essays that investigate the role, purpose and representation of violence in comic books and graphic novels and/or their subsequent film versions. Some possible topics include, but are not limited to:
The Dark Knight Rises specifically; Batman generally
Gender and violence
Formal violence—how the medium itself encourages a visual assault on the eye and page
Violence and ethics—how is violence justified?
Postapocalyptic violence
Rebuilding from catastrophe
Verbal violence
Critiques of violence in story or theme
Cartoonish vs. realistic representations of violence
Girard’s Violence and the Sacred and comics
Violence and psychology/psychoanalysis (Freudian, Jungian, etc.)
Resisting violence
War and peace
Violence and the environment/environmental violence
Trauma Theory
Though we are looking to focus on this theme, any essays or panels on other topics current in comics scholarship are also welcomed. ROMOCOCO strongly encourages multimedia presentations, and will provide basic A/V equipment for all panels.

Deadline for submission is March 1, 2013. Abstracts of up to 500 words and a brief personal bio should be emailed to cfp@romococo.com.

Appels à communication : Exploring Canadian Identity/ies in Comics

CFP: Exploring Canadian Identity/ies in Comics

A Collection of Essays edited by Gail de Vos and Chris Reyns-Chikuma

Canadian comic artists are well known beyond our borders from Joe Shuster, the creator of “Superman”—who, like Hal Foster, the re-creator of “Tarzan”, was born in Canada but left early for the US, to contemporary award winning comics artists such as Seth, Chester Brown, Guy Delisle, and Julie Doucet who often remain in Canada to create their works.

We are looking for essays, in either English or French, that focus on the answer to the questions: what is Canadian, if anything, in the work under discussion? How does the creator deal with his or her Canadian identity; how is it explicit or not in her/his work? Noticeable examples of Canadian identity/ies issues in comics include Chester Brown’s Louis Riel, Bryan Lee O’Malley’s Scott Pilgrim, and Jeff Lemire’s Essex County. There are numerous examples where the issue is addressed less explicitly: Canadianisms in Dave Sim’s Cerebus, Canadian multiculturalism in Jill Tamaki’s and Mariko Tamaki’s Skim, Canadian identity in Québécois comics such as titles by Michel Rabagliati, in Drawn & Quarterly’s publication policy, or in Canadian Webcomics like Kate Beaton’s Hark? A Vagrant, or controversies in Canadian comics festivals and prizes. We are also interested in exploring intertextual references to other Canadian comics, novels, films or other art forms and media in these Canadian comics.

Topics may include, but are not limited to:

  • Early publishing scene in Canada
  • Captain Canuck
  • Chester Brown, Seth, Lemire and other Canadian comic book creators
  • Francophone comics in Canada
  • Quebec’s comic book scene
  • Female comic book creators in Canada
  • Feminism in Canadian comics
  • The representation of multiculturalism by Canadian comic book artists
  • Current publishing issues in Canada
  • Webcomics by Canadian creators
  • Canadian prizes and awards for comic books

Please send a 500-word proposal and a short biographical note to: Gail de Vos (gail.devos@gmail.com) & Chris Reyns-Chikuma (reynschi@ualberta.ca) by January 15, 2013. Notification of acceptance will be sent by February 15, 2013. Essays of 6000-8000 words (MLA style) will be due July 15, 2013. Publisher has already been confirmed.

Gail de Vos, an adjunct professor in the School of Library and Information Studies at the University of Alberta for over twenty years, is the author of nine award winning monographs on storytelling and folklore. She has also written quite extensively about comic books and graphic novels for a wide variety of publications and encyclopedias and has taught an online course on comic books in library settings for the University of Alberta for over a decade.

Chris Reyns-Chikuma, associate professor in French Cultural Studies at the University of Alberta, is the author of articles on various topics (holocaust, postcolonialism, feminism) in 3 different medias (literature, film, TV series) and 5 articles on comics (Tintin & Oubapo, Van Hamme’s “Largo Winch” in Neophilologus, Van Hamme’s Les Maîtres de l’orge in The French Review, Trondheim’s Ile Bourbon 1730 in Image & Narrative,  Boudjellal’s Le Beurgeois in Belphégor, aurélia aurita’s Buzz-moi—forthcoming). He regularly teaches comics and animation courses for undergraduates and graduate students.

CFP: Exploring Canadian Identity/ies in Comics; A Collection of Essays edited by Gail de Vos and Chris Reyns-Chikuma

CFP: Exploring Canadian Identity/ies in Comics

A Collection of Essays edited by Gail de Vos and Chris Reyns-Chikuma

Canadian comic artists are well known beyond our borders from Joe Shuster, the creator of “Superman”—who, like Hal Foster, the re-creator of “Tarzan”, was born in Canada but left early for the US, to contemporary award winning comics artists such as Seth, Chester Brown, Guy Delisle, and Julie Doucet who often remain in Canada to create their works.

We are looking for essays, in either English or French, that focus on the answer to the questions: what is Canadian, if anything, in the work under discussion? How does the creator deal with his or her Canadian identity; how is it explicit or not in her/his work? Noticeable examples of Canadian identity/ies issues in comics include Chester Brown’s Louis Riel, Bryan Lee O’Malley’s Scott Pilgrim, and Jeff Lemire’s Essex County. There are numerous examples where the issue is addressed less explicitly: Canadianisms in Dave Sim’s Cerebus, Canadian multiculturalism in Jill Tamaki’s and Mariko Tamaki’s Skim, Canadian identity in Québécois comics such as titles by Michel Rabagliati, in Drawn & Quarterly’s publication policy, or in Canadian Webcomics like Kate Beaton’s Hark? A Vagrant, or controversies in Canadian comics festivals and prizes. We are also interested in exploring intertextual references to other Canadian comics, novels, films or other art forms and media in these Canadian comics.

Topics may include, but are not limited to:

  • Early publishing scene in Canada
  • Captain Canuck
  • Chester Brown, Seth, Lemire and other Canadian comic book creators
  • Francophone comics in Canada
  • Quebec’s comic book scene
  • Female comic book creators in Canada
  • Feminism in Canadian comics
  • The representation of multiculturalism by Canadian comic book artists
  • Current publishing issues in Canada
  • Webcomics by Canadian creators
  • Canadian prizes and awards for comic books

Please send a 500-word proposal and a short biographical note to:

Gail de Vos (gail.devos@gmail.com) & Chris Reyns-Chikuma (reynschi@ualberta.ca)

by January 15, 2013.

Notification of acceptance will be sent by February 15, 2013

Essays of 6000-8000 words (MLA style) will be due July 15, 2013.

Publisher has already been confirmed.

Gail de Vos, an adjunct professor in the School of Library and Information Studies at the University of Alberta for over twenty years, is the author of nine award winning monographs on storytelling and folklore. She has also written quite extensively about comic books and graphic novels for a wide variety of publications and encyclopedias and has taught an online course on comic books in library settings for the University of Alberta for over a decade.

Chris Reyns-Chikuma, associate professor in French Cultural Studies at the University of Alberta, is the author of articles on various topics (holocaust, postcolonialism, feminism) in 3 different medias (literature, film, TV series) and 5 articles on comics (Tintin & Oubapo, Van Hamme’s “Largo Winch” in Neophilologus, Van Hamme’s Les Maîtres de l’orge in The French Review, Trondheim’s Ile Bourbon 1730 in Image & Narrative,  Boudjellal’s Le Beurgeois in Belphégor, aurélia aurita’s Buzz-moi—forthcoming). He regularly teaches comics and animation courses for undergraduates and graduate students.

Appel à textes: Explorer l[es] identité[s] canadienne[s] dans la bande dessinée

Un recueil d’essais sous la direction de Gail de Vos et Chris Reyns-Chikuma

Les artistes de bandes dessinées canadiennes sont aujourd’hui bien connus au-delà de leurs frontières : de Joe Shuster, le créateur de « Superman »—qui comme Hal Foster, le re-créateur de « Tarzan », est né au Canada mais est parti pour les Etats-Unis très jeune, à ceux qui ont remporté des prix plus récemment comme les artistes contemporains Seth, Chester Brown, Guy Delisle et Julie Doucet qui sont souvent restés au Canada pour créer leurs œuvres.

Pour ce livre, nous sollicitons des essais, en anglais ou en français, qui se concentrent autour des questions suivantes: qu’est-ce qui est typiquement canadien dans la BD étudiée? Comment le créateur de BD se situe-t-il/elle par rapport à son identité canadienne? Est-ce explicite ou pas dans son œuvre?  De nombreux exemples de problématiques identitaires canadiennes sont évidents dans Louis Riel de Chester Brown, Scott Pilgrim de Bryan O’Maley et Essex County de Jeff Lemire. Cependant, cette problématique est moins explicite dans d’autres BD comme la longue série Cerebus de Dave Sim, Skim de Jill et Mariko Tamaki (posant la question d’un multiculturalisme canadien), l’œuvre québécoise de Michel Rabagliati, la politique éditoriale de Drawn & Quarterly, les webcomics de Kate Beaton (auteure de Hark? A Vagrant), ou les controverses sur les prix et les festivals de BD canadiennes. Nous sommes aussi intéressés par les références intertextuelles à d’autres œuvres canadiennes (BD, romans, films et autres arts et médias) dans ces BD canadiennes.

Voici une liste non exhaustive de sujets:

-les débuts de la scène éditoriale de la BD au Canada

-des Canadiens qui sont peu connus pour leurs racines canadiennes comme Hal Foster

-le capitaine Canuck

-des artistes connus comme Brown, Seth, Lemire, …

-la BD québécoise

-la BD francophone au Canada

-les auteures canadiennes

-le féminisme dans la BD canadienne

-la représentation du multiculturalisme dans la BD canadienne

-les problèmes dans l’édition de la BD aujourd’hui au Canada

-les webcomics canadiens

-les prix et festivals de BD au Canada

Veuillez envoyer une proposition de 500 mots et une courte note bio-bibliographique à

Gail de Vos (gail.devos@gmail.com) & Chris Reyns-Chikuma (reynschi@ualberta.ca)

pour le 15 janvier 2013.

Les réponses seront envoyées pour le 15 février 2013.

Le texte de 6000-8000 mots sera dû le 15 juillet 2013.

Nous avons déjà l’accord de l’éditeur.

Gail de Vos, professeure à la School of Library and Information Studies à l’Université de l’Alberta depuis plus de 20 ans, est l’auteure de neuf livres sur le folklore et l’art de raconter des histoires qui ont tous remporté un prix. Elle a aussi beaucoup écrit sur la bande dessinée dans divers types de publications et encyclopédies et enseigne un cours en ligne sur la bande dessinée dans le cadre des études de bibliothécaire pour l’Université de l’Alberta depuis plus de 10 ans.

Chris Reyns-Chikuma, professeur agrégé en Etudes Culturelles Françaises et Francophones à l’Université de l’Alberta, est l’auteur d’une vingtaine d’articles sur des sujets variés (holocauste, postcolonialisme, féminisme) dans divers médias (littérature, film, séries télé), y compris 5 articles sur la BD (Tintin & Oubapo, la série « Largo Winch » de Van Hamme in Neophilologus, Les Maîtres de l’orge de Van Hamme in The French Review, Ile Bourbon 1730 de Trondheim in Image & Narrative, Le Beurgeois de Boudjellal in Belphégor, Buzz-moi de aurélia aurita—à paraître). Il enseigne régulièrement le dessin animé et la BD (francophones, anglophones et japonais) au niveau de la licence et de la maîtrise.

Call for Papers – International French-Language Comics Conference

Call for Papers

International French-Language Comics Conference

Miami University (Oxford, Ohio, U.S.A.)

2–3 November 2012

Papers

Critical and theoretical presentations in all areas of French-language comics are invited. The conference will help consolidate recent gains in English-language scholarship on French-language comics and will showcase new avenues of research. Publication of revised versions of a selection of the conference papers is planned in the peer-reviewed journal European Comic Art (http://journals.berghahnbooks.com/eca/).

Proposals

Please send the following material in a Word document (doc or docx) to Mark McKinney (mckinnm@muohio.edu) by 25 July 2012: a 150-word abstract and a 100-word bio-bibliography. All presentations will be in English.

Keynote speakers

Clément Baloup, a cartoonist of Vietnamese and French heritage, has published several graphic narratives devoted to Vietnamese and other groups in France and elsewhere from the colonial period to the present. These include two historical fictions, both with Mathieu Jiro: Le chemin de Tuan [Tuan’s Way] (Seuil, 2005) and Le choix de Hai [Hai’s Choice] (Seuil, 2007).He has authored two biographical works, Quitter Saigon: Mémoires de Viet Kieu [Leaving Saigon: Memories of Viet Kieu] (La Boîte à Bulles, 2006, 2010)and Little Saigon: Mémoires de Viet Kieu (La Boîte à Bulles, 2012), which respectively tell the stories of Vietnamese emigrants to France and the United States. Baloup has also published Un automne à Hànôi [An Autumn in Hanoi] (La Boîte à Bulles, 2004), about his time at the fine arts school of Hanoi. He earned degrees in art at the École Européenne Supérieure del’Image in Angoulême, France, and at the École des Beaux-Arts de Hanoï, in Vietnam.

Thierry Smolderen is professor at the Ecole Européenne Supérieure de l’Image in Angoulême, where he has been teaching since 1994, and where hecoordinates a Masters degree program in comics, together with the University of Poitiers. Among his many publications are Hergé, portrait biographique [Hergé, A Biographical Portrait] (with Pierre Sterckx; Casterman, 1988), and the recent Naissances de la bande dessinée, de William Hogarth à Winsor McCay [The Birth of Comics: From William Hogarth to Winsor McCay] (Les Impressions nouvelles, 2009), which explores the beginnings of the art form from the eighteenth through the early twentieth centuries, and is forthcoming in English translation with the University Press of Mississippi. He was a frequent contributor to Les Cahiers de la bande dessinée and Neuvième art. Professor Smolderen has curated numerous comics exhibitions in France and Belgium. He is also an accomplished script-writer of comics.

Registration

Presenters who do not have an up-to-date subscription to European Comic Art will be asked to subscribe with Berghahn. There will also be a reasonable registration fee to pay for conference meals. Information about these fees and about lodging options will be forthcoming.

Sponsors

Sponsors at Miami University include the L.P. Irvin Fund of the Department of French and Italian, the Miami University Special Events Fund, the Humanities Center, the International Visiting Scholar Exchange Fund (from the Office of International Education), Honors and Scholars Program, the International Studies Program, the Department of GREAL, and the Center for American and World Cultures.

Comicalités, nouvelles publications (mai)

Comicalités

Nouvelles publications

En ce mois de mai pluvieux, Comicalités explore les non-dits et les marges de la bande dessinée à travers les travaux de trois chercheurs (résumés plus bas).

– « The construction of national and foreign identities in French and Belgian postwar comics (1939-1970) », de Pascal Lefèvre

– « Le journal humoristique El Papus (1973-1986). Contre-culture et transgression pendant la transition démocratique espagnole », de Marine Lopata

– « Wokker. Notes on a Surrealist comic strip », de Roger Sabin.

Nous rappelons à nos lecteurs que Les Carnets de la bande dessinée sont à leur disposition pour poursuivre les réflexions entamées dans ces articles. Il est également possible d’y retrouver des billets présentant la dernière thématique de Comicalités : « Raconter à l’ère du numérique ».

CFP: The Comics Get Medieval 2013: A Continuing Celebration of Medieval-themed Comics (1e septembre 2013)

First Call for Papers
The Comics Get Medieval 2013:
A Continuing Celebration of Medieval-themed Comics

Medieval.Comics.Project@gmail.com

PCA Washington, DC 3/27-30/13
Special Sessions of the Comic Art & Comics Area
Organized By Michael A. Torregrossa and Jason Tondro
Proposals Due to Organizers by 1 September 2012

Celebrating our seventh year in 2013, proposals are now being considered for inclusion at “The Comics Get Medieval 2013,” a series of panels and roundtables sponsored by The Virtual Society for the Study of Popular Culture and the Middle Ages and to be hosted by the Comic Art & Comics Area of the Popular Culture Association (PCA) for the 2013 Joint Conference of the National Popular Culture and American Culture Associations to be held from 27 to 30 March 2013 in Washington, DC.

The goal of these sessions is to foster communication between medievalists, comics scholars, and specialists in popular culture studies in general. The organizers define “medieval comics” as any aspect of the comics medium (panel cartoons, comic strips, comics books, comics albums, band dessinée, graphic novels, manga, webcomics, comics to film/film to comics, etc.) that feature medieval themes either in stories set during the Middle Ages or in stories presenting some element of the medieval in anachronistic settings (pre-medieval or post-medieval eras or medieval-inspired secondary worlds). We are also interested in papers looking at medieval-themed comics from a pedagogical perspective.

Completed papers should be delivered in 15-20 minutes (depending on the number of presenters). All proposals will also be considered for inclusion in an essay collection to be edited by the panel organizers during the early part of 2013. (Individuals only interested in submitting for the collection should also send proposals by 1 September 2012 and indicate their preference in the email.)

In addition, a select list of potential topics and a bibliographic guide to medieval comics will appear as part of The Medieval Comics Project web site available at and The Arthur of the Comics Project web site available at , both organized by The Virtual Society for the Study of Popular Culture and the Middle Ages.

No later than 1 September 2012, interested individuals (who must be members of PCA or ACA or join for 2013) should submit full contact information (name, address, phone/cell, and email), titles, abstracts of 300-500 words, and a brief resume to the session’s organizers, who will then forward them to the area chair. Address all inquiries and proposals to the organizers at the following address: and include “Comics Get Medieval 2013” in the subject line.

CFP: Dead Inside: The Walking Dead and the Problem of Meaning in the New Millennium (13 août 2012)

Dead Inside: The Walking Dead and the Problem of Meaning in the New Millennium.

Essay Collection.

Deadline: August 13, 2012

Dawn Keetley, Lehigh University
contact email: dek7@lehigh.edu

In the early twenty-first century, zombies are everywhere—in film (Land of the Dead, 28 Days Later, Dead Snow, Rammbock, The Horde), fiction (Stephen King’s Cell, Colson Whitehead’s Zone One, Max Brooks’ World War Z, John Ajvide Lindqvist’s Handling the Undead), social movements (zombie walks and the Zombie Research Society ), classrooms (Zombie Studies) and even politics (Daniel Drezner’s Theories of International Politics and Zombies). Undoubtedly one of the most sustained and complex representations of the modern zombie, though, is AMC’s television series, The Walking Dead, based on Robert Kirkman’s series of comics.

I am seeking essays for a collection that will explore the complexities of The Walking Dead in relation to the multiple forms of zombie revival, and that will address the ways in which the zombie articulates the crucial theoretical and political debates of the new century.

I am particularly interested in essays about how zombies, and narratives about zombies, engage problems of meaning. In the first episode of season one of The Walking Dead, after protagonist Rick Grimes wakes up in a hospital to a post-apocalyptic world, he encounters a door on which the words “Do Not Open. Dead Inside” are painted. Zombies claw at the opening. The moment encapsulates how zombies often function to signal inner deadness or absence—the loss of self, of consciousness, of history, of political efficacy, of meaning itself. How does the series, in its many contexts (literary, cinematic, historical, political, address compelling contemporary problems of meaning, of how we find and attribute significance in our lives? Essays should, then, take up The Walking Dead as a crystallization of one of the many contemporary problems of meaning. Some generative questions/contexts include:

–Why have zombies seen such a resurgence in the twenty-first century, after their apparent demise in the 1990s? How does The Walking Dead represent an evolution in the history of zombie fiction and film?

–How do zombies feature in imaginings of the end of the world? How do post-apocalyptic narratives with zombies (The Walking Dead, World War Z, Romero’s Dead cycle) differ from those without (The Road, Survivors, The Book of Eli)?

–How do fictional, cinematic, and televisual zombies illuminate philosophical debates over the conceivability of the zombie and what the possible existence (or lack thereof) of zombies says about human consciousness and identity?

–How do zombie narratives encode politics and offer forms of social critique (notably of global capitalism), as well as embodying forms of utopian political thinking?

–How do zombies serve as figures of contagion—as a virus that infects both the body and the mind (memes, flash mobs, etc.)? What meanings inhere in zombies’ contagiousness?

–How do zombies engage with recent theorists of the posthuman?

Please send your essay of no more than 30 pages to Dawn Keetley, Associate Professor of English, at Lehigh University, 35 Sayre Drive, Bethlehem PA 18015. Email: dek7@lehigh.edu. The deadline is Monday August 13, 2012. All disciplinary and interdisciplinary perspectives are welcome. I will be happy to address any questions via email at any time. McFarland (who have been publishing the best books on zombies) is interested in publishing this collection.