Mythology and folklore, contemporary legend

Two great new resources here–I’ve added them to the Related Links sections on the right-hand side of the Blog and Resources pages.

First, a rich compendium of folklore and myth from a wide range of cultures; it’s the course content for the Myth & Folklore module taught at the University of Oklahoma.

Then, the new Centre for Contemporary Legend at Sheffield Hallam University, who are also planning ‘an academic conference devoted to folklore on screen‘. We wish them luck:

The National Centre for English Cultural Tradition (NATCECT), founded in the 1960s at the University of Sheffield, established Sheffield as the only city in England with a dedicated folklore centre that combined teaching, research and archives. In the early 1980s, the university hosted a series of Contemporary Legend conferences that helped confirm Sheffield as a centre for the study of what are now popularly referred to as “urban” or “modern” legends. Sadly, NATCECT closed in 2008, and we feel that the time is right for Sheffield Hallam (SHU) to launch a new ‘Centre’ for legend studies, building upon the established reputation of Sheffield as a centre for scholarship in this area.

 

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Anthem Gothic, Dracula, popular culture — books, articles, and reviews wanted

Opportunities to publish here:

1. Contributions on the Gothic sought for a new series from Anthem Press, Anthem Studies in Gothic Literature:

Anthem Studies in Gothic Literature incorporates a broad range of titles that undertake rigorous, multi-disciplinary and original scholarship in the domain of Gothic Studies and respond, where possible, to existing classroom/module needs. The series aims to foster innovative international scholarship that interrogates established ideas in this rapidly growing field, to broaden critical and theoretical discussion among scholars and students, and to enhance the nature and availability of existing scholarly resources.

2. Articles sought for Journal of Dracula Studies, deadline 1 June 2018:

We invite manuscripts of scholarly articles (4000-6000 words) on any of the following: Bram Stoker, the novel Dracula, the historical Dracula, the vampire in folklore, fiction, film, popular culture, and related topics.

3. Reviewers sought for The Popular Culture Studies Journal:

The Popular Culture Studies Journal is now seeking reviewers for its upcoming issues. The reviews section include books on any aspect of U.S. or international popular culture, as well as reviews of movies, shows, podcast series, and games (reviews of video and board games will be welcomed). These new options are an exciting new addition and I am personally thrilled to see how this will deepen our thoughts on the impact popular culture has on our everyday lives.

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CFP: Northern Osmosis: Literary Viscosity as Material Solidarity, 11-13 April 2019, Simon Fraser University

This is a CFP for a lab on viscosity at IONA: Early Medieval Studies on the Islands of the North Atlantic transformative networks, skills, theories, and methods for the future of the field. The IONA conference is held 11-13 April 2019, at Simon Fraser University, Vancouver, BC, Canada; deadline 1 July 2018.

In this IONA lab, we invite scholars and artists to test the theoretical capacity of viscosity. We will begin charting viscosity’s theoretical realm by experimenting with Exeter Book riddles. Old English riddles congeal unsettled identities in a material network of viscous substances: blood, ice, ink, mead. A viscous reading of the Exeter riddles, we propose, resists conventional Western epistemology’s insistence on the duality of active subjects and passive non-subjects. Together, we will discuss the ways in which these riddles may assert a material sociability that ventures beyond a human-hegemonic hierarchy of relation. (Or, indeed, not.)

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CFPs: Popular Novels, Dracula

Two CFPs for conferences have come to our attention:

1. Panel papers invited for ‘Novels, Then and Now‘ at the MAPACA conference, Georgia, USA; deadline 30 June 2018:

The Popular Novels area includes all novel genres, authors, time periods, cultures, and settings. Consider it a safety net for novels that don’t fit neatly into a specific genre or that cross genres. Consider the many sub-genres of Romance with a capital “R”—western, thriller, paranormal, religious, romance (with a small “r”), detective, urban fantasy, etc. From Pearl S. Buck to Lee Child, from Laurie King to Tony Hillerman, from Julia Spencer-Fleming to Emilie Richards—all are welcome.

2. A Cross-Platform Dracula Conference, 17-19 October 2018, Brasov, Romania; deadline 30 May 2018:

The Children of the Night Conference series is a non-profit academic initiative, supported by worldwide renowned Dracula experts.
Our aim is to present groundbreaking research on Bram Stoker, his novel Dracula and related topics on a bi-annual basis.
Participation is open to everyone who has a truly interesting paper to present. Moreover, the conferences will feature artistic contests and will be accompanied by a cultural program.

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‘Do fictional monsters reflect our reality?’, The Royal Institution, 5 June 2018

This event at The Royal Institute, London may be of interest:

Do fictional monsters reflect our reality?
Tuesday 5 June, 7.00pm – 8.30pm
Frankenstein’s creature is a classic example of a monster in popular culture. But what can fictional beings tell us about the hopes and fears of the society in which they were created?

Discover why creatures continue to survive in our culture, how monsters reflect gender and power dynamics and how researchers are studying brain scans of people watching films to try and decipher how our brain’s work.

http://www.rigb.org/whats-on/events-2018/june/public-do-fictional-monsters-reflect-reality

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Polidori and the Romantic/Byronic Vampire

Just a reminder that I will be in the Polidori room at the Living Frankenstein event tomorrow with a very special prop! I’m so excited. There are still tickets available….

Dare to join us on Wednesday 23 May for the third in our Living Literature series, an epic thriller brought to life through immersive performances, talks, workshops and activities. Welcome to the world of Mary Shelley’s Frankenstein!

Listen to chilling ghost stories by candlelight read by the feminist performance troupe Scary Little Girls, as Gothic Professor, Nick Groom (University of Exeter), sets the scene of that night in the ‘year without a summer’ at the Villa Diodati, where the first version of Mary Shelley’s Frankenstein was created. Tread carefully through Victor Frankenstein’s rooms in Ingolstadt, hear about Polidori’s The Vampyre (the other creature created at the Villa Diodati) with Dr Sam George (University of Hertfordshire) and play with a historical vampire slaying kit. 

Book here 

23 May 2018 | After hours | Senate House, London

Price: £20 Standard | £10 Concessions

 

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RIP Gérard Genette (1930-2018)

I am very saddened by the death of Gérard Genette (1930-2018). Genette, for me, was one of most rewarding of French literary theorists. He employed a structuralist methodology but in a way that avoided metaphysical excesses and that never lost sight of the particularity of the text. His pioneering work in narratology (in Narrative Discourse (1970) and then Narrative Discourse Revisited (1983)) read Proust closely to elucidate such ideas as voice, focalisation, and the temporality of narrative.

In The Architext (1979), he sets out, all too briefly, foundations for a theory of genre.  In Palimpsests: Literature in the Second Degree (1982), he explores the process that he calls ‘hypertextuality’ whereby literary works are constructed out of earlier ones through such devices as parody, expansion, and imitation. Here, he is lucid and erudite (the breadth of his reading is astonishing), and great fun too. Paratexts: Thresholds of Interpretation (1987) looks at how such peripheral apparatuses as prefaces, footnotes, and titles function as part of the literary effect of a work—this he calls ‘paratextuality’.

Sarah Bartlett and I drew on Genette’s ideas of transtextuality in a proposal here to represent the relationships between literary texts on the Semantic Web–a machine-readable format that creates meaning-laden links between resources. (‘Transtextuality’ is Genette’s more precise formulation of what is often called ‘intertextuality’ and it includes the notions of hypertextuality and paratextuality.)

I have also found Genette’s work in Palimpsests extremely useful in my current exploration of the reworking of fairy tales into YA paranormal romance and also of the evolution of that genre itself from the Gothic novel through the Gothic Romance of the likes of Daphne du Maurier and its interaction with and formation through other peripheral genres. Genette’s work is invaluable for anyone working on genre and narrative form.

(I’ve given English titles but original publication dates.)

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Fallen Angels and the Hybrid Nature of Demons

Here’s my Twitter ‘Moment’ for ‘Demon of the Day’ #gothichybridity. I’ll be back with this hashtag later in the month when I’ll be exploring vampire/ angels and continuing my research into hybridity in relation to the fallen.

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Happy Walpurgisnacht!

Image result for walpurgisnacht

I know I’ve posted this previously, but I made some slight changes and additions–my poem celebrating OGOM and Gothic Studies and general witchiness:

Night of the Gorgeous Goth Girls: A Paranormal Romance.
(for Sam George, Alison Younger, and their students of the Gothic at the Universities of Hertfordshire and Sunderland)

Under a gibbous and gory moon
The Gorgeous Goth Girls gyre and gimble,
Gliding gaily to gloomy tune
With graceful sway and gait that’s nimble.

Their eyes adorned with artful shade,
Glad-ragged in black, lips daubed with mauve;
Transforming all that moonlit glade
Aesthetically, those Goth Girl fauves.

Witches all, with body parts
And occult herbs they craft their spell;
Imagination and dark arts
Create a heaven from savage Hell.

Hence three-faced Hekátē, through hexes
Etched in the air with argent fire,
Breathes lucid commerce among the sexes,
Inspiring a colloquy of desire.

Then, demon lovers from leafy wood,
Or leaping from the leaves of books,
Are stirred alive with boiling blood,
Enchanted by those glamouring looks.

Come icy Ruthven, cool Carmilla,
Lurching zombie, Giaour, and ghoul;
Spike and Angel, crazed Drusilla—
Glittery Edward’s here from school.

Barnabas and Scissorhands,
L’Estat, Ligeia, Yog-Sothoth;
Goblins, elves from Faerie lands
Salute the troupe of Gorgeous Goths.

The Count himself, three sultry brides;
Galvanic monster and his wife;
Pale warriors, werewolves, Mr Hyde:
All celebrate that Blood is Life.

And oh! What music they do make!
With gut and reed and rattling bones,
Wild revels like some Celtic wake
Resound with eerie, plangent tones.

The Girls gavotte with gay cadavers,
Goat-men, mermen, incubae,
Who quicken in the danse macabre
And ululate with ghostly cry.

The music dies; the feast begins
With tender flesh laid out to bite
The menu sings of luscious sins,
Enthralling curious appetites.

Such gleeful gusto! The gorgeous gluttons
Gulp goblin grapes and baneful berries;
Wolf glorious gateaux, goose and mutton,
With lusty wine from Naughty Man’s Cherries.

The greedy Girls explore grimoires
In search of threads that can be woven
Into stories spiced with noir
To spellbind all the Gothic coven.

All gather kindling and ignite
A bonfire which soon fiercely rages.
The visions in the flames incite
Wild tales inscribed on virgin pages.

Ceridwen flings into the brew
That simmers in her cauldron bright
Wild elements to create anew
The chaos of the sable night.

There’s pickled spiders, gall of goat,
Scale of dragon and basilisk blood,
Syllables torn from infant throat,
Distilled with Gothic womanhood.

Benighted ravens, owls, and bats
Around the Girls shape-shift and swirl,
While grinning glowing-green-eyed cats
Torment the air with eldritch skirl.

The spells are spurred by their familiars:
Wilful Willow and torpid Teddy;
Morticia, sleek, with ways peculiar
Gallant Gomez, Wednesday, Hedwig.

Matilda plots with Loridani,
Lilith, Mab, Medea, Glinda,
Bastet, Morrigan, fey Morgana,
Alice Nutter, and gypsy Wanda.

There Ali, Lianan-Sídhe, reveals
Bright secrets from the darkest lore.
Her students, with delighted squeals,
Learn tales of terror, lust, and gore.

Samantha, witch of Circe’s line,
Likewise from open graves uncovers
Charms, unfit for abject swine,
That open minds of bards and lovers.

Kaja, lycanthrope, uncoils
Her tale of animality,
Reveals her hybrid self embroiled
With carnal sociality.

Through Rachey’s stories summoned hence,
Beautiful monsters who transgress
Morality and common sense
Mask vice beneath cosmetic dress.

These narratives grip the Girls with awe
And animate a fierce resolve
To transcend gravity’s grim law:
Besmearing skin with chymick salve

That stings their bodies into flight,
And shivering with the fierce uplift,
The Gorgeous Girls soar into night
Astride a hog or besom swift.

Now howling giddily, drunk with glee,
They trace Agnesi’s sensual curves,
Describing paths that set them free,
Reborn in wild ecstatic swerves . . .

But now the cock crows dreary day
And Gorgeous Goth Girls must retire.
Spectral visions fade away;
Bells clang and banish dark desire.

 

 

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Living Frankenstein – On tour with a vampire slaying kit

I will be on tour in May with a vampire slaying kit. First stop UCL on 23rd May and then on to the Bath Literary Festival. Do put the dates in your diary it is going to be such a fantastic, theatrical event for romanticists and goths alike. It is essentially an epic thriller brought to life through immersive performances, talks, workshops and activities. Welcome to the world of Mary Shelley’s Frankenstein!

Listen to chilling ghost stories by candlelight read by the feminist performance troupe Scary Little Girls, as Gothic Professor, Nick Groom (University of Exeter), sets the scene of that night in the ‘year without a summer’ at the Villa Diodati, where the first version of Mary Shelley’s Frankenstein was created. Tread carefully through Victor Frankenstein’s rooms in Ingolstadt, hear about Polidori’s The Vampyre (the other creature created at the Villa Diodati) with Dr Sam George (University of Hertfordshire) and play with a historical vampire slaying kit. 

Relive the birth of the monster and learn about the scientific and medical innovations of the period with the Old Operating Theatre Museum. Listen to an original score inspired by the iconic 1931 creation scene from James Whale’s famous film adaptation, and hear Dr Sarah Artt (Edinburgh Napier University) introduce you to some of Frankenstein’s more unusual on-screen mutations. A must for fans of dodgy science and messed up gender politics. Listen to a modern beatbox retelling of Shelley’s classic novel brought to you by the Battersea Arts Centre’s BAC Beatbox Academy. Using nothing but their mouths, they will present a poetic and political interpretation inspired by the original monstrous tale of power and persecution.

Talk to literature expert Professor Richard Marggraf Turley (Aberystwyth University) and explore his Vortex by reading Mary Shelley’s novel while your biometric measurements are analysed in real time. Make your own monsters at our creation table, led by the Digital Humanities team at the School of Advanced Study, and join Professor Barry Smith (School of Advanced Study, University of London) as he experiments with your ability to distinguish the odour of fear from that of excitement.

There will be talks and activities led by Gothic experts, workshops, performers and much more!

23 May 2018 | After hours | Senate House, London

Price: £20 Standard | £10 Concessions

Booking site  https://london.ac.uk/events/living-frankenstein

Contact sas.events@sas.ac.uk
020 7862 8833

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