Fantasies of Contemporary Culture Cardiff University, 23 May 2016 Call for Papers
Keynote speakers: Dr. Mark Bould (UWE Bristol) Dr. Catherine Butler (Cardiff University) 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 Rejected design for Cardiff Bay Opera House, which was never built. © Greg Lynn, 1995. ‘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 AnkleDeep 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 • Genre studies/border crossings • Ideology and world building • Age studies (childhood fantasy versus adult fantasy) • Ecological fantasies • Gender studies • Escapism • Alternate histories and • Cognitive mapping retrofuturism • Utopian/dystopian vision • Postcolonial fantasy (incl. Welsh) • Categories of monstrosity and • Nationalism and politics perfection • Inequality and race relations • The humanities (fantasies, futures) • Capitalist critique 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 400500 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 (
[email protected]) and Megen de Bruin-Molé (
[email protected]) by 21 March. 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 more information and updates, please visit the symposium website at http://culturalfantasies.wordpress.com.