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CFP: Stardom, Celebrity and Fandom Conference (1 Aug. 2017; 10-11 Nov. 2017)

Stardom, Celebrity and Fandom Conference

Kylo-Patrick Hart's picture
Call for Papers
August 1, 2017
Texas, United States
Subject Fields: 
Film and Film History, Popular Culture Studies, Sociology, Contemporary History, Communication

We invite presentation proposals for the Stardom, Celebrity and Fandom Conference, to be held at Texas Christian University (Fort Worth, Texas) November 10-11, 2017.

The conference organizers are seeking contributions that explore various realities associated with living in the limelight and/or admiring those who do, insightful analyses of individual stars and/or celebrities, and in-depth analyses of intriguing media offerings that examine and represent stardom, celebrity and/or fandom, during any historical era.

Given adequate participant interest and high-quality submissions, we are hoping to publish selected papers (with author’s permission) in a special collection of essays pertaining to the conference theme.

Participants are encouraged to interpret the conference theme quite broadly and innovatively. Possible topics may include (but are certainly not limited to) achieving fame, active vs. passive fan phenomena, addiction and destructive behaviors as coping mechanisms, authenticity, celebrity culture, challenges associated with continual media attention, cult of personality, dynamics of celebrity and stardom, falling from grace, gossip and innuendo, Hollywood’s Golden Age, the illusion of intimacy, instant celebrity status, fandom realities and pleasures, media (over)saturation, micro-celebrity, noteworthy stars and celebrities, scandals, social mobility and the American Dream, stalkers and other obsessive admirers, the studio system, television stardom, and trends in social media.

We encourage submissions from scholars, educators, and students at all levels, and from disciplines including art, communication, cultural studies, film and video studies, history, journalism, LGBTQ studies, media studies, music, political science, popular culture, sociology, television studies, and women’s studies, among others. Individual paper presentations will be limited to 25 minutes in length.

Please e-mail presentation proposals containing (a) a one-page abstract with complete contact information (name, institutional affiliation, e-mail address, and contact telephone number) and (b) a one-paragraph author biography to Professor Kylo-Patrick Hart ( on or before Tuesday, August 1, 2017.

Decisions regarding the status of submitted proposals will be made and communicated as quickly as possible following the submission deadline, and certainly no later than August 15, 2017. For specific inquiries prior to submitting a proposal, please contact Dr. Hart at your convenience by e-mail (

CFP: Unplotted Stories: Creative Essays on Living Without a Relationship Script (1 Aug. 2017)

Unplotted Stories:

Living Without A Relationship Script


A Collection of Creative Essays


Edited by Susannah B. Mintz and Susan Walzer

Skidmore College


Unplotted Stories is a unique collection of original creative nonfiction about relationship experiences that do not conform to normative plotlines or have happy endings, experiences that leave us feeling adrift, unmoored, stalled, stuck, and befuddled. What happens when we find ourselves off the relational grid without any obvious map back, when our lives with others go to pieces—and do not get put back together again? How do we talk about forms of intimate relation for which there are no obvious social models—no TV shows, no Hallmark cards, no Hollywood movies, national holidays, or popular music? What is our relationship “status” if we’re ambiguously involved in something resistant to resolution? How do we write the stories of our connections to others when those stories defy social expectations for things like “arc,” “trajectory,” or “momentum”?


We are raised on tales with endings. Happy or otherwise, the plots that inform our developing sense of who we are, of what is possible in life—and acceptable—ultimately get somewhere. Someone looking for work will get a job. Someone who becomes a parent will see the child grow up. Someone ill or in pain will get better. Single people seeking partners will find them. If those relationships end, they will enter new ones. While there are many ways to exist outside of conventional boxes, our collection focuses on relational questions in part because it is so difficult, even in 2017, to be upfront about living outside of coupledom or traditional forms of friendship and family. As Sara Eckel observes, “The major voices in the woman-going-it-alone genre are never alone for all that long. Are women only able to lead respectable single lives when they have the power of refusal? Do you have to make clear that guys dig you?” And this question pertains not just to heterosexuals. In the midst of the good news about same-sex marriage equality being approved by the Supreme Court, Michael Cobb commented drily, “Now all of us single people are pathetic, not just the straight ones.”


We seek work that offers readers a sense of community in the context of difference. We are interested not only in examples of alternatives to the conventional relational tropes, but also in essays that explore the challenges of finding language with which to talk about those alternatives. When our life situations do not neatly align with available rhetorical paradigms, we must discover—or create—new ones, must direct our imaginative powers to crafting tales that others (and we ourselves) can understand.


Examples of what we mean by “unplotted stories” might include (and are not limited to) the following:


* Being single, and still single, and yes, still single after all these years

* Living alone, but not necessarily by “choice” (the partner left, the children are launched)

* Choosing not to have kids, but not necessarily without regret

* Friendships that tread, maybe uneasily, thresholds of eroticism, exclusivity, or mutual need

* A child who gets sick—and doesn’t get better again

* A marriage that comes apart—but not all the way

* Parenting, in its many forms

* Extended family relationships that might take the place of the ones we’re taught should be primary


Please send c.v. and completed essays of 10-12 pages/5,000 words to both editors by August 1, 2017. Queries accepted. and



About the Editors


Susannah B. Mintz is Professor of English at Skidmore College. She is the author of three scholarly monographs, co-editor of a critical collection on Nancy Mairs, and numerous articles in the fields of disability studies, autobiography, and seventeenth-century literature. Creative work has appeared in The Writer’s Chronicle, Birmingham Poetry Review, Epiphany, Ninth Letter, Life Writing, Michigan Quarterly Review, and elsewhere. A collection entitled Paper Cranes: 3 Essays was a finalist for the Epiphany chapbook contest (2015). She is the author of the Kindle Single “Match Dot Comedy” (2013) and winner of the 2014 South Loop National Essay Prize, and was a finalist for the 2010 William Allen nonfiction prize. Her work was named in the 2010 Best American Essays Notable list.


Susan Walzer is Professor of Sociology at Skidmore College.  A former clinical social worker, she is the author of Thinking about the Baby: Gender and Transitions into Parenthood as well as numerous articles and book chapters about family relationships, interactions, and roles.  Her work has been published in academic outlets such as the Journal of Social and Personal Relationships and reprinted in sociology readers.  She has served as a consultant on interpersonal matters in a variety of venues and is currently working on a project about academic shame.     

CFP: Memories, Marks and Imprints (31 May 2017; 20-21 Nov. 2017)

Memories, Marks and Imprints

November 20-21, 2017

CELEC, Université Jean Monnet, Saint- Etienne, France

Organized by : Elisabeth Bouzonviller, Floriane Reviron-Piégay and Emmanuelle Souvignet

Keynote speaker: Nancy K. Miller, Distinguished Professor of English and Comparative Literature at the Graduate Center, CUNY,

teacher, feminist author, memoirist, author of the following books (among others).

Breathless: An American Girl in Paris, Seal, 2013.

What They Saved: Pieces of a Jewish Past, University of Nebraska Press, 2011.

But Enough About Me: Why We Read Other People’s Lives. Columbia University Press, 2002.

Memories, Marks and Imprints

November 20-21, 2017

CELEC, Université Jean Monnet, Saint- Etienne, France

Organized by : Elisabeth Bouzonviller, Floriane Reviron-Piégay and Emmanuelle Souvignet

Call for papers:

Memory as the faculty to keep and recall past states of consciousness and what is associated with them cannot be distinguished from the numerous forms adopted by its expression. If, at first, “marks” and “imprints” can be perceived as synonymous, their interconnections are more subtle and complex. Marks and imprints seem to involve the body rather than the intellect, on the other hand, memories seem more intangible and pertain to a more intellectual sphere. Nevertheless, they rely on the individual’s capacity to register impressions related to the body, in a manner which is more or less perfect or flawed. Despite the enmity between memory and writing pointed out by Plato’s Phaedrus, memory cannot be dissociated from the writing process with its deletions, erasures, drafting and re-writing, which are so many marks of it. Marks are far less formal than prints since marks are almost always linked to some sort of injury, abduction, aggression, which is not the case for imprints which rely on the input of material (Jacques Clauzel)[1]. This material aspect of things requires that we should consider the very nature of marks and prints: is the memory act accidental (outbreak memory) or is it the result of a remembering effort (reconstructing memory)? In both cases, we shall consider the relationship between the three terms from the standpoint of omission, oblivion or, on the contrary, comprehensiveness. If, in both cases (marks and imprints), the body is involved, memory and its relationship with injury and pain shall be considered: is the created work a remedy, a suture, or, on the contrary, a simple scar, a stigma of the painful past? In other words, what is the role of this mark or imprint? Imprints, which are related to impression, also lead us to think of the links between perception and sensation as memory –whether individual or collective, whether the result of an outbreak or a reconstruction– is a form of impressionistic perception: it works, like impressionism, by association of ideas and selection. Memory mixes sensations and images linked by similarities and closeness, thus a memory calls forth another one, like a dot, in an impressionist painting, which cannot be read independently.

One of the goals of this conference will be to reconsider the link between memory and its various ways of being expressed: memory particularly expresses itself in introspective and intimate works like memoirs, an in-between literary genre at the crossroads of annals, diary, autobiography, which will need to be redefined. But fiction can also convey memory when it tries to evoke significant historical events. The writer’s task is then to pay tribute, to make a memorial, to leave marks for those unable to do it or to leave traces of previous texts or works. In this respect, presentations on the contemporary use of canonical works, the way some texts recall other texts, and any other forms of intertextuality, will be welcome.

Lastly, another aspect could be considered; the link between memory and space, since collective memory necessarily involves a spatial frame (Halbwachs). Thus, the artistic monument, whether literary or real, might be studied, together with the links between architecture and text. No matter what its nature is, the memorial work is supposed to build and perpetuate a memory –maybe one’s own first– if we assume that famous works by great writers are more enduring monuments than marble ones. In that respect, marks and monuments are different since the formers are the result of a distortion, a rupture, a deposit that can always be erased, whereas the latter assert their presence massively and materially; marks pertain to unintended residues Jean-Luc Martine says[2], which is not the case of monuments as they freeze presence in a sort of eternity. It will then be necessary to go beyond the monuments/marks dichotomy to see how memory is embodied in certain specific places (like mausoleums, epitaphs, funerary monuments, historical conservation sites, any type of monument designed to pay tribute to certain events, social groups or memorable figures).

The various literary, sociological, philosophical or artistic forms of expression of memory in Anglo-Saxon and Hispanic cultures will be the object of interest of this conference, whether they are collective, familial or individual.

Presentations will be in English, Spanish or French.

Abstract (about 300 words) and short autobiographical notices should be sent by May, 31st 2017 to:

Elisabeth Bouzonviller (

Floriane Reviron-Piégay (

Emmanuelle Souvignet (

CFP: Stories of Illness / Disability in Literature and Comics (31 May 2017; 27-28 Oct. 2017)

Stories of Illness / Disability in Literature and Comics. Intersections of the Medical, the Personal, and the Cultural

From October 27-28, 2017, this two-day academic conference at the Berlin Museum of Medical History at the Charité examines the ways in which knowledge and experience of illness and disability circulate within the realms of medicine, art, the personal and the cultural. We invite papers that address this question from a variety of different perspectives, including literary scholarship, comics studies, media studies, disability studies, and health humanities/ sociology/ geography.

Keynote speaker: Leigh Gilmore (Wellesley College), Author of The Limits of Autobiography: Trauma and Testimony (2001) and Tainted Witness: Why we doubt what women say about their lives (2017).

The PathoGraphics research project at Freie Universität Berlin invites as yet unpublished papers on comics and/ or literary texts (both fictional and auto­biographical) addressing one (or more) of the following questions:

Shared Spaces: The Transformative Relations between Literature/ Comics and Medicine/ Science.

How do scientific/ medical professionals use comics and/ or literature to engage the public and impart new research or public health measures? How do narrative and graphic illness stories influence medical and scientific concepts of health and disease? How do these diverse spaces of experience and knowledge interact with each other?

Inner Landscapes: The Aesthetics of Representing the Lived Experience of Illness.

What aesthetic strategies do literary works and comics use to reveal the inner perspective of living with illness/ disability/ medical treatment? How do narratives represent emotional situations of invisible suffering, such as psychic disorders, trauma, involuntary memories and flash­backs, but also autoimmune diseases or cancer? Literature has devel­oped aesthetic techniques such as inner monologue, stream of consciousness, and metaphors; do comics employ comparable or different aesthetic strategies?

Timelines, Time Spirals, Time Vectors: Communicating Acute Illness, Chronic Disease, and Terminal Illness.

In On Being Ill, Virginia Woolf characterizes periods of illness as having a time of their own, “slowing down” life, revealing humans’ finiteness and inspiring unprece­dented creativity. How do other literary and graphic illness narratives reflect the percep­tion of time during illness? How is the disruption of acute illness or the caesura brought on by a new diagnosis represented? Do comics and literature employ different means of representing life with a chronic con­dition?

Confessing, Surviving, Normalizing: Constructing the Self in Illness Narratives.

What kind of subject is produced in contemporary illness narratives that rely on the confessional mode? As Michel Foucault has argued, such a mode is double-edged: it presumes a powerful speaking subject who is simultaneously subjected to the very institutions s/he addresses, ranging from healthcare to patient support groups and including the audiences of illness narratives. What kind of identity is enabled or foreclosed by concepts such as “sur­vivorship”? What avatars are created in illness comics – do they differ from protagonists in written texts? Do literature and comics take part in or go beyond a process of normalization that is entailed in the confessional mode and the term “compliant patient”?

The Politics of Storying Illness: Going beyond the Individual.

Can illness narratives give voice to the experience of entire communities or comment on national healthcare systems (and their potential flaws)? Are there texts and comics that offer alternatives to narratives that focus on a single protagonist – if so, how do they do it? To what extent are illness narratives in literature and comics emancipatory and subversive, and to what extent do they tie into contemporary endeavors in bio-medical self-management, prophylaxis, and prevention?

For each panel, we welcome either theoretical reflections on or close readings of literary texts and/ or comics; comparative papers on both artistic media are especially welcome. Accepted participants will receive funding to cover travel and accommodation expenses. Selected papers will be considered for publication in an edited volume on the subject of patho/graphics, i.e. literature and comics on illness/ disability.

Paper proposals should include a title, a 300-word abstract (max.) for a 20-minute presen­tation, and a short biographical note with institutional affiliation (where appropriate).

Please submit by May 31, 2017, to:

Prof. Dr. Irmela Marei Krüger-Fürhoff (Berlin) and Prof. Susan Merrill Squier, PhD (Penn State), PathoGraphics research project, Friedrich Schlegel Graduate School of Literary Studies, Freie Universität Berlin, Habelschwerdter Allee 45, 14195 Berlin, Germany,,

This conference is made possible by: Einstein Foundation Berlin, Friedrich Schlegel Graduate School of Literary Studies, Freie Universität Berlin.


Contact Info: 

PathoGraphics research project,
Friedrich Schlegel Graduate School of Literary Studies,
Freie Universität Berlin,
Habelschwerdter Allee 45,
14195 Berlin, Germany

CFP: Slavery, Memory, and Power (15 June 2017)

Call for Papers / /  Appel à Contributions

Journal / La revue

Histoire sociale / Social History

Articles Accepted in Both English or French

Les articles seront acceptée en Français et en Anglais

Slavery, Memory, and Power:

Commemorating 170 years Since the French Abolition of Slavery


Esclavage, mémoire et pouvoir :

Commémorer les 170 ans de l’abolition de l’esclavage en France

Le français suit

Given that 2018 will coincide with the 170th anniversary of the abolition of slavery in the former colonies of France, the guest editors intend to submit selected articles for inclusion in a special issue of Histoire sociale / Social History entitled “Slavery, Memory, and Power: Commemorating 170 years Since the French Abolition of the Slavery.”  Histoire sociale / Social History has expressed preliminary interest in publishing a special issue on this topic.

This issue would bring together articles that explore social history as a site of memory through a focus on slavery and abolition.  The editors of this special issue, encourage submissions that contemplate the ways in which more nuanced writings of social history serve to complicate current debates on memory and power as they relate to slavery and the slave trade in France and its former colonies. 

Individuals who are interested in contributing to this special issue should send a 300-400 word abstract and a CV by June 15, 2017 to Dr. Audra Diptee at

Completed articles will be expected March 31, 2018.  The journal Histoire Sociale / Social History publishes articles in both English and French.

2018 marquera le 170e anniversaire de l’abolition d’esclavage dans les anciennes colonies françaises. Les rédacteurs invités ont l’intention de soumettre une sélection d’articles pour parution au sein d’un numéro spécial de la revue Histoire sociale / Social History intitulé « Esclavage, mémoire, et pouvoir : Commémorer les 170 ans de l’abolition de l’esclavage en France ».

Ce numéro spécial présentera des articles qui explorent l’histoire sociale comme un lieu de mémoire et analysent l’esclavage et l’abolition dans les contextes coloniaux français. Nous encourageons la soumission d’articles qui interviennent dans des débats sur la mémoire, le pouvoir et l’esclavage.

Nous vous invitons à envoyer un C.V. et un résumé pour considération à Madame Audra DIPTEE (professeure agrégée d’histoire, Université Carleton) :

·               Date de tombée des résumés (300-400 mots) : 15 juin 2017 

·               Date de tombée des articles : 31 mars 2018

Contact Info: 
  • Audra A. Diptee, PhD.
  • Associate Professor, Department of History, Carleton University.
  • Email:
Contact Email: 

New Book: The Phenomenology of Autobiography: Making it Real (Schmitt)

The Phenomenology of Autobiography: Making it Real

By Arnaud Schmitt

© 2017 – Routledge



About the Book

Taking a fresh look at the state of autobiography as a genre, The Phenomenology of Autobiography: Making it Real takes a deep dive into the experience of the reader. Dr. Schmitt argues that current trends in the field of life writing have taken the focus away from the text and the initial purpose of autobiography as a means for the author to communicate with a reader and narrate an experience. The study puts autobiography back into a communicational context, and putting forth the notion that one of the reasons why life writing can so often be aesthetically unsatisfactory, or difficult to distinguish from novels, is because it should not be considered as a literary genre, but as a modality with radically different rules and means of evaluation. In other words, not only is autobiography radically different from fiction due to its referentiality, but, first and foremost, it should be read differently.

CFP: “Begging the Question: What isn’t Life Writing?” (30 June 2017)

Invitation to contribute to an editorial essay for Life Writing: ‘Begging the question: what isn’t life writing?’

What are the parameters of the field of life writing studies? What sorts of texts count as life writing, and which – if any – don’t? We might argue that any narrative of a life, fictional or explicitly referential, constitutes life writing. We might even argue that any utterance is autobiographical, since it can work in some way to reify the utterer’s identity. Does a shopping list – pain killers, oranges, toothbrush – count as life writing? Others might argue that if our definition of life writing is so capacious, then it’s no definition at all.

You’re warmly invited to contribute to an editorial essay for Life Writing in which we’ll be surveying the field’s opinions on these abiding questions, and discussing an additional question: what does our definition of life writing mean for the ‘disciplining’ of life writing studies, for deciding, for instance, which texts to put on an autobiography studies syllabus, or indeed what is the range of permissible objects of analysis in a Life Writing article. When our students can only study so many texts in a semester, or a journal can only publish so many articles, does the need for a limiting definition of life writing become more pressing than ever, or was it always pressing anyway? Or is there a third option, a definition of life writing studies that is less about what we discuss than about the sorts of questions and analysis we bring to our discussion?

If you would like to contribute to this essay/discussion, please send no more than 500 words and a brief bio (<100 words) by the end of June 2017 to the Associate Editor, Alexis Harley (

CFP: “The Holocaust and the Domestic” (28 Sept. 2017; 12-15 Apr. 2018)

“The Holocaust and the Domestic”

As Holocaust survivors were liberated from concentration camps, prisons, and places of hiding—among other compromised milieus they were forced to inhabit from 1939–45—they brought the memories and the trauma of the Holocaust to the places they eventually came to call “home.” Bringing such emotional and psychological burdens with them, many survivors settled abroad—from Argentina to Canada and from the United States to Israel—and established families, rearing those who would later be called “second-generation” Holocaust survivors. These children of Holocaust survivors (and their children) have become the carriers and bearers of their parents’ memories and trauma that came to define the domestic experience of survivor households. This panel seeks to examine representations of living as, with, or in close proximity to Holocaust survivors in the context of the domestic. Paper ideas include, though are not limited to:

– The survivor’s search for home post-Shoah

– Homesickness and the Holocaust

– Family life after the Holocaust

– Growing up with survivors: second- and third-generation Holocaust literature

– The transmission of memory and trauma in the domestic

– Second- and third-generation “pilgrimages” to sites of memory in survivors’ home country

– Second- and third-generation oral history as literature


Please contact Luke Wilson ( with inquiries.

CFP: CFP Chapter Proposals on Autoethnography (1 July 2017)


Self-Culture-Writing: Autoethnography for/as Writing Studies



Literally translated as “self-culture-writing,” autoethnography—as both process and product—holds great promise for scholars and researchers in Writing Studies who endeavor to describe, understand, analyze, and critique the ways in which selves, cultures, writing, and representationintersect. Indeed, interest in autoethnography is growing among Writing Studies folks who see clear connections to well-known disciplinary conversations about personal narrative (Brandt, et al 2001, Spigelman 2004), as well as to the narrative turn in general and social justice efforts in particular. Canagarajah (2012), writing about the emancipatory potential of autoethnography, observes that writing autoethnography “enables marginalized communities to publish their own culture and experiences in their own voices, resisting the knowledge constructed about them” (p.115). Others in the field discuss uses of autoethnography in the writing classroom (Kost, Lowe,& Sweetman 2014, Auten 2016, Damron & Brooks 2017), as a research method (Noe 2016, Broad 2017), and as a legitimate way of knowing (Villanueva 1993).

Outside the field, particularly in the social sciences and education, autoethnography method/methodology texts abound (e.g. Reed-Danahay 1997; Ellis 2003; Ellis 2008; Chang 2009; Nash 2011; Denzin 2013; Adams et al. 2014; Jones et al. 2016). These texts provide philosophical and methodological grounding in autoethnography, yet their applicability to Writing Studies is limited. Simply put, they leave unanswered the major questions Writing Studies scholars and researchers are interested in: what are the lines between autoethnography, personal narrative, memoir, and what Nash calls “scholarly personal narrative”? When is experience data? What are the (irrefutable) features of an autoethnography? What forms of autoethnography—evocative, interpretive, analytic, interactive, performative—should Writing Studies embrace? Is autoethnography simply the latest iteration of using personal story in scholarship, which has a long history in the field under various names (e.g. Gilyard 1991, Britton 1993, Villanueva 1993)?

This edited collection will address these and related questions, foregrounding the possibility of autoethnography as a viable research method and methodological approach, and providing researchers and instructors with ways of understanding, crafting, and teaching autoethnography within Writing Studies. We imagine organizing the collection into three parts: a section on how and why to do autoethnographic research in Writing Studies, a section on how to teach autoethnography, and a section of Writing Studies autoethnographies. We invite chapter proposals that fit within one of these three sections, although we are also open to proposals that straddle these categories or offer an alternate perspective on autoethnography not represented here. We are particularly interested in proposals that study or articulate how to study writing or literacy practices in non-classroom spaces and non-US settings.

Please send inquiries and submissions to and Proposals should be 350-500 words, accompanied by a brief CV (no more than 5 pages). Proposals are due by July 1, 2017. Drafts of completed chapters will be due by Jan 1, 2018.

CFP: Otherness and Transgression in Fan and Celebrity Studies (15 Sept. 2017)

Otherness and Transgression in Fan and Celebrity Studies

The peer-reviewed, open-access e-journal Otherness: Essays and Studies is now accepting submissions for its special issue: Otherness and Transgression in Fan and Celebrity Studies, Autumn 2017.

Otherness: Essays and Studies publishes research articles from and across different scholarly disciplines that critically examine the concepts of otherness and alterity. We particularly appreciate dynamic cross-disciplinary study.

The notions of otherness and transgression play an essential part in the cultural work and practices celebrities and fandoms perform inasmuch as these concepts are inseparable from the celebrity and fan cultural processes of social in/exclusion, identification and dissociation, uniformity and diversification, and forces both drawing and disrupting demarcations between normalcy and deviance. Otherness and transgression constitute pertinent sites for critical exploration within the two overlapping fields of research, Fan and Celebrity Studies.

A complex and multivalent term, otherness is conventionally signaled by markers of “difference” and the unknown. As difference remains a condition for any determinate sense of identity, otherness is also inevitably implicit and complicit in considerations of subjectivity, identity, and sameness. Likewise, in the field of Fan and Celebrity culture – where categories such as class, gender, race, sexuality, and age dynamically intersect and interact in manifold ways – the identity work, social meanings, and cultural preferences informing both these cultures’ production and consumption of cultural and media texts are also constantly negotiated. Reflexive of the values, biases, and tensions of the social body, they are useful indicators of contemporary configurations and devices for othering; for example, the ways in which the discourses of immorality, pathology, monstrosity, impropriety, and cultism, among others, inform the construction of difference, and function as vehicles for othering that additionally cut diagonally across various imbricating “-isms,” such as racism, heterosexism, ageism, ableism, and lookism.

As difference often implies the perception of deviance, otherness is accompanied by the constant impending threat of transgression, to undo and redraw the differentiating limits determining the provisional identities of entities, behaviors, and bodies. While transgression refers to a violation and exceeding of bounds, it also ambiguously realizes and completes these boundaries as it helps define them and reaffirms a given social order by designating the illicit. This dialectic of the de/stabilizing effects of transgression summons further inquiry in relation to fandoms and celebrity cultures.

Fan and Celebrity Studies are in need of a reappraisal in which the new fickle and permeable boundaries between identities, cultural practices, private and public spheres, products and consumers, celebrity and fan bodies, intimacy and estrangement are investigated. Refracting otherness and transgression from overlapping prisms, the pleasures, representations, productions, and affects of celebrity and fan cultures opens up a fruitful and invigorating space for further research. We envision this special issue on Otherness and Transgression in Fan and Celebrity Studies to be one such place.



The Intersection of Celebrity and Fan Studies

Sex, Gender, Sexual Differing, and Queering the Fan / Celebrity Body

Cross-Over Celebrities; Ethnicity, Hybridity, and Fandom in Transcultural Contexts

Celebrity Representations of Dis/ability and through Fan Works

The Intersectionalities of Social Categories in Celebrity and Fan Cultures

Notoriety, Infamy, Scandal, Deviance, and Excess Social Media and the Construction of Celebrity as Other

The Construction of Otherness in Fandom and Fan Works

Monstrosity, the Abject, and Uncanny in Fan Fiction, Fandoms, and Celebrityhood

Pathology, Addiction, Cultism, Confession, and Therapy

Mashing and Vidding: Viral and Violating

Authenticity, Secrecy, Intimacy, and Publicity

Post-feminist Celebrity Narratives and Cultural Forms

Power, Prosumerism, and Participatory Culture

New Modes of Self-Other Relations within Para-social Contexts

Fan and/or Celebrity Shaming

The (Im)Material Other Worlds of Fandoms and the Alternative Spaces of Fan Communities


Articles should be between 5,000 – 8,000 words. All electronic submissions should be sent via email with Word document attachment formatted to Chicago Manual of Style standards to the issue editor Dr. Matthias Stephan at


Further information:


The deadline for submissions is Monday, September 15, 2017

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