CFP Frankensteinian Resonance: Transtemporal Reanimations in Fiction, Film, and Video (11/30/2025)

Frankensteinian Resonance: Transtemporal Reanimations in Fiction, Film, and Video

deadline for submissions:
November 30, 2025

full name / name of organization:
Assoc. Prof. Ela İpek Gündüz, Gaziantep University, Turkey & Dr. Ercan Gürova, Ankara University, Turkey

contact email:
frankensteinianresonance@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2025/07/29/frankensteinian-resonance-transtemporal-reanimations-in-fiction-film-and-video

Call for Book Chapters

Frankensteinian Resonance: Transtemporal Reanimations in Fiction, Film, and Video

“Under Strong Interest” by McFarland’s Critical Explorations in Science Fiction and Fantasy series

Editors’ Introduction

Considering the still resonating waves of Mary Shelley’s timeless novel Frankenstein; or the Modern Prometheus (1818), due to its conveying the notions, issues, and messages which are both relevant to current times, and as a reflection of its own time, ‘Frankenstein’ continues to be a very appealing trope, phenomenon or myth. The very idea of “humaneness” is speculated continuously due to the embeddedness of the “Frankenstein” the creator, the monster, and the novel itself, including its writer, within the literary and cultural landscape. It is an undeniable fact that it has been perpetually remembered and reinvented due to its uniqueness, even in the 21st century, prompting producers to adapt it. Yet, how it affects, appeals to, finds correspondences with, and elicits reactions or appreciations may be varied. Nevertheless, regardless of this differentiation in both the re-handlings and/or remembering, as well as the responses, the very speciality of the text remains visible. Notwithstanding the conventions of the genres or the adaptation mediums, as a very special text, Frankenstein transgresses the socio-cultural and even spatio-temporal boundaries that pave the way for the appreciation of contemporary readers and/or audiences.

The proposed edited volume, Frankensteineian Resonance: Transtemporal Reanimations in Fiction, Film, and Video, seeks to provide a rigorous, interdisciplinary exploration of how the Frankenstein mythos continues to evolve, adapt, and resonate across contemporary media landscapes. The volume thus proposes Frankenstein as a transtextual and transtemporal entity, a metaphorical conduit through which trauma, memory, identity, and otherness are endlessly renegotiated. It examines how contemporary rewritings and adaptations, spanning various genres and platforms, reveal the persistence of Frankensteinian concerns with artificial life, the ethics of creation, and the blurred boundaries between human and nonhuman. By assembling approximately 20 original chapters that analyse iconic novels, films, video games, and theatrical adaptations through transtemporal lenses, this collection aims to contribute to Gothic studies, adaptation theory, science fiction criticism, and broader discussions on the posthuman condition. Contributions will be selected through an open international call targeting scholars in literature, film, and cultural studies with PhDs or equivalent credentials.

Each contributor will offer a close and original analysis of a novel, film, or media work that actively reimagines the Frankenstein myth. Rather than adopting a purely descriptive approach, each chapter will develop a coherent and critical argument, connecting the selected work to key interpretive frameworks, such as monstrosity, hybridity, technological creation, identity fragmentation, and moral ambiguity.

Contributors will be asked to choose a specific fictional or cinematic text and engage it through relevant theoretical and cultural lenses. While the exact titles and authors of the chapters will be finalised after the acceptance of proposals, all chapters will be unified by the volume’s overarching interest in Frankenstein as a resonant, reconfigurable myth that speaks to evolving human concerns.

Please choose one of the topics listed below as the focus of your chapter. Proposals should clearly identify the selected work (novel, film, or media) and your theoretical framework.



Part I - Literary Re-Visitations/ Rewritings

1-Frankenstein Unbound (1973) by Brian W. Aldiss

2-The Frankenstein Papers (1986) by Fred Saberhagen

3-Poor Things (1992) by Alasdair Gray

4-The Memoirs of Elizabeth Frankenstein (1995) by Theodore Roszak

5-The Casebook of Victor Frankenstein (2008) by Peter Ackroyd

6-Frankenstein in Baghdad (2013) by Ahmed Saadawi

7-Frankissstein: A Love Story (2019) by Jeanette Winterson

8-Heart of a Dog (1925) by Mikhail Bulgakov

9-Golem (1915) by Gustav Meyrink

10-The Sandman (1816) by E.T.A Hoffmann



Part II- Movie/ Theatre/Video Game Adaptations



1-Frankenstein (1931) & Bride of Frankenstein (1935) – Dir. James Whale

2-The Curse of Frankenstein (1957) – Dir. Terence Fisher

3-Young Frankenstein (1974) – Dir. Mel Brooks

4-Mary Shelley’s Frankenstein (1994) – Dir. Kenneth Branagh

5-Frankenstein (2004) – Dir. Marcus Nispel

6-Victor Frankenstein (2015) – Dir. Paul McGuigan

7-Frankenstein (2015) – Dir. Bernard Rose

8-The Frankenstein Chronicles (2015–2017) – ITV Series

9-Frankenstein (1981) – by Victor Gialanella

10-Frankenstein – Playing with Fire (1988) – by Barbara Field

11-Frankenstein (2007) – by Nick Dear, directed by Danny Boyle

12-Frankenstein (2017) a musical theatre adaptation by Eric B. Sirota

13-Frankenstein: Through the Eyes of the Monster (1995)

14-Frankenstein: Master of Death (2015)

15-Frankenstein: Beyond the Time (2016)

16-Frankenstein Wars (2017)

17-Poor Things (2023)



Submission Details and Timeline

Please send a 300–500 word abstract describing the proposed chapter’s theory/framework, contributions, and structure, and a brief bio (100–150 words) to frankensteinianresonance@gmail.com

The abstract submission deadline is November 30, 2025.

Submission of Complete Chapters (for selected abstracts): March 30, 2026.

Final chapters will be expected to be around 5500-6000 words, in English, and referenced in MLA 9 style.

The book is expected to be published in late 2026, following peer review and editorial revisions.

All submissions will undergo a rigorous double-blind peer-review process.

For inquiries and questions, please feel free to contact us at frankensteinianresonance@gmail.com



Editors: Assoc. Prof. Ela İpek Gündüz, Gaziantep University, Turkey

Dr. Ercan Gürova, Ankara University, Turkey



Last updated August 4, 2025

CFP Frank*ology, or the Thoroughly Modern Prometheus: A Re-vision of Sensualities in Romanticism from Mary Shelley’s Frankenstein (virtual conference) (9/15/2025; online 11/21/2025)

Frank*ology, or the Thoroughly Modern Prometheus: A Re-vision of Sensualities in Romanticism from Mary Shelley’s Frankenstein (virtual conference)

deadline for submissions:
September 15, 2025

full name / name of organization:
West of Canon Press

contact email:
editor@westofcanon.com

source: https://call-for-papers.sas.upenn.edu/cfp/2025/06/24/frankology-or-the-thoroughly-modern-prometheus-a-re-vision-of-sensualities-in



Frank*ology, or the Thoroughly Modern Prometheus: A Re-vision of Sensualities in Romanticism from Mary Shelley’s Frankenstein (virtual conference)



West of Canon Press seeks papers and presentations on Frankenstein from academics, artists, and folks across disciplines for a virtual conference celebrating the long legacy of this incredible book. We are looking for academic style papers as well as creative responses to Frankenstein and its related media.



A non-comprehensive list of what we’re hoping to see and include:

• Transgender identity (specifically transmasculinities) in Frankenstein and other works by the Romantics.
• Lake Geneva studies- Looking at Shelley-adjacent Romantics in a different light (discussions of polyamory and free love welcome.).
• The poetics of monstrosity
• Incest and queerness in Frankenstein
• Disability studies and Frankenstein
• Indigiqueer and racialized perspectives on Frankenstein
• Cinematic depictions of the creature, including Karloff, Warhol, Zelda Williams, Hammer Horror, James Whale etc.
• Theatre, music, and dance iterations of Frankenstein.
• Adaptations and responses ie. Frank Kiss Stein, Ex Machina, Penny Dreadful, Wallace and Gromit and the Curse of the Were-Rabbit, Frankenstein in Baghdad, Junji Ito’s manga, Young Frankenstein, Danny Boyle’s stage adaptation with Benedict Cumberbatch
• Guillermo del Toro’s longstanding love affair with Frankenstein.
• Nautical queerness, eco-queerness and homoeroticism in Frankenstein
• The epistolary
• Phenomenology
• The cadaver and the soul; complicating ‘new life’ in Frankenstein via crime, race, religion etc.
• Filmic lore about Frankenstein which is parallel to canon but taken as truth; peg necks, Elizabeth as the Bride etc.
• Everyone’s Met Frankenstein: Frankenstein’s pop culture encounters with The Munsters, Scooby-Doo, Abbott and Costello, Alvin and the Chipmunks etc.
• Mary Shelley and Percy Shelley
• Frankenstein and queer collaboration.
• Mental Illness and neurodiversity.
• Frankenstein, editorial processes, and collaboration.
• Artificial Intelligence as Adam
• Short stories, poems, plays, songs, dance, art-works, etc.,

The conference will hopefully conclude with a viewing of Guillermo del Toro’s new adaptation of the work, which Netflix says is scheduled for November of this year, but we will have a firm date of Friday November 21, 2025. CV, artist’s statement, and abstracts of 200-500 words for a 20 minute presentation, panel or creative project can be sent to Oscar Anderson at editor@westofcanon.com by September 15. 

While we’re not requiring content warnings for abstracts, please inform ahead if there’s any part of your presentation or abstract that flashes and/or contains bright light.


Last updated June 26, 2025

CFP Routledge Companion to Mary Wollstonecraft: Wollstonecraft at Work (1/15/2026)

Routledge Companion to Mary Wollstonecraft: Wollstonecraft at Work

deadline for submissions:
January 15, 2026

full name / name of organization:
Cynthia Richards and Shawn Lisa Maurer

contact email:
crichards@wittenberg.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2025/06/27/routledge-companion-to-mary-wollstonecraft-wollstonecraft-at-work


Routledge Companion to Mary Wollstonecraft: Wollstonecraft at Work
Call for Papers

Mary Wollstonecraft’s contributions as a philosopher are uncontested, her reputation cemented by such recent publications as The Wollstonecraftian Mind (Routledge, 2019), the first collection on a woman philosopher to appear in the Routledge Philosophical Minds series. By contrast, her work as a writer remains unsettled. We know her work to be passionate: angry with Edmund Burke, she composed the Vindication of the Rights of Man in six weeks. She writes Letters Written During a Short Residence to an indifferent lover, the American businessman Gilbert Imlay, and through her romantically charged descriptions, wins the reluctant affections of the Enlightenment philosopher William Godwin instead. As this example makes manifest, if Wollstonecraft succeeds as a writer, it seemingly happens by accident, a byproduct of the fervor of her convictions. We grant her a place in the literary canon because her influence is undeniable and not because the quality of her production is uniform and unassailable.

This Routledge Companion to Mary Wollstonecraft will challenge this reading by focusing on Wollstonecraft as a writer at work, a writer consciously and deliberately innovating to produce a rich and varied oeuvre that reveals forms of intellectual and professional labor beyond her better-known philosophical treatises and novels. Instead, this volume will make the case for Wollstonecraft as an artist first and a polemicist second, yet an artist whose creative interventions stayed true to her principles in the face of conservative backlash. In this regard, the volume comes closest to emulating The Cambridge Companion to Mary Wollstonecraft (2002) while building upon the more multidisciplinary Mary Wollstonecraft in Context (Cambridge 2020).

Yet even as the volume will argue for the intrinsic quality of her writing, it will also recognize that the work remains incomplete. The Vindication of the Rights of Woman (1792) had a planned second volume that was never realized; The Wrongs of Woman (1798) was published unfinished. Her primer to her young daughter, Fanny, has yet to be published as a stand-alone text. But her work also remains incomplete because it continues to exert such a powerful force more than two hundred years after her death. Although the feminist political implications of her work, which continues to be “constantly re-moulded in feminism’s changing image,” as Barbara Taylor writes, have been traced in multiple ways, the impact of her literary production and readers’ engagement with that multifaceted work, in the academy, in popular culture, and in the classroom, has yet to be fully explored.

We envision essays relating to three broad categories–Wollstonecraft at Work, Wollstonecraft in the World, and Wollstonecraft in the Classroom–and invite essays on all stages of Wollstonecraft’s career and all genres in which she worked. Possible topics might include Wollstonecraft as a working woman/professional writer/public intellectual; Wollstonecraft as an artistic innovator; Wollstonecraft’s growth and development; Wollstonecraft and visual culture; Wollstonecraft as an educator. We also seek essays that address Wollstonecraft’s historical as well as contemporary resonances in literary, artistic, and feminist political contexts across the globe. We encourage reflections on the productive imbrications of Wollstonecraft’s life and work; on her critical reception, her artistic legacies, and her place in popular culture. Finally, we invite essays on editing and teaching Wollstonecraft’s work. How is her influence felt throughout the world and how is her work taught in various regions and countries? How does she continue to educate us and our students?

We welcome preliminary proposals on these or related topics. Please send abstracts of approximately 250 words to both editors via email by January 15, 2026.

Shawn Lisa Maurer (College of the Holy Cross): smaurer@holycross.edu

Cynthia Richards (Wittenberg University): crichards@wittenberg.edu



Last updated July 3, 2025