Thursday 30 August 2012

GUEST POST: J.K. Coi and Sarah Peacock on Wolf-Girls

Wolf-Girls: Dark Tales of Teeth, Claws and Lycogyny is a new collection of short stories about female werewolves. Edited by Hannah Kate and published by Hic Dragones, this collection features seventeen new stories about dark, dangerous and (above all) female lycanthropy.



As part of the Wolf-Girls Blog Tour, I'm happy to host a joint guest post from two of the writers, J.K. Coi and Sarah Peacock, who talk about their experiences of writing female werewolf fiction...

JK Coi is the author of 'Run Wolf' — part of Wolf Girls: Dark Tales of Teeth, Claws and Lycogyny, and the award-winning author of more than a dozen novels and short stories about dark, epically tortured characters. She also writes dark fantasy for young adults as Chloe Jacobs.

'Run Wolf' is a short story about a young female werewolf who’s been forced into the fight of her life. Kill or be killed, wolf. What’s it going to be? That’s the voice in her head, the one that won’t let up, won’t set her free, not until the sick humans’ game is over. Except that… the game is never going to be over.

I enjoyed writing this story so much, I still can’t get Gwen out of my head. Her strength and determination have inspired a greater storyline that I’m excited to start writing about soon.

But what is it that makes her such a compelling character? Why are werewolves so fascinating in fiction right now, and female werewolves in particular? Well, I think the great thing about seeing more books featuring female wolf protagonists is the fact that it’s fairly new and fresh. Sure, werewolves have been around about as long as vampires, but they’re usually male. Not all, but predominantly. And why is that? Because like vampires, werewolves are traditionally dark characters with lots of brooding badassery and baggage.

Personally, I would love to see more female werewolf characters. I think it’s about time that readers experienced strength and power from a female perspective! And you know what, I think the authors in Wolf Girls are the perfect ones to start writing those books!



Sarah Peacock's contribution to the collection is entitled 'Exiled'. Having a degree in Archaeology and Pre-history, Sarah now divides her time between writing and looking after her children. Fascinated by traditional tales of the supernatural, ‘Exiled’ was inspired by the mention of ‘cú glas’ (grey wolf) in the Ulster Cycle to describe a person wholly without ties, a foreigner, or someone who doesn’t belong.

In 'Exiled', Cassie isn't your normal everyday werewolf. But then again, I don't suppose any of the lycanthropes in 'Wolf Girls' are. For a start, they're all female. For me, the concept behind a woman transforming or becoming a werewolf is such a fascinating one to explore and one that I really enjoyed writing about.

The first time I came across a female werewolf was in the film 'Ginger Snaps' which portrays female lycanthropy as a metaphor for puberty and female sexuality. I love this film; it's one of only a few films that I can watch over and over again. The women as werewolves are strong but remain human in many ways - it says so much about being female.

In 'Exiled', Cassie's transformation is psychological. She becomes a werewolf as she discovers her own strength, finds her own voice in a culture that expects women to behave and look a certain way. As a result she becomes an outsider, she doesn't follow other's expectations and she becomes 'Cǔ Glas' – Grey Wolf. I first came across the idea of the grey wolf in an 11th Century Latin poem – I was researching a novel at the time and looking into Iron age customs and traditions. In the poem 'De Mirabulis Hiberniae' it talks about how those outlawed from the tribe would assume the form of a wolf. This is also mentioned in the stories of Cu Chulainn.

Cassie's story essentially developed from that idea. It was, at first, just a scribbled note in my journal.

The story takes the theme of not belonging and explores what happens when Cassie begins refuses to fit in with the small minded expectations that the people around her have. Her anger is unleashed and so she becomes an outsider. In our culture, Women aren't supposed to get angry and there is an extra special stigma reserved for women who are violent or kill. They are seen as the worst of the worst – a far cry from their idealised roles as care givers and nurturers.

One thing that springs to mind is that Cassie's transformation is not clear – does she change purely because she finds her voice or was the potential for turning there already? I quite like that ambiguity.

What is refreshing about the stories in Wolf Girls is that they explore these themes and more. Female lycanthropy has, at times, been taken and subverted into something to be exploited – a cartoon like portrayal of woman as wolf, but these stories veer sharply away from that and do something much more intelligent. In female lycanthropy, we as writers can explore some fascinating avenues; female sexuality, the body, violence, anger and psychology. Of course, never forgetting that a good story should always be the focus. But then again, all stories, including my own have within them, a subconscious undercurrent, something we might not be quite aware of as we write, only visible from the outside later, themes, ideas, pieces of our own psychology.

Wolf-Girls: Dark Tales of Teeth, Claws and Lycogyny is available now in paperback from the Hic Dragones website. An eBook edition is coming soon.

Wednesday 29 August 2012

CFP: 3rd Global Conference: Femininites and Masculinities

Tuesday 21st May – Friday 24th May 2013

Prague, Czech Republic

Call for Presentations:

Gender studies is an interdisciplinary field of academic study on the issues of gender in its social and cultural contexts. Since its emergence from feminism, gender studies have become one of the most deliberated disciplines. The following project aims at an interdisciplinary exchange of ideas and perspectives on the issues of femininity and masculinity in the 21st century. It invites ground-breaking research on a plethora of topics connected with gender, to propose an interdisciplinary view of the frontiers and to stake out new territories in the study of femininity and masculinity.

Papers, presentations, performances, workshops and pre-formed panels are invited on issues related to any of the following themes:

1. Representations of Femininity and Masculinity

~ Femininity and masculinity in history and the history of gender
~ The representation of gender in culture, art, film, literature
~ The representation of gender in popular culture and media
~ Gender in the relation to politics, law and social studies

2. Gender Borders and Transgressions

~ Performativity of gender
~Female masculinities / male femininities
~ Androgyny
~ Transgender issues
~ The body and its transgressions

3. New Directions in Femininity and Masculinity Studies

~ New perspectives in masculinity and boyhood studies
~ Men in feminism
~ Third wave feminism, womanism
~ Postfeminism, post-feminism and postfemininity
~ Lesbian feminism
~ Eco-feminism
~ Cyberfeminism
~ Individual feminism
~ Feminist disability studies

4. Global and Regional Perspectives on Gender

~ Gender and race
~ Gender and nationality
~ Gender and (post)colonialism
~ Case studies of gender issues in local/regional/national perspectives
~ Global masculinity/ femininity

5. Gender in Relationships

~ Motherhood/fatherhood
~ Gender and family
~ Matriarchy/ patriarchy
~ Sororophobia and matrophobia
~ Misogyny and misandry
~ Female genealogy
~ Gender and maturity

6. Gender in Experience

~ Gender in visual and performance arts
~ Gender in advertisement
~ Gender mainstreaming
~ Gender in psychotherapy
~ Gender equality education
~ Gender in religion
~ Gender and NGOs

Papers will also be considered on any related theme. 300 word abstracts should be submitted by Friday 30th November 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 15th February 2013.

300 word abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 key words

E-mails should be entitled: FM3 Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs:

Barbara Braid 

Rob Fisher 

The conference is part of the At the Interface programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume(s).

For further details of the conference, please click here

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 3rd Global Conference: Urban Popcultures

Sunday 12th May – Tuesday 14th May 2013

Prague, Czech Republic

Call for Presentations:

This inter- and multi-disciplinary conference aims to examine, explore and critically engage with issues related to urban life. The project will promote the ongoing analysis of the varied creative trends and alternative cultural movements that comprise urban popcultures and subcultures. In particular the conference will encourage equally theoretical and practical debates which surround the cultural and political contexts within which alternative urban subcultures are flourishing.

Presentations, papers, performances, reports, work-in-progress, workshops and pre-formed panels are invited on issues related to any of the following themes:

1. Urban Space and the Landscape of the City

Urban Aesthetics and Architecture, Creative Re-imagining and Revitalization of the City. Brown Fields Reborn. The Metropolis and Inner City Life: Urban Boredom vs. Creativity.

2. The City as Creative Subject/Object

Urban Life and Urban Subculture Considered in Music, Literature, Art and Film, Urban Fashion and Style. Mobile Gaming. Alternate Realities. Urban Visual Styles, Street Art, Graffiti and Tagging. City Festivals.

3. Urban Codes

Alternative Popular Culture and Ideology, Politics of Alternative Popcultures, D.I.Y, Alternative Ethics of the City. Urban Religion and Religious Expressions. The Language and Urban Slang. The Avantgarde and Urban Codes.

4. Alternative Music Cultures

Histories, Representations, Discourses and Independent Scenes. Popular Music Theory. The Visual Turn. Urban and Alternative Classes, Intertextualities and Intermedialities. Postmodernity and Beyond. Clubbing and Scenes. Hip Hop and Rap. Dark Wave Scenes – EMO, Post-Gothic, and Underground Electronica.

5. The Urban Underground

The Rise and Fall of the Experimental Subcultures, Scenes, Fashions and Styles. Alternative and Underground Dance, Electronica, Hip Hop, and Punk and Post-Rock Scenes.

6. Queer Theory and Urban Alternative Cultures

Gendered Music and Fashion. The Role of the City in Gendered Freedom and Libertine Lifestyles. Pride Parades.

7. The City, Fashion, and Identity

Identity Creation. Style and Branding. Politics of Cool. Pretties, Freaks and Uglies.

8. Visions of Alternative Sound Cultures in Massmedia

The Visual Aspects of Alternative Entertainment. The Evolution of Music and Thematic Television. Media Structure of Music Video. Explicit TV and Censorship. Urban Styles and Extreme Sports.

9. Urban Subcultures in Online World

Urban Identity and Global/Glocal Membership. Globalization/Localisation of Underground Music Experience. Copyright/Copyleft. The Role of Internet in the Transformation of Music Industry. The Impact of User-generated Content.

What to send:

300 word abstracts should be submitted by Friday 30th November 2012. All submissions are minimally double blind peer reviewed where appropriate. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 15th February 2013. Abstracts should be submitted simultaneously to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract f) up to 10 key words

E-mails should be entitled: Urban Popcultures 3 Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Jordan Copeland 

Daniel Riha 

Rob Fisher 

The conference is part of the ‘Critical Issues’ programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume(s).

For further details of the conference, please click here

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 11th Global Conference: Violence

Thursday 9th May – Saturday 11th May 2013

Prague, Czech Republic

Call for Presentations:

This conference is one of a continuing series that aims to bring together people from a wide range of disciplines to focus on Violence. Our intention is to contribute to the body of thought which seeks to understand the nature and causes of this endemic feature of society. Such a complex phenomenon has many faces, a multitude of contexts (real or imagined), and many possible explanations in relation to causation and to the role Violence has played and still plays in societies all over the world and at every stage of development. Perpetrators may be states, political or religious factions within states, military groups, state or private institutions, communities, gangs, families or individuals. The range of possible victims is equally diverse and possible explanations range across historical, cultural, political, ethical, literary, functional, psychological, criminological, sociological, biological and economic sources. We therefore invite contributions from any and all of these disciplinary areas.

Our inter-disciplinary and multi-disciplinary approach seeks to do justice to the richness of this theme at a conference where fruitful dialogue between and across disciplines is highly valued.

The Steering Group particularly welcomes the submission of pre-formed panel proposals.

What to send:

300 word abstracts should be submitted by Friday 30th November 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 15th February 2013. 300 word abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.

E-mails should be entitled: Violence 11 Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Joint Organising Chairs:

Diana Medlicott 

Rob Fisher 

The conference is part of the Probing the Boundaries programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume(s).

For further details of the conference, please click here

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: 4th Global Conference: Experiencing Prison

Sunday 12th May – Tuesday 14th May 2013

Prague, Czech Republic

Call for Presentations:

This inter-disciplinary and multi-disciplinary conference marks the continuation of a project dedicated to the study of the experience of imprisonment.

Imprisonment has become the dominant form of punishment in most societies across the world. It may occur prior to trial, or as a result of sentencing by a properly constituted court. Imprisonment without trial or due process occurs in various forms in most societies across the world, mostly sanctioned by the state itself, sometimes used as a political strategy by military, ideological, political or religious groups within a state, or by groups desirous of becoming a state.

We welcome contributions about the experience of incarceration across the entire range of perspectives, including legal, criminological, historical, fictional, phenomenological, biographical and autobiographical. Contributions are welcomed from former prisoners, detainees, incarcerated asylum seekers, former prisoners of war, political prisoners or those detained because of nationalist, religious or other convictions. All genres and media will be considered, in order to examine the widest possible range of representations, past and contemporary, which communicate the experience and nature of imprisonment. Contributions will be welcome from those who are involved with the delivery of incarceration, as well as those who seek to ameliorate incarceration by providing therapeutic drama, literacy, education, counselling, religious support and other services.

Presentations will also be considered on any related theme.

What to send:

300 word abstracts should be submitted by Friday 4 30th November 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 15th February 2013. 300 word abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords.

E-mails should be entitled: Prison 4 Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Diana Medlicott 

Rob Fisher 

The conference is part of the Probing the Boundaries programme of research projects. It aims to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at the conference will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume(s).

For further details of the conference, please click here

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

Wednesday 15 August 2012

GUEST POST: Andrew Quinton (Wolf-Girls Blog Tour)

As part of the Hic Dragones Wolf-Girls blog tour, I'm happy to host a guest post from Andrew Quinton, one of the book's contributors...



Hello! I’m Andrew Quinton, Wolf-Girls contributor and writer of The Librarian. I find it difficult to write about myself, so for the purposes of this article, I’ve asked Alexis LaPierre — werewolf, peer-pressured vegetarian and protagonist of The Librarian — to conduct an informal interview with me. This interview makes some oblique references to scenes in the story, but contains no spoilers.


Illustration by Tandye Rowe

Alexis LaPierre: Really? Interviewed by your own character? I’d love to cite some examples illustrating just how gimmicky this is, but I can’t think of any other cases where a writer was shy enough to try it. I’ll find something when I’m back at work.

Andrew Quinton: Do you think you’ve still got a workplace to go back to? You took some unannounced time off, didn’t you? A long weekend that sort of –

AL: I don’t want to talk about it. Besides, I wasn’t strictly responsible, given how hard you worked to put me in that situation.

AQ: Well, yes, I did guide you there, but I didn’t know how it was going to turn out. I thought you were going to end up on Grouse Mountain in the middle of the night. I didn’t know much at all, really. Your story is the first piece of fiction I’ve completed since high school. That was in 1999. I haven’t had any formal writing instruction at all since then, so this story just carried me along with it. I didn’t think you were going to miss any time at work. I know that’s important to you.

AL: I’m the creation of someone who got a B+ in Creative Writing 12? How fortunate for both of us. Being relatively new to it, then, I take it that you don’t have a set process for writing?

AQ: For The Librarian, it was more of an anti-process. When I really started work on it, there were less than seven weeks before the submission deadline, so I was in a hurry. Most of the first two drafts were written on an iPod Touch or an iPhone, using WriteRoom and Dropbox to keep things organized. I wrote in little sprints, 5 minutes here, 20 there. On the bus, standing in line at a hockey game, in bed, once even during a meeting at work (not smart).

AL: Everything you’re telling me is making me feel like a child born healthy despite the fact that her mother drank and smoked through the pregnancy.

AQ: Yeah, it wasn’t ideal, but I made it work. It was convenient, being able to pull out a device and start writing wherever I was. Working like that also removed the framework of habits that I think a lot of rookie writers like me get tangled in. No rituals, no lucky coffee cups or special pens.

AL: Was it difficult to concentrate, writing like that? I often find it… difficult… to concentrate.

AQ: Headphones were the key. Every word of your story was written to music. Anything that takes places in the woods was written to Loscil’s gorgeous, glacial “Coast / Range / Arc”. For the non-flashback scenes, I listened to Cliff Martinez’s “Solaris” score, all tranquil bells and pensive strings.

AL: I see. What about the climax of the story?

AQ: Just one song, on repeat. “Demon Seed”, by Nine Inch Nails. I think that’s your theme song in this story. Particularly the last 90 seconds of it.

AL: “Demon Seed”? Are you sure you’re not still in high school?

AQ: Hey, it worked for you.

AL: That “my theme” can be expressed by such a song is profoundly disturbing on a number of levels. Next question. What made you want to write something — and then submit it for publication, which was a first for you — after over a decade of inactivity?

AQ: In early 2010 I set myself a few self-improvement goals, and one of them was to finish a piece of writing and have it accepted for publication before my 30th birthday, in May 2011. I wound up ignoring that writing goal in favour of the other things I’d set out to do, but when I heard about the Wolf-Girls anthology in January 2011, I knew I’d never find a better excuse to get started writing again. Dark short stories about female werewolves? To my family and friends it probably sounded like a vanity project I made up for myself.

AL: And yet you didn’t actually start writing the story until late February.

AQ: Yeah, despite the self-improvement kick, I’m still a consummate procrastinator.

AL: Clearly. Were you at least able to make your “accepted for publication by 30” deadline?

AQ: I got the acceptance email less than 12 hours before I turned 30. That was a good night.

AL: I’m so happy for you.

AQ: Really?

AL: Maybe. Moving on. I have a clear sense of my own history, but I can sense faint echoes of “previous versions” of myself. I get the feeling that I was iterated a few times during the writing process.

AQ: That’s right. I did quite a lot of re-writing. Originally you were going to be a court reporter, but I decided that you being a part of the justice system would create a premise too much like Showtime’s “Dexter”. I think Dexter Morgan is a terrific anti-hero, but he’s comfortable in his disguise. You’re never truly comfortable, are you? Even after seven years of relative domesticity.

AL: Let’s talk about something else, please. You run Werewolf News, and you’ve also created the SRA, a fake government agency that tracks “non-human” entities, including lycanthropes. Why do werewolves hold such fascination for you?

AQ: The short answer is that werewolves are awesome. The longer, more articulate answer is that I’m intrigued the concept of metamorphosis, especially when it’s mixed up with the construction of one’s personal identity. If you ignore how long a werewolf stays in either shape, how would you be able to tell which is his or her “real” body?

AL: How nice that you have the luxury of pondering that as an intellectual exercise. I know precisely which is my “real” body, thank you very much.

AQ: See, that’s why I usually go with the short answer.

AL: Speaking of “real” bodies… since I’m a character you made up, are you visualizing me as being physically there, across from you, asking these questions?

AQ: When we began this interview I tried to visualize you, yes, but the mental image of you sitting across from me on this train is very much at odds with the last scene of The Librarian. The latter keeps bleeding into the former. No pun intended.

AL: That pun was absolutely intended, and for that reason, we’re done here.

AQ: Hey, am I going to get to write about that other secret you have? The one I cut from the story becau–

AL: WE’RE DONE HERE.

Read 'The Librarian' in Wolf-Girls: Dark Tales of Teeth, Claws and Lycogyny, edited by Hannah Kate and published by Hic Dragones.

Monday 6 August 2012

CFP: Devils and Dolls: Dichotomous Depictions of 'The Child'

Wednesday 27 March 2013
University of Bristol, Graduate School of Arts and Humanities

Confirmed plenary speaker: Professor George Rousseau, (Magdalen College, University of Oxford) Co-Director of the Oxford University Centre for the History of Childhood.

Second plenary to be confirmed.

An inter-disciplinary conference open to both postgraduates and academics at any stage of their career, seeking to examine the contrasting images and representations of children as angels or devils, innocent or evil, light or dark in fiction and culture and the field of Humanities. Why are children offered little dimension in representations? What is the significance of representing the child either as innocent or evil – to both the originating discourse and in a wider context? Is such polarization detrimental to our understanding of what it means to be a child and how we respond to real children?

The “humanities” is intended as a fluid term; depictions from any period of history, any social or cultural context, fictional or media representations are encompassed. In light of this, submissions are invited from a range of disciplines and topics may include, but are certainly not limited to, depictions of the child as:

* A devil, demon, monster, wicked/sinful (for instance Heathcliff, Damien from The Omen, the child Sir Gowther)
* As angelic, child-saints or martyrs, innocent (paintings of putti, Romantic child figures, Little Nell)
* Contrasting images of the two in various fields; e.g. philosophical thought, religious doctrine
* The child as “uncanny”
* The child in art (Blake’s illustrations, Millett’s Bubbles, the Virgin and child)
* Televisual, cinematic or dramatic depictions
* The Freudian child as depicted by psychoanalysts or psychoanalytic readings of figures
* The child in horror/gothic fiction
* Monstrous births
* Supernatural children; vampires, werewolves, ghosts, zombies
* Contrasting images as represented in adult fiction and/or children’s literature * Children in Victorian chapbooks – models of religious virtue?
* The sexualised child – innocent or corrupt?
* The child in myths, fairy and folk tales
* The “foreign”, tribal, refugee or postcolonial child
* Media representations of children.

We invite abstracts of 250-300 words for 20 minute (previously unpublished) papers, sent in Word format to the conference convenors by Friday 31st August 2012 with the “subject” of the email as ‘Devils and Dolls abstract’.

Please ensure your abstract appears in the following format:

* Paper title
* 250 – 300 word abstract in plain text
* Name of author and affiliation
* Email address
* Up to ten keywords (these can be compound terms)
* Please also indicate whether, if required, you would be happy to chair a panel.

All abstracts will be acknowledged by email receipt, and you should therefore receive an acknowledgement within 5 working days.

Once the deadline has passed, a panel will review the abstracts anonymously and a draft conference plan will be constructed. We will reply to all submissions to offer both a decision and some feedback. If your paper is not selected at this time, we hope you are still able to attend the conference and contribute to the discussion.

Some papers may be selected to comprise a collection of essays in the first edition of the Bristol Journal of HARTS following the conference.

For more information about the conference, please click here.