CFP – Radical Young People’s Literature and Culture

Conference call for papers: Radical Young People’s Literature and Culture
The Irish Society for the Study of Children’s Literature
Friday, 29 and Saturday, 30 March 2019
Marino Institute of Education, Dublin 9, Ireland
Keynote address: Professor Kimberley Reynolds

It is now over ten years since Kimberley Reynolds highlighted the importance of radical dimensions of children’s literature in her book, Radical Children’s Literature: Future Visions and Aesthetic Transformations in Juvenile Fiction. Texts for young people have always been embedded in norms, concepts and systems regarding socialisation, education, and enculturation and offer empowering and disempowering possibilities for everyone who engages with them. Concepts of childhood, youth literature and youth culture are situated and operate within diverse contexts and contested spaces which are negotiated by readers, audiences, publishers, creative industries, authors, librarians, teachers, families, gate keepers, institutions, cultural movements, and political and religious groups. Radical youth literature challenges dominant expectations and norms about childhood, society, socialisation, and young people’s reading, acts as a force for change and encourages children and young adults to question the authority of those in power. In today’s world, the role and liberating possibilities of radical youth culture and literature have become even more urgent.

This conference will explore the experimental, subversive and/or disruptive potential of Irish and international literature and culture for young people. The conference will also consider the extent to which children’s and young-adult texts and culture can promote, cultivate and/or establish radical representations and ideas. In what ways is today’s radical youth literature different from that of earlier decades? What contemporary issues are addressed in radical youth literature and culture and how? To what extent have publishing, schools, libraries, multimedia and entertainment industries engaged with radical youth texts and radical youth culture? How is radical children’s and young adult literature and culture created, distributed, enacted and experienced?

Please email an abstract and a biographical note to by 5pm Friday, 7 December 2018. You will be notified of the outcome of the selection process in mid January 2019. 250-350-word abstracts are welcomed but not limited to the below areas and themes. Cuirfear fáilte roimh pháipéir trí Ghaeilge.

  • Class
  • Gender
  • Sexualities
  • Age and ageing
  • Ethnicity
  • Nationality
  • Embodiment
  • Performativity
  • Social engagement
  • Children’s rights
  • Engagement with new media, technologies, film, television, theatre etc.
  • Adaptation and/or translation
  • Visual narratives e.g. picturebooks, comics
  • Radical forms and/or genres
  • Fandom and fan cultures
  • Disruptive texts

CFP – Special Issue of IRCL: Instituting, Forgetting, and Remembering: (Post-)Colonial Practices of Child Removal in Children’s Media

Call for Papers
Special Issue of International Research in Children’s Literature
Editors: Lies Wesseling ( and Mavis Reimer (

The (forcible) relocation and re-education of Indigenous children at the peripheries of empire was a wide-spread form of colonial governance. Children were considered to be more malleable than their adult counterparts, meaning that colonial regimes considered it possible to “take the Indian out of the child,” or to “breed the color out of aboriginals” or to transform Indigenous children up to the points at which they could make themselves useful as local intermediaries between the coloniser and colonised. Thus, Indigenous children have often figured as both targets and tools of Western civilising projects, as a tentative solution to the perennial problem of how to govern vast nations by means of a relatively small number of colonial administrators who, moreover, often lacked in-depth knowledge of the languages and cultures of the nations they were supposed to rule.

As Karen Sánchez-Eppler has argued convincingly in Dependent States, colonial strategies for governing the peripheries of empire and pedagogical regimes for raising metropolitan children were interdependent. Empires were “raised like children” and children were “civilized like savages.” The intimate link between imperial nation and domestic nursery may help to explain why children’s literature and affiliated media such as textbooks have played such a pivotal role in instituting, forgetting, and remembering the systematic instrumentalisation of Indigenous children in (post-)colonial contexts. Educative discourses such as children’s literature and textbooks were bent on piquing metropolitan children’s interest in the colonies in a concerted effort to recruit the next generation of colonial administrators, missionaries, and entrepreneurs. Later, these discourses were complicit in the embarrassed silence in which the colonial past was shrouded after decolonization. At the same time, however, the existence of these discourses and texts also preserved the past and eventually contributed to the disruption of the silence about the “stolen generations,” “lost birds,” deracinés.

This special issue aims to analyze how children’s literature and affiliated media instituted, silenced, and remembered forcible child removal from an international comparative perspective, including but also moving beyond the conventional focus on the former British Commonwealth. Topics may include, but are not limited to, the following issues:

  • How was the relocation and re-education of indigenous children “sold” to metropolitan children?
  • What versions of “family” and “family values” are propagated by children’s media that targets Indigenous children at the peripheries of empire?
  • How did children’s literature and textbooks respond to decolonisation?
  • Have exotic colonial themes, settings, and plot structures vanished from children’s media? If so, when did this occur?
  • When do efforts to re-present and remember child removal through children’s media gain ascendancy over silence and oblivion? How does children’s fiction relate to historiography in this respect?
  • Is the question of the “decolonisation of childhood” still topical? How do contemporary forms of neo-colonialism, post-colonialism, and anti-colonialism impact on the cultural construction of childhood as articulated by children’s media?

We particularly welcome transnational comparative approaches.

Abstracts due: 1 March 2019; completed papers 1 September 2019, publication July 2020.

CFP – Edited Collection on Sexuality and Sexual Identities in Literature for Young People

Call for Papers: Edited Collection on Sexuality and Sexual Identities in Literature for Young People

Acknowledging the capacity of literature to reflect and shape significant aspects of human development, this collection of essays takes as its central theme the representation of sexuality and sexual identities in texts for young people. Previous scholarship has established important connections between sexuality and gender, as well as sexuality and queerness, in literature for children and young adults. Investigations have also been made into the way particular genres and individual texts deal with desire, sex and sexuality.

This collection builds upon these individual approaches, while extending out to the analysis of various forms and incarnations of sexuality, across genres, texts and time periods. Keeping sexuality and sexual identities in writing for young people as its core focus, it will include analysis and discussion of representations of heterosexualities, homonormativity, trans subjectivities, asexuality, and the intersections between sexuality and other identity categories such as gender, race and class, across a range of texts and readerships.

We therefore welcome abstracts that revisit historical approaches to the study of childhood/adolescence and sexuality in literature, as well as those that provide contemporary and forward-looking models that take account of current and emerging sexual identities. Similarly, we welcome a wide range of theoretical approaches to this subject matter.

Suggested topics include, but are not limited to:

  • Sex and sexuality in historical literature for children
  • Same-sex desire in young adult fiction from Stonewall to the AIDS era
  • Hetero- and homo-normative families in picture books and junior fiction
  • “Straightness” in junior and/or young adult fiction
  • Queer spaces and queer geographies in writing for young people
  • Trans identities in children’s texts
  • Intersections between sexuality and race, class, gender, ability, age and/or nationality
  • Transnational approaches to sex and sexuality
  • Connections between romance narratives and ideologies around sex and sexuality
  • Religion/religious themes and sexual morality
  • “Post-gay” identities in millennial writing for young people
  • The role of genre in depictions of sex and sexuality for young people

Please submit abstracts of up to 300 words and a biographical note of up to 150 words to Dr Kristine Moruzi ( and Dr Paul Venzo ( by December 1, 2018. Full papers of 6000 words will be due by May 1, 2019.

CFP – Harry Potter Studies

Call for Papers
Harry Potter Studies
40th Annual Conference of the Southwest Popular/American Culture Association
Feb 20-23, 2019
Hyatt Regency Hotel & Conference Center
Albuquerque, New Mexico

SWPACA invites scholars to submit papers to the vibrant and diverse Harry Potter Studies Area of the Southwest PCA/ACA conference. The Harry Potter Studies Area is an interdisciplinary/cross-disciplinary field that focuses on both the novel and filmic versions of J.K. Rowling’s work. Papers may address the work as a whole, specific characters, themes, relationships, social and/or cultural implications, individual texts within the series, etc.

Paper and/or panel proposals are welcomed. Any and all types of scholars, including independent scholars, graduate students, non-tenured, tenure-track, tenured and emeritus faculty are encouraged to submit. The Harry Potter Studies Area aims to emphasize a diversity of scholarship opportunities and is open to innovation in approach to research about the Potterverse. Networking among Potter scholars with an eye toward post-conference collaboration and publication is a key goal of the Harry Potter Studies Area.

Papers from the Harry Potter Studies Area presented at conferences since 2012 have been gathered into four (4) published, edited volumes released in 2013, 2014, 2015, and 2016, with two more volumes scheduled to be released in 2019. We are an area committed to publication!

Papers submitted to the Harry Potter Studies Area are eligible for the SWPACA Travel Fellowships and the Richard Tuerk “Out of This World” Paper Award for Science Fiction and Fantasy. Dual submissions to the Area and the awards are highly encouraged. For application information, see

Please consider submitting to the official SWPACA journal, entitled Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy. For more information, please visit

For individual paper proposals, please submit an abstract of no more than 300 words to the official SWPACA database at Please also include a biographical note about each author in lieu of a full CV.

For panel proposals, please feel free to send an initial query email, or to propose the panel directly. Please include all of the information requested for an individual paper proposal for each member of the panel, as well as a working title for the panel and an additional description of no more than 300 words explaining the purpose/theme of the panel.

Please submit all questions to Dr. Christopher Bell (, chair of the Harry Potter Studies Area. All proposals must be submitted to the database by November 1, 2018. Proposals sent to the chair via email will be returned and you will be asked to submit via the database. Information on the SWPACA and the conference can be accessed at

CFP – Female Authors of Modernist Children’s Literature in Central Europe

Call for Chapters
Female Authors of Modernist Children’s Literature in Central Europe
Editors: Milena Mileva Blazić (University of Ljubljana), Yevheniia Kanchura (Zhytomyr State Technological University), and Alicja Fidowicz (Jagiellonian University)

Modernism was a cultural period that brought a lot of changes in society, art, and literature. Scientific and social progress, new ideas in psychology and pedagogy, emancipation of women, and other significant changes had a large influence on all literature, including children’s literature. Our project is to look at modernism in children’s literature of Central Europe, which was a multicultural region with different types of literary works.

We invite papers including the following topics:

  • Modernist tendencies in the writings of female authors from Austria, Bosnia and Hercegovina, Croatia, Czechia, Hungary, Lithuania, Poland, Serbia, Slovakia, Slovenia, Ukraine (years 1880-1930)
  • Beginnings of new trends in children’s literature created by female authors at the end of the 19th century and beginning of the 20th
  • Biographical contexts of writings for children created by female authors
  • Reception of female authors’ writings in modernist Central Europe
  • Writings of women from national and religious minorities (Jewish, Muslim, Protestant…)
  • Contemporary reception of modernist female children’s authors

Please send your papers to: by 1 July 2019. Before sending your paper, please contact us for editorial information.

CFP – Special Issue of Dzieciństwo: Literatura i Kultura: Film and TV Series Adaptations of Children’s and Youth Literature in the 21st Century

Film and TV Series Adaptations of Children’s and Youth Literature in the 21st Century

Since the beginning of the twenty-first century, we have been observing the increase in the popularity of film and TV series adaptations of children’s and youth literature. It was in 2001 that such productions were made as Harry Potter and the Philosopher’s Stone by Chris Columbus – screen adaptation of the first part of the famous J. K. Rowling’s heptalogy, The Princess Diaries by Gary Marshall based on the Meg Cabot book, or Shrek by Andrew Adamson and Vicky Jenson inspired by a book by William Steig under the same title.

We would also like to devote the first issue of the journal Dzieciństwo: Literatura i Kultura to consideration on the 21st century trend of adaptation of children’s literature – both film and TV series, presented on cinema and television screens and on streaming platforms (such as Netflix). What are the transformations of childhood constructs relative to literary prototypes? What tendencies are visible in film and TV series adaptations understood as reinterpretations of pre-text books? What literary works are the modern adapters most willing to use and what could be the reasons for their choices? Who is the hypothetical recipient of contemporary film and TV series adaptations?

We invite you to look at contemporary adaptations of both the classics of literature for young audiences and newer works; Polish and foreign texts. When presenting the analyzes of films and TV series, we would like to remind of their often forgotten – for example under the influence of adaptation – literary prototypes. We are interested in case studies as well as cross-sectional studies.

The problem areas we propose are:

  • Adaptations of multi-volume novels – both complete (e.g. Harry Potter, Hunger Games), and incomplete (e.g. His Dark Materials, Eragon, The Chronicles of Narnia, Percy Jackson); here especially the hypothetical reasons for the lack of continuation
  • New adaptations of the classics against previous adaptations (e.g. The Jungle Book from 2016 versus The Jungle Book from 1967)
  • Adaptations of contemporary fantasy literature (e.g. A Monster Calls, Coraline) and literary realism (e.g. Wonder, The Fault in Our Stars)
  • TV series adaptations of the era of streaming platforms (e.g. Anne, Lemony Snicket’s A Series of Unfortunate Events)
  • Adaptations of the latest Polish children’s and youth literature – film (e.g. Za niebieskimi drzwiami, Felix, Net i Nika oraz teoretycznie możliwa katastrofa) and TV series (e.g. Kacperiada, Pamiętnik Florki)
  • Adaptations more popular than their book source material (e.g. Shrek, How to Train Your Dragon)
  • Expansion of the source material (e.g. Where the Wild Things Are, Le Petit Prince – are those still adaptations?)
  • Biographical films about the creators of children’s and youth literature (e.g. Finding Neverland, Saving Mr. Banks, Goodbye Christopher Robin) and their relationship with the phenomenon of adaptation

We also invite you to send texts that are not related to the theme of the issue to the Varia and Reviews sections.

The deadline for submitting articles: November 30, 2018


CFP – Postmodern Writing, Artistic Orientation and Literary Tradition: Studies on Tonke Dragt’s Children’s Books and Their Media Adaptations

Call for Papers

From 30 September to 2 October 2019, The University of Siegen organizes in cooperation with Tilburg University a conference on “Postmodern Writing, Artistic Orientation and Literary Tradition. Studies on Tonke Dragt’s Children’s Books and Their Media Adaptations.”

For more than 50 years Tonke Dragt has been one of the most popular children’s authors in the Netherlands. In Germany, her two best-known books Der Brief für den König (A Letter to the King) and Das Geheimnis des siebten Weges (The Song of Seven) have become bestsellers. Time and time again, these two together with some of her further children’s books have been adapted to other media, such as films, audiobooks, and games. At the moment, Netflix is planning to adapt A Letter to the King into a TV series. Dragt’s novels have also been adapted for educational purposes.

While Dragt’s novels enjoy a tremendous popularity, her work has been widely neglected in academia. Both intermedial and interdisciplinary approaches to her work as well as specific literary-theoretical and historical perspectives on Dragt’s oeuvre are still a rare occurrence in the academic landscape. This conference aims at changing this situation and wants to provide a good foundation for future research.

Together with authors such as Paul Biegel, Otfried Preuβler, Michael Ende, and James Krüss, Tonke Dragt belongs to a generation of children’s book authors who did not follow the 1970s trend of realistic, problem-oriented children’s literature. Instead, they created adventurous and fantastic worlds in their literary texts, which addressed fundamental existentialist questions. In the same vein as the above mentioned authors, Dragt gains her inspiration from folk- and fairy tales, as well as from classic world literatures. Riddled with well-known quotations and references from these literatures, Dragt’s stories invite young readers to go on a literary treasure hunt. This postmodern aspect of her work, reminiscent of Michael Ende’s books, also offers new perspectives on German literatures of this time period. Particularly interesting for children’s literature research are also both her illustrations and the collages she orchestrates of her own work as well as those of other authors.

Contributions in German, English or Dutch could address, but are not restricted to the following topics:

  • Biographical aspects
  • Tonke Dragt’s position in Dutch children’s literature
  • Genres in Dragt’s oeuvre
  • Analysis of Dragt’s books from critical perspectives such as ecocriticism, postcolonialism, comparative literature, narratology and translation studies
  • Interdisciplinary studies of Dragt’s illustrations of her own work and that of others
  • Media adaptations of Dragt’s work (film, television, audiobooks, games)
  • Adaptations of Dragt’s books for educational purposes
  • Dragt’s books in the discussion about the difference between popularity and canonicity

Abstracts (ca. 300 words) and a short academic biography should be sent before 30 November 2018 to the organizing committee: Dr. Jana Mikota, Siegen University, email:; Erik Dietrich, Siegen University, email:; Prof.dr. Helma van Lierop-Debrauwer, Tilburg University, email:

Travel expenses will be reimbursed provided that we get third-party funding for the conference. On the occasion of the author’s ninetieth birthday, we expect to publish a book with conference papers in the series Kinder- und Jugendliteratur intermedial (scheduled for 2020).

CFP – Special Issue of Cahiers victoriens et édouardiens: “Dear Child”: Talking to Children in Victorian and Edwardian Children’s Books

“Dear Child”: Talking to Children in Victorian and Edwardian Children’s Books
To be published in Cahiers victoriens et édouardiens 92 (autumn 2020)

The 92nd issue of the French peer-reviewed journal Cahiers victoriens et édouardiens (CVE) will address the question of communicating with children in Victorian and Edwardian children’s books.

Like the many (adult) novels analyzed by Stewart in Dear Reader: The Conscripted Audience of Nineteenth-Century Fiction, nineteenth-century children’s books are particularly aware of their audience. Yet if Stewart scrutinizes the prototypical address “Dear reader” that, he feels, is the symbol of “the relentless micromanagement of response in nineteenth-century narrative” (21), he does not see that address and its variations as instrumental in constructing a conversational tone. Children’s books, on the other hand, with their prototypical address, “Dear child” (rather than “Dear reader”), seem to rely on, and create conversations between the implied author and/or narrator and the implied reader and/or narratee, in keeping with the tone that Chambers (1978) says is usual for children’s books, “the tone of a friendly adult storyteller” (5).

Children’s books entertain a specific relationship with their audience. They are often said to be the product of conversations: as Grenby (2009) reminds us, children’s authors of all time have indeed frequently insisted that the books that they published grew from private conversations with children they knew. This is famously the case of 19th-century authors such as Lewis Carroll (who improvised some episodes of Alice’s Adventures under Ground, which then served as a basis for Alice’s Adventures in Wonderland, while rowing a boat with Lorina, Alice and Edith Liddell), J. M. Barrie (who entertained the Llewelyn Davies boys with tales of a boy who would not grow up and later published Peter Pan) and Kenneth Grahame (who told his son Alastair stories he subsequently developed for The Wind in the Willows). Many other children’s authors specify in the prefaces or dedications to their books that the stories they tell originated from conversations with children (for instance, Catherine Sinclair in Holiday House, Mary Molesworth in Four Winds Farm, or Rudyard Kipling in Just So Stories). As Grenby puts it (2006: 17), such assertions about the conversational geneses of children’s books endow child readers “with a flattering agency in the creation and conservation of stories,” and consequently may aim to incite child readers to actively respond to stories, and not merely receive them passively, becoming, in effect, participants in the conversation. Various strategies may be used to trigger responses: the narrator may address the child reader, or ask direct questions to him/her; the author may also leave what Iser (1972) and Chambers (1978) after him call “gaps” in order to “challenge the child reader to participate in making meaning of the book” (Chambers 10).

Conversing with children while elaborating stories may also alter the way children are depicted in children’s books, as well as the place and role of conversations with children in children’s books. For instance, as Gubar (2009) and Iché (2015) have shown, Alice is frequently talked to in the Alice books and is recurrently portrayed as an active collaborator in the meaning-making or even storytelling process. Though not explicitly endorsing the myth of the domestic origins of their books, some children’s authors, namely Dinah Craik, Juliana Horatia Ewing, Mary Louisa Molesworth and Edith Nesbit, who probably “had the chance to observe children’s development at close[…] range,” also decided to “help the young find their own voices” (Gubar 2009, 127). One way of giving pride of place to children is to show the role of children in shaping stories (see Rosing’s analysis of Ida’s role in Juliana Horatia Ewing’s Mrs. Overtheway’s Remembrances) or to employ child narrators (as in Ewing’s Six to Sixteen or in Nesbit’s The Story of the Treasure Seekers). Are the voices of these child narrators and child characters markedly dissimilar from the voices of adult narrators and child characters as portrayed by adult narrators? How thematically and stylistically different are the conversations led by these child figures?

Rose (1984), Nodelman (1992) and many other scholars have highlighted though the power imbalance between adult authors and child readers, with adult authors constructing children as other in order to constrain them and their reactions. Gubar, though deconstructing this vision of children as disabled and non-agential (2013), argues in Artful Dodgers that this is, in effect, one of the lessons of Stevenson’s Treasure Island, in which a manipulative storyteller circumscribes Jim’s actions under the guise of celebrating his power. Iché (2015) similarly argues that the Alice books (and in particular The Nursery Alice) give the impression of eliciting the implied child reader’s participation in the conversational construction of the story, while actually controlling his or her every reaction. Child narrators, who are but the product of (more or less) hidden adults (see Nodelman’s The Hidden Adult 2008), may also prove to be cunning manipulators, who engage in mock-two-way-conversations with the narratee in order to shape his or her mind—in keeping with the didactic origins of children’s literature.

This issue will thus examine the question of how children are talked to, and consequently ascribed a specific place and role in the conversation. Attention can be paid to characters, whether they are children or child stand-ins, narratees, implied and real-life readers. Venues of inquiry for this issue include (but are not limited to):

  • the conversational geneses of 19th-century children’s books and their impact on the narrative structures and/or the role of the child reader
  • the role and place of conversations with children in 19th-century children’s books
  • the conversational relationship between child or adult narrators and child narratees
  • the narrative and stylistic strategies to enhance / restrain child agency
  • adult-led conversations and children’s responses
  • the issue of child narrators

Please send abstracts (no longer than 400 words) with a short bio-bibliographical notice (no longer than 50 words) by January 10, 2019, to Virginie Iché (Université Paul-Valéry Montpellier 3, France):

Notifications of acceptance will be sent by February 15, 2019. Full articles will be due by June 20, 2019. Proposals in English or French will be considered.

Selective Bibliography

Beauvais, Clémentine. “What’s in “the Gap”? A Glance Down the Central Concept of Picturebook Theory.” Nordic Journal of ChildLit Aesthetics 6 (2015): 1-8.
Chambers, Aidan. “The Reader in the Book: Notes from Work in Progress.” Children’s Literature Association Quarterly 1978: 1-19.
Grenby, M. O. “The Origins of Children’s Literature.” The Cambridge Companion to Children’s Literature. M. O. Grenby and Andrea Immel (eds.). Cambridge: CUP, 2009: 3-18.
Gubar, Marah. Artful Dodgers: Reconceiving the Golden Age of Children’s Literature. Oxford: OUP, 2009.
—. “Risky Business: Talking about Children in Children’s Literature Criticism.” Children’s Literature Association Quarterly 38.4 (Winter 2013): 450-457.
Iché, Virginie. L’esthétique du jeu dans les Alice de Lewis Carroll. Paris: L’Harmattan, 2015.
Iser, Wolfgang. The Implied Reader. Baltimore: John Hopkins UP, 1974 [1972].
—. The Act of Reading: A Theory of Aesthetic Response. Routledge & Kegan Paul, 1978.
Knowles, Murray and Kirsten Malmjær. Language and Control in Children’s Literature. London: Routledge, 1996.
Nodelman, Perry. “The Other: Orientalism, Colonialism, and Children’s Literature.” Children’s Literature Association Quarterly 17 (1992): 29–35.
—. The Hidden Adult: Defining Children’s Literature. Baltimore: The John Hopkins UP, 2008.
Prince, Gerald. “Introduction to the Study of the Narratee.” Reader-Response Criticism. Jane P. Tompkins (ed.). Baltimore: Johns Hopkins UP, 1980: 7-25.
Rose, Jacqueline. The Case of Peter Pan, or the Impossibility of Children’s Fiction. Houndmills and London: Macmillan Press, 1994 [1984].
Rosing, Meghan. “‘Stories by Bits’: The Serial Family in Juliana Horatia Ewing’s Mrs. Overtheway’s Remembrances.” Victorian Review: An Interdisciplinary Journal Of Victorian Studies 39.2 (2013): 147-162.
Stewart, Garrett. Dear Reader: The Conscripted Audience in Nineteenth-Century British Fiction. Baltimore: John Hopkins UP, 1996.
Wall, Barbara. The Narrator’s Voice: The Dilemma of Children’s Fiction. New York: Palgrave Macmillan, 1991.
Watson, Victor. “The Possibilities of Children’s Fiction.” After Alice: Exploring Children’s Literature. Morag Styles, Eve Bearne and Victor Watson (eds.). London: Cassell, 1992.

CFP – Youngsters 2: On the Cultures of Children and Youth

CALL FOR PAPERS — Youngsters 2: On the Cultures of Children and Youth
The Association for Research in the Cultures of Young People
May 9-12, 2019
Ryerson University, Toronto, Canada

Deadline for paper, panel, and roundtable proposals: October 12, 2018

The Association for Research in the Cultures of Young People invites proposals for our second Youngsters conference in the field of children’s and youth studies. While scholars have been producing exciting work in the field for decades, that work has found itself positioned most often under the umbrella of other fields, including children’s literature, sociology, and education, media, or cultural studies. This conference seeks to draw together scholars from these diverse fields to showcase and discuss the astonishing breadth of interdisciplinary scholarship in children’s and youth studies.

We welcome approaches to the study of childhood and children’s and youth cultures from an array of disciplines, fields, and historical periods, including work deploying a wide range of methodologies and theoretical approaches. We strongly encourage dynamic and innovative proposals for papers, panels, roundtables, workshops, or other formats.

Themes and topics may include:

  • The Racialization of Childhood
  • Childhood, Borders & (Im)mobilities
  • The Geographies of Children and Youth
  • Indigenous Youth Media
  • Two-spirit, and non-binary/gender fluid/creative childhoods
  • Queer and trans childhood and 2SLGBTQIA+ youth cultures
  • Futurity and queer temporalities of childhood
  • Child’s Play
  • Youth activism
  • Youth Subcultures and Scenes
  • Cross-disciplinary methodologies of Child and Youth Studies
  • Archiving children and youth
  • Institutional childhoods
  • Sex-Education & the Child
  • Critical disability studies and youth studies
  • Remediated and Transmedia Childhoods
  • Ecologies of Youth
  • Queer parenting and families
  • Criminal Youth and Child Perpetrators
  • Animated Childhoods
  • Young people and sports history
  • Dance, theatre arts, and childhood cultures
  • Digital media and early childhood education
  • Youth Fan Cultures
  • The Limits and Possibilities of Children’s Rights
  • Childhood and Cultures of Risk
  • Baby Cultures
  • Parenting and surveillance
  • The Sartorial Child
  • Utopian/Dystopian Youth
  • The Child in Ecocriticism
  • Child Celebrities

Submission Guidelines

All proposals must be submitted by email to by 11:59pm PST on October 12, 2018.

Individual Submissions

Please use the following format for the subject line of your email: “Proposal Last Name First Name” (e.g. Proposal Woodson Jacqueline). Please assist us by attaching a single document in .DOC, or .DOCX format only with the following information in exactly the order listed below:

  • Paper Title
  • Name; institutional affiliation; position or title; degrees and granting institutions; email address; and phone number
  • Full abstract of the content and rationale of the paper: up to 300 words. (Presentation time for papers is 20 minutes maximum)
  • Short abstract (150 words max)
  • Brief (2-3 sentence) scholarly biography of presenter
  • Indicate any audiovisual needs or special accommodations

Special-interest panel or roundtable/workshop proposals

We are open to proposals for special interest panels, roundtables, workshops, and other alternative formats. Please use the following format for the subject line of your email: “Special Panel/Roundtable Last Name First Name” (e.g. Special Panel/Roundtable Rowling J.K.). Please assist us by attaching a single document in .DOC, or .DOCX format only with the following information in exactly the order listed below:

  • Panel or roundtable (or alternative format/workshop) Title
  • Name; institutional affiliation; position or title; degrees and granting institutions; email address; and phone number
  • 1-2 sentences format explanation (time allotment or creative format breakdown as needed)
  • Abstract for panel/roundtable/workshop (150 words max)
  • Brief (2-3 sentence) scholarly biography for each participant including the organizer
  • Indicate any audiovisual needs or special accommodations

Please be in touch with any questions about workshops, roundtables, or any proposed panels distinct from the three paper panel format. Contact:

ARCYP would like to acknowledge that this conference will be hosted at Ryerson University in the City of Toronto. Toronto is in the “Dish With One Spoon” Territory. The Dish With One Spoon is a treaty between the Anishinaabek and Haudenosaunee that bound them to share and protect the land in a spirit of peace, friendship and respect. Subsequent Indigenous Nations and many newcomers now live and work in the Dish and are obliged to honour these principles. As conference organizers and participants we will work to find ways to address and honour these principles.

CFP – REIYL Conference: Transatlantic Conversations in Research on Inclusive Youth Literature

The REIYL Conference: Transatlantic Conversations in Research on Inclusive Youth Literature
8-10 August 2019
Scottish Youth Theatre, Glasgow

Confirmed Keynotes: Dr. Ebony Elizabeth Thomas, University of Pennsylvania, and Darren Chetty, University College of London

The idea for Researchers Exploring Inclusive Youth Literature (REIYL) began in January of 2018 when doctoral students Breanna McDaniel at the University of Cambridge and Josh Simpson at Strathclyde University began a conversation about justice and equity focused research on inclusive representation in children’s literature in the UK. From this came the idea of bringing together like-minded students and established academics dedicated to the study and analysis of current research, in the UK and abroad, to form a network through this first conference. We facilitate teaching and knowledge exchange with the hopes of building a more engaged and interconnected community, so that gains made in one space can reach other spaces in a timely and even manner. With these goals in mind, we are organising this conference to map the terrain of current research in our field.

We invite submissions for papers or presentations on inclusive youth literature publishing and scholarship with a particular focus on transatlantic conversations. While we are beginning with this focus, and are also open to critiques of this focus, we hope this will be the first of many conversations and collaborations. We seek abstracts for individual presentations and panels from graduate students and seasoned scholars, which both pose and respond to critical questions about:

  • Social media activism: #WeNeedDiverseBooks, #WeNeedDiverseScholars, #ReflectingRealities*
  • Youth literature texts and research in conversation across disciplines and borders
  • Youth literature outside of the “mainstream Western canon” and destabilizing the very concept of “mainstream” youth literature
  • Interdisciplinary engagement with youth literature and other forms of creative expression including theatre, filmmaking etc.
  • Intersections of identities in youth literature, i.e., (not exhaustive) indigeneity, race, gender, disability studies, immigration status, language, religion, sexuality, and class
  • Data collection on books featuring people and cultures that are typically marginalised and stereotyped
  • Critical engagement with foundational approaches to diversity in youth literature (for example, Bishop’s mirrors, windows, sliding glass doors)
  • New critical approaches to integrating critical race, disability, feminist, gender, religious, post-colonial, queer etc. theory in youth literature and the intersections of these theories

The proposed papers and panels should show how the contributor(s) will critically engage with the chosen topic. In other words, the proposal should do more than identify the current state of things (what might be called an “all-about” paper) and instead work toward a specific, arguable thesis and, where appropriate, include a specific case study.

We invite 250-word abstracts for 20-minute papers or panel proposals to be submitted by 1 January 2019. Details on how to submit abstracts, as well as further information on the conference, will be made available on a designated website soon.

For questions and concerns, please contact Breanna McDaniel or Joshua Simpson at

*We are particularly interested in developing urgent, critical conversations around the hashtag, study and ensuing studies occurring in the wake of the Centre for Literacy in Primary Education’s #ReflectingRealities report, which reveals that, of all the children’s books published in the UK in 2017, only 1% had a BAME main character and only 4% featured any BAME character(s) at all (2018, p. 5)