Tag: Lexington Books

Call For Papers, Master Category

CFP – The Last of Us: Violence, Ethics, Redemption? (Lexington Books, Theology, Religion, & Pop Culture series)

Dr. Peter Admirand, Dublin City University, is editing a book within the Lexington Books/Fortress Academic Press series (Theology, Religion, and Pop Culture). The book is titled: The Last of Us: Violence, Ethics, Redemption? More details available here. The book examines ethical and theological themes in The Last of Us television show and video games.

Proposals are due 26 June 2023 and can be sent to peter.admirand@dcu.ie.

General info on the series can be found here. : Theology, Religion, and Pop Culture. Information about the editor can be found here: Dr Peter Admirand, Dublin City University

The Last of Us, The Last of Us: Left Behind (DLC) and The Last of Us Part II video games embody sustained critical and commercial success, and are some of the most important genre-defining video games of the last decade. The new HBO Series has followed this trend with some 8.2 million viewers of Season One’s finale. The Last of Us universe is steeped in rich, complex narrative; thick, round characters; gorgeous and layered imagery; and gameplay that invites nuanced and creative, sometimes deeply harrowing and questionable, moral complicity. Tied in with the present HBO Series and the next planned video game installment (not to mention online multiplayer modes, the comic tie-in, American Dreams, and the two books on The Art of the Last of Us), an edited collection on The Last of Us universe begs for astute theological, philosophical, literary, and ethical analysis.

Drawing upon The Last of Us universe, possible topics and chapters could include:

  • The limits of forgiveness (and revenge)
  • The fine line between murder and self-defence
  • The portrayal (or absence) of God and religion
  • Survival v. living v. living morally
  • The (im)possibility of non-violence or pacifism
  • Victim/perpetrator ambiguity
  • Parenting amidst distress and through impending and real loss (death of Sarah)
  • Joel and Ellie’s growing adopted father/daughter relationship
  • Comparisons with other dystopian texts/films
  • The portrayal of non-human animals (giraffe scene)
  • Examination of moral catharsis and/or ultimate evil
  • Human Nature, Evil, and Theodicy
  • Choosing personal happiness at the cost of the greater good
  • Gender and body shaming (particularly as related to The Last of Us Part II)
  • Treatment of LGBQI themes and characters
  • Violent Video Games and Complicity (especially regarding narrative choices in The Last of Us Part II—playing as Abbie after the murder of Joel, for example, or playing as a vengeance-filled Ellie)
  • On false and real hope amid dystopia
  • Corporate America, despotic governments, and Clickers—and other evils
  • The Ethics of Love and relationships despite Runners and Stalkers
  • Role of brothers (Joel and Tommy) – or family and friendship in general during great travail
  • Predicted character arcs for (the hoped-for/expected) The Last of Us 3…
  • Examination of background imagery/architecture as moral and symbolic codes
  • Role of class, race, ethnicity, and other identity markers

Contributors will submit abstracts with CVs no later than 26 June 2023 to peter.admirand@dcu.ie. First drafts will be due by 26 September 2023 (Outbreak Day). Final manuscript will be delivered to publisher by 15 December 2023.

Call For Papers

Call For Papers: Theology and The Office (Deadline Jan31)

Title: Theology and The Office

Volume Editors: Daniel J. Cameron & John W. McCormack

Abstract and CV Due: January 31, 2023

Initial Final Paper Due: June 30, 2023

In 2020, seven years after the show officially ended, the hit NBC series The Office was the number 1 streamed tv show with over 57 billion viewing minutes beating out the second most streamed show (Grey’s Anatomy) by 45%.[1] In 2016, Rolling Stone Magazine listed The Office within the top 50 most popular tv shows of all time.[2] The show has had a lasting and deep influence on the trajectory of popular culture. It is because of The Office, that shows like Brooklyne Nine-Nine, Parks and Recreation, and The Good Place exist.[3]The show is beloved by many for its witty humor, relatable characters, and simple  storyline. But, can The Office be reduced down to another comedy that seeks cheap laughter from its one liners such as “that’s what she said,” its jello pranks, or its absurd characters (i.e. Dwight Shrute) or is there something more, something deeper that we can learn from the things that happen at this fictional Pennsylvania paper company?

This book will argue along with Pam Beasley that “there is a lot of beauty in ordinary things.”[4] Or more specifically there is a lot of theology in ordinary things. This book will be an addition to the Theology, Religion, and Pop Culture series(Lexington Books, Fortress Academic) and while it imagines a broad range of readers, it will be of particular interest to those with an interest in comedy and tv sitcoms, as well as academics interested in intersections of religion and culture.  This volume seeks to gather a diverse group of scholars across the field of theology, religion, and related fields in order to produce a book that will provide both a theological lens through which to view The Office as well as to be a space for current cutting edge theological research to take place.

Potential Topics:

– Vocation/calling

– Friendship/fellowship/romance

– Difficult people, imperfect people

– Ethics in The Office

– Religion, “Religion,” and Religions in the Office

– Holidays/ritual observances/liturgical practice (Halloween episodes, Christmas episodes, pretzel day, Diwali, the Christening, weddings, birthday parties)

– Emotions in The Office (Andy’s anger management, Kelly’s manipulations, Gabe’s anxiety, Dwight’s refusal to smile, Toby’s face, etc.)

 – Gender, Sexuality, Family, and Relationships (Michael Scott’s masculinity; Oscar, Angela, and the Senator; Ryan and Kelly; “You have to tolerate a lot when you’re part of a family.”)

– Bosses and Authority (Michael, Jan, David Wallace, Robert California, etc.) 

– Acceptance and Belonging (Michael: “I like to be liked. I enjoy being liked. I have to be liked, but it’s not like this compulsive need to be liked, like my need to be praised;” “Everybody likes the guy who offers them a stick of gum.” Dwight: “Do you want to form an alliance with me?”)

– Racial and ethnic identities in The Office (Diversity Day, The Convict,  Warehouse employees, IT guy, Hidetoshi Hasagawa, Sabre’s “Print in All Colors” initiative,  etc.)

– Transgression, Sin, and Punishment (Fake firings, Pizza by Alfredo, Michael’s nephew, the Scranton Strangler, etc.)

– Technology (Michael’s GPS; Dunder Mifflin Infinity (2.0); “Unleash the power of the pyramid”; WUPHF)

– Aesthetics, decor, identity (desk toys  and all that)

– Creativity (Here Comes Treble, Improv, Art School, Local Ad, Second Life, the Flenderson Files, etc.)

– Popular Culture in the Office (Parkour, Bobbleheads, Sweeney Todd)

– Time (“It’s a quarter to 5, and I have begun to gather my things.” “I’ve been salesman of the month thirteen out of the last twelve months.”)

– Space and place (The Break Room, the Conference Room, the Warehouse)

– Life inside and outside The Office (Call Center, Schrute Farms, truth and reality, etc.)

– The relationship between the Scranton branch and “Corporate” (and other branches, Sabre/Tallahassee, etc.)

– Cinematography and The Office (Talking Heads and the Idea of Hope, mockumentary style storytelling, etc)

Timeframes:

Please send a 500-word abstract, accompanied by a current CV, to TheologyAndTheOffice@gmail.com by January 31, 2023. Acceptance notifications will be sent out February 15, 2023. Full manuscripts (6,000-8,000 words)  are due on June 30, 2023. Manuscripts will be returned to contributors on August 1, 2023. Final revised manuscripts will be due by October 15, 2023. The completed volume will be submitted to the publisher December 1, 2023 for anticipated publication in 2024.

Daniel J. Cameron holds an MA from Trinity Evangelical Divinity School and is a Ph.D. candidate  in systematic theology from the University of Aberdeen and serves as the Bible Department head and Spiritual Life Director at Chicago Hope Academy (IL, USA) where he teaches a course in theology and film.

John W. McCormack holds an MAR from Yale Divinity School and a PhD in History from the University of Notre Dame and is Associate Professor of Religion and History at Aurora University (IL, USA). 

Notes

[1] Rick Porter. “’Ozark,’ ‘the Office’ Lead Nielsen’s 2020 Streaming Rankings.” The Hollywood Reporter. The Hollywood Reporter, January 13, 2021.

[2] Rob Sheffield. “100 Greatest TV Shows of All Time.” Rolling Stone. Rolling Stone, July 29, 2019.

[3] Kelly Lawler, “’The Office’ Turns 15: All the Ways NBC’s Quirky Sitcom Changed Pop Culture,” USA Today (Gannett Satellite Information Network, March 24, 2020).

[4] The Office. 2013. Season 9, Episode 25, “Finale.” Directed by Ken Kwapis. Aired May 13, 2013 on NBC.

Call For Papers, Master Category

CFP: Theology and Spider-Man, Lexington Books/Fortress Academic (Proposal Due November 30, 2019)

Call for Papers: Theology and Spider-Man
Volume Editor: George Tsakiridis, PhD
Abstract and CV Due: November 30, 2019
Final Paper Due: May 1, 2020

He’s the classic superhero of the Marvel age: Spider-Man. Marvel comics wouldn’t be the titan of content it is without him. He’s been portrayed in multiple comic books, television series, and movies. His marketing is ubiquitous. There are few superheroes of the last fifty years that match his prominence. Spider-Man is a perfect match for the Theology and Pop Culture series.

Spider-Man has always been a fun superhero. He exemplifies youthful innocence combined with deep love and loss. This volume will explore themes of identity, happiness, and relationship, as well as look at bioethical issues. After all Peter Parker is a scientist at heart, and bioethics and science are interwoven into the narrative and the villains in ways far greater than other superheroes of his prominence. Salvation and anthropology will be central also, as most all superhero explorations are. The nuance and flavor changes, but the key themes remain the same. In complement to a themed volume, I encourage essays that look at individual presentations of Spider-Man and the theology contained therein. For example, looking at the theology of the multiple cartoon series, the comic books, and many multiple series of movies.

Some potential topics will include:

-Bioethics in Spider-Man (I can foresee more than one entry on this topic given the fact that science and experiments are such a central part of the series, i.e. Lizard, Doctor Octopus, Spider-Man, etc.).

-Harmatiology/Soteriology in Spider-Man

-Theological Anthropology in the Villains of Spider-Man (and Spidey himself!)

-Identity as a Theological Construct in the Various Incarnations of Spider-Man

-Theology and Religious Themes in the 1967 Cartoon Series

-Theology and Religious Themes in Television and Movies

-An Iconography of Spider-Man: Toys and Marketing

-The Icon of Spider-Man: Differing Portrayals by Different Artists – The Visual Theology of Steve Ditko to Todd McFarlane and Beyond

-Feminist Theology and the Women of Spider-Man: Mary Jane, Gwen Stacy, and The Black Cat (to name a few)

-J. Jonah Jameson: An Examination in (not so much) Care for the Other

-Applying Theological Categories to Spidey in Video Games.

-Spidey in Two-Natures: The Symbiosis of the Black Suit and Peter Parker (and Venom)

Other topics, theses, and overall great essay ideas are welcome, but the predominate focus should be on the portrayals of Spider-Man in various media forms and the theological categories that transcend those forms.

Abstracts should be between 500 and 750 words and should present a basic outline of your potential contribution to the volume and potential methodology. If you make the initial cut, you will be contacted by Dr. Tsakiridis to discuss and finalize your contribution to the volume. Send an abstract and a CV to theologyandspiderman@gmail.com. Final drafts will be approximately 5,000 to 8,000 words, but exact word counts for each article will be discussed at the time of acceptance.

Contact Info:
Dr. George Tsakiridis
South Dakota State University

 

For the Full announcement see: https://popularcultureandtheology.com/2019/09/06/call-for-papers-theology-and-spider-man/