Archive for the ‘Conferences’ Category

Narrative 2018 Proposals Deadline

Tuesday, August 15th, 2017

Proposals for Individual Papers

Please provide the title and a 300-word abstract of the paper you are proposing; your name, institutional affiliation, and email address; and a brief statement (100 words max) about your work and publications.

Proposals for Panels

Please provide a 700-word (max) description of the panel topic and of each panelist’s abstract; the title of the panel and the titles of the individual papers; and for each participant the name, institutional affiliation, email address, and a 100-word statement about the person’s work and publications.

Proposals should be emailed to conference coordinator Lindsay Holmgren at by October 15, 2017.

Calling for Submissions: 2017 Narrative Conference Best Graduate Essay

Tuesday, April 4th, 2017

The deadline for this year’s Best Graduate Student Essay presented at the 2017 Narrative Conference is May 31. Please submit!

All graduate students who present papers at the conference are invited to compete for the prize for the best graduate student essay. The winner will receive a copy of a Perkins Prize-winning book of his or her choice and will be encouraged to expand the winning paper for consideration by Narrative. In addition, the 2017 award winner will be eligible for $500 toward expenses to attend the 2018 conference. Submit papers electronically as attachments (Word or PDF) to both of the judges: Per Krogh Hansen ( and Tara MacDonald ( Papers must be received by May 31, 2017. Papers must be unrevised conference presentations. While formatting changes, correction of typos, and the addition of a Works Cited page are acceptable, changes to the substance of the argument are not.

REMINDER: Narrative Conference CFP

Tuesday, October 11th, 2016


Deadline this Week

Narrative Conference

Lexington, Kentucky

March 23-26, 2017

Submission Deadline: October 15

CFP Narrative 2017

                 (Submissions accepted through Monday morning.)

CFP Narrative 2017

2017 ISSN Conference CFP

Tuesday, June 14th, 2016

CFP: “Cognitive Approaches to Comparative Literature”

Friday, April 29th, 2016

“Cognitive Approaches to Comparative Literature” is the first online conference to be hosted on the MLA Commons platform. It will run from April 5-28, 2017. Twelve presentations (3000 words each) will be posted here on April 5th and then will be open for discussion by members of the Commons. The authors are expected to respond to the questions/comments through April 28th. Please submit a 750-word abstract accompanied by a 200-word bio to Lisa Zunshine by September 10, 2016. Particularly welcome are papers theorizing the relationship between the comparative and the cognitive and/or dealing with literatures other than English.

CFP: Dialogues of Power: Political (Re)presentations in the Arts

Wednesday, March 30th, 2016

Dear colleagues,

We are inviting abstracts for a two-day conference entitled Dialogues of Power: Political (Re)presentations in the Arts to be held at the University of St Andrews on Friday 28 and Saturday 29 October 2016.

Please find the call below and feel free to circulate it among other colleagues who may be interested in participating.

All best wishes,

The organising committee, Isabelle Gribomont, Tiran Manucharyan, Bram van Leuveren

Call for Conference Papers

Dialogues of Power: Political (Re)presentations in the Arts

28-29 October 2016

University of St Andrews


Until well into the eighteenth century, the arts and politics were often intimately intertwined through networks of patronage. Religious and political authorities commissioned works of art that were designed to promote or implement their policies. In our own times, patronage has given way to a wide variety of production modes, thanks to which the arts operate on a more autonomous footing vis-à-vis the realm of politics. This leaves one wondering, however, to what extent the arts in the twenty-first century can or should relate to issues of political interest. On the one hand, there is a deep pessimism about the political significance of the arts in society. As is well known, governments and education systems frequently cut art-related subjects from their budget. On the other hand, this pessimism urges artists to think about the political effects and underpinnings of their work in novel and creative ways. Community and verbatim theatre, life writing and experimental forms of documentary film serve as a case in point.


This conference takes its cue from the recent debate on the role of the arts in society by exploring the multifaceted relationships or ‘dialogues’ between the arts and politics. It asks: What is the political potential of the arts to (re)present emerging dialogues in an ever-increasing globalized society? How do artists use their work to convey or capture political messages and/or tensions in society? What kind of artistic techniques do they employ in doing so? How have relationships between the arts and politics changed or shifted over time? What do we mean by ‘politically engaged’ art? How are the links between the arts and politics conceptualized in current debates about the role of the arts in society?     


We especially welcome papers from PhD students and early-career researchers across the arts and humanities from the medieval period until today. Abstracts are invited for 20-minute papers about individual artists and artworks, as well as theoretical reflections on the relationship between the arts and politics. Topics include but are not limited to:




Cultural hybridity





Artistic resistance

Postcolonial literature

Life writing

Documentary film/theatre

Court spectacle/festival culture

Cultural patronage

Social networks

Visual arts

Oral literatures

Authority and authorship



Please send your abstract (max. 300 words) and a biography (max. 200 words) to by 10 June 2016. Your participation will be confirmed on 30 June.


Registration for the conference is £20 and includes lunch, tea and coffee on both days.

CFP: International Conference on Interactive Digital Storytelling

Thursday, March 17th, 2016


ICIDS 2016


November 15-18, 2016

The Institute for Creative Technologies

The University of Southern California

Los Angeles, USA

This year, the International Conference on Interactive Digital Storytelling (ICIDS 2016) will take place at the Institute for Creative Technologies, University of Southern California, Los Angeles, USA. It also features a collaboration with the ninth edition of Intelligent Narrative Technologies (INT9), a related series of gatherings that holds Artificial Intelligence as its focus.

ICIDS has its origin in a series of related international conferences that ran between 2001 and 2007 ( Since 2008, ICIDS became the premier annual venue that gathers researchers, developers, practitioners and theorists to present and share the latest innovations, insights and techniques in the expanding field of interactive storytelling and the technologies that support it. The field re-groups a highly dynamic and interdisciplinary community, in which narrative studies, computer science, interactive and immersive technologies, the arts, and creativity converge to develop new expressive forms in a myriad of domains that include artistic projects, interactive documentaries, cinematic games, serious games, assistive technologies, edutainment, pedagogy, museum science, advertisement and entertainment, to mention a few. The conference has a long-standing tradition of bringing together academia, industry, designers, developers and artists into an interdisciplinary dialogue through a mix of keynote lectures, long and short article presentations, posters, workshops, and very lively demo sessions.

We welcome contributions from a large range of fields and disciplines related to interactive storytelling, including computational narrative, narratology, computer science, human-computer interaction, media studies and media production, game studies, game design and development, semiotics, museum science, edutainment, virtual and augmented reality, cognitive science, digital humanities, interactive arts and transmedia studies. We encourage original contributions in the forms of research papers, position papers, posters and demonstrations, presenting new scientific results, innovative theories, novel technological implementations, case studies and creative artistic projects in the field of Interactive Digital Storytelling and its possible applications in different domains. We particularly welcome research on topics in the following five areas:


We invite papers that explore highly innovative ideas and/or paradigm shifts in conventional theory and practice of interactive storytelling. We seek to draw attention to methods that differ from the state of the art in practice or theory and demonstrate potential for changed ways of thinking. These papers may not be “complete” in the “traditional” manner in the sense that it may not be possible to have experimental results comparing other related efforts or that they may not have large, publicly available data sets to be used for performance comparison. However, we expect these papers to be visionary by nature, where the ideas and theory are strong, but the experimentation maybe preliminary. However, sufficient evidence that the approach is promising must be provided. The aim is to establish a roadmap for the next 5 years as a community guideline for the development of the field.


•       The role of the user/reader in interactive storytelling

•       The role of the author/designer in interactive storytelling

•       Computable narrative models inspired by cognitive science, narratology, drama studies, and related disciplines

•       Theories and aesthetics of interactive storytelling

•       Narratology for interactive media

•       Disciplinary analysis of IS research


•       Methods/Frameworks for testing user experience in interactive storytelling

•       Methods/Frameworks for testing story development

•       Normative evaluation of interactive storytelling applications

•       Case studies, post-mortems and best practices


•       Collaborative storytelling environments and multi-user systems

•       Social, ubiquitous and mobile storytelling

•       Interactive narratives in digital games

•       Interactive cinema and television

•       Interactive storyworlds

•       Interactive non-fiction and interactive documentaries

•       Interactive narratives as tools for learning in teaching, e-learning, training and edutainment

•       Interactive narratives used in health, rehabilitation and exercise

•       Interactive storytelling in roleplay, larps, theatre and improvisation

•       Interactive narrative in the real world (live installations)

•       Interactive narratives in museums


As a special collaboration for 2016, this category represents the ninth iteration of a series of gatherings dedicated to advancing research in artificial intelligence (AI) for the computational understanding and expression of narrative (Intelligent Narrative Technologies — INT9). We aim to maintain this forward momentum by gathering an interdisciplinary group of researchers and practitioners to share their latest work at the intersection of narrative and intelligent technology. Specifically, this category focuses on computational systems to represent, reason about, create, adapt, and perform interactive and non-interactive narrative experiences. We particularly welcome submissions that discuss AI advances within digital narrative technologies, including games, simulations, interactive fiction, story generators, and electronic literature. We also invite submissions on fundamental research in related and relevant fields, including, but not limited to:

•       User modeling and narrative user interfaces

•       Authoring modes and tools for interactive digital storytelling, including collaborative authoring

•       Story/world generation and experience management

•       Artificial intelligence for story generation and storytelling

•       Computational understanding, analysis, and summarization of narratives, including natural language processing and computer vision

•       Drama management for interactive narratives

•       Narrative discourse generation

•       Interactive cinema and television

•       Media, VR and game technologies for interactive storytelling

•       Narrative knowledge representation, reasoning, and acquisition

•       Virtual characters and virtual humans

•       Synthetic actors

•       Non-verbal interactive stories

•       Narrative presence and engagement in virtual environments

•       Narrative-related affect and emotion

•       Computational creativity in narrative systems

•       Human-computer interaction with narrative technologies

Though evaluations are not a strict condition for acceptance, authors are strongly encouraged to provide means to validate the described approach or system/environment/experience.


The peer review process for ICIDS will be double blind. Reviewers will not know whom they review and authors also will not know who reviews them. As a condition of that authors have to anonymise the paper before they submit it (i.e. no author names and no references or acknowledgements that can help to identify the author). Only the reviewers of the same paper and the respective author(s) will be able to see the reviews and additional comments if they are available. Reviews will not be made public after the review process will have been finished.

All submissions must follow the Lecture Notes in Computer Science (LNCS) format, available at: Papers must be written in English, and only electronic submissions in PDF format will be considered for review. Submissions that receive high ratings in the peer review process will be selected for publication by the program committee as Springer LNCS conference proceedings. For the final print-ready version, the submission of source files (Microsoft Word/LaTeX, TIF/EPS) and a signed copyright form will be required.

All submissions will be processed using the Easychair Online Conference System. Authors are advised to register a new account well in advance of the paper submission deadline:


•       Full papers (10-12 pages in the main proceedings) describing interesting, novel results or completed work in all areas of interactive digital storytelling and its applications. Papers for the Brave New Topic category only fall into this category.

•       Short papers (6-8 pages in the main proceedings) presenting exciting preliminary work or novel, thought-provoking ideas in their early stages.

•       Demonstrations and posters (2-4 pages in the backmatter of the proceedings) describing working, presentable systems or brief explanations of a research project.


•       Submission deadline – June 17th, 2016 (11:59 pm. Hawaii Standard Time) Authors are strongly advised to upload their submissions well in advance of this deadline.

•       July 29th, 2016 – Accept/reject notifications sent to authors.

•       August 12th, 2016 – Camera-ready copy due.

•       November 15-18, 2016 – ICIDS Conference.


Workshops can vary in length, from half a day to a full day. Proposals for workshops should be two to four pages in length, and include the following information:

1.      A brief technical description of the workshop, explaining its goals, topic and expected outcome. A format and proposed schedule, including audience, and a short draft of the call for participation.

2.      The names, affiliations and email addresses of the proposed organizing committee. This committee should consist of two to four people recognized in the area.

3.      The primary contact for the organizing committee.

4.      If available, a list of tentatively confirmed attendees.

Workshop organizers must submit their calls for participation to Reid Swanson, ICIDS-2016 Workshop Chair, at


Since 2010, ICIDS has been hosting an international art exhibition open to the general public. A separate call for the International Art Exhibition will be issued here:


The Ninth International Conference on Interactive Digital Storytelling (ICIDS-2016) will take place on November 15-18, 2016 at the Institute for Creative Technologies at the University of Southern California in Los Angeles, California, USA.

General chair:

Andrew Gordon, University of Southern California

Programme Committee Chair:

Frank Nack, University of Amsterdam

INT9 Track Co-Chairs:

Chris Martens, University of California at Santa Cruz

Rogelio E. Cardona-Rivera, North Carolina State University

Programme Committee:

Please see:


Questions about the conference should be directed to the organizers at:

For further information and for updates please visit the webpage at:

Please feel free to distribute this call for papers.

Final CFP: Seventh International Workshop on Computational Models of Narrative

Wednesday, March 9th, 2016


Seventh International Workshop on Computational Models of Narrative (CMN’16)

Advancing the Science of Narrative

Special Focus: Computational Narrative and the Humanities

a satellite workshop of:

Digital Humanities 2016 (DH2016)

11-13 July 2016

Kraków, Poland


15 March 2016.  Submission deadline (EXTENDED).

11 April 2016.  Notification of acceptance.

16 May 2016.  Final Camera Ready Versions Due.

11-13 July 2016.  CMN’16.

11-16 July 2016.  DH2016.


The workshop series, Computational Models of Narrative (CMN) is dedicated to advancing the computationally-grounded scientific study of narrative.  Now in its seventh iteration, the workshop has a tradition of crossing academic borders and bringing together researchers from different disciplines on a common object of study.  Narrative provides a model for organizing and communicating experience, knowledge, and culture.  Investigations of narrative operations in textual, aural, and visual media have been systematically pursued in the humanities since before the early structural linguistics and folklorist inspired work of the Russian Formalists, and in the computing sciences since before the early cognitive science inspired work on scripts and frames.  Research continues on computational approaches across the humanities and sciences.  In order to appreciate the various domains and approaches connected to the computationally enabled study of narratives and narrative theory, it is becoming increasingly clear that research in this area requires engagement from many communities of interest.  Peer-reviewed full proceedings from CMN’13, ‘14, and ‘15 are each available in the OpenAccess Series in Informatics (OASIcs) published by Schloss Dagstuhl; peer-reviewed proceedings from CMN’11 and CMN’12 were published by AAAI and LREC, respectively. 


This inter-disciplinary workshop will be an appropriate venue for papers addressing fundamental topics and questions regarding narrative.  Papers should be relevant to the computational modeling, and scientific or humanistic understanding of narrative. The workshop will have a special focus on how the computational modeling, analysis, or generation of narrative has affected approaches in the humanities for studying and generating narrative in or across textual, aural, or visual media.  Possible themes could connect to the representation of narrative, connections between cognition and narrative or knowledge representation and narrative, the use of heuristics to handle complexity, incorporation of insights about human thinking, the use of narrative to organize information in the humanities, the relationship between top-down and bottom-up approaches for narrative understanding, or how narrative is seen to function differently depending upon the medium.  Regardless of its topic, reported work should provide insight of use to the scientific understanding or computational modeling of narratives. Discussing technological applications or motivations is not prohibited, but is not required. We accept both finished research and more tentative exploratory work.

We invite and encourage submissions either as full papers or position papers, through the workshop’s EasyChair website:

We also invite you to submit an abstract soon so that we can gauge the number of submissions we can expect. (Submitting an abstract is possible without submitting the full paper at the same time.)  Full papers should contain original research and have to fit within 16 pages; position papers can report on work-in-progress, research plans or projects and have to fit within four pages plus one page of references.

Illustrative Topics and Questions

– How can computational narratives be studied from a humanities point of view?

– Are generative models of narrative texts, movies or video games possible, desirable, and useful?

– What comprises the set of possible narrative arcs? Is there such a set? How many possible story lines are there?

– Is narrative structure universal, or are there systematic differences in narratives from different cultures?

– How are narratives affected by the media used to convey them?

– What aspects of cross-linguistic work has narrative research neglected?

– What opportunities are there for narrative analysis across languages?

– What makes narrative different from a list of events or facts?

– How do conceptions and models of spatiality or temporality influence narrative and narrative theory?

– What are the details of the relationship between narrative and language, image, or sound?

– How is narrative knowledge captured and represented?

– How are narratives indexed and retrieved? Is there a universal scheme for encoding episodic information?

– What shared resources are required for the computational study of narrative? What should a “Story Bank” contain?

– What shared resources and tools are available, or how can already-extant resources be adapted to the study of narrative?

– What are appropriate formal or computational representations for narrative?

– How should we evaluate computational and formal models of narrative?

– Can narrative be subsumed by current models of higher-level cognition, or does it require new approaches?

– How do narratives mediate our cognitive experiences, or affect our cognitive abilities?

– How can narrative systems be applied to problem-solving?

– How far are we from a theory of narrative adaptation across media?


– Antonio Lieto (University of Turin, Italy)

– Ben Miller (Georgia State University, USA)

– Rémi Ronfard (Inria, LJK, University of Grenoble, France)

– Stephen Ware (University of New Orleans, USA)

– Mark A. Finlayson (Florida International University, USA)

—Keynote Speaker—

– John Bateman, University of Bremen, Germany


David Elson, Columbia University & Google

Floris Bex, Utrecht University

Rossana Damiano, University of Turin

Kerstin Dautenhahn, University of Hertfordshire

Pablo Gervás, Complutense University of Madrid

Andrew Gordon, ICT

Livia Polanyi, LDM Associates

Marie-Laure Ryan, University of Colorado Boulder

Tim Tangherlini, UCLA

Mariet Theune, University of Twente

Atif Waraich, Manchester Metropolitan University

Mehul Bhatt, University of Bremen

Emmett Tomai, University of Texas-Pan American

Neil Cohn, UCSD

Inderjeet Mani, Yahoo Labs

Loizos Michael, Open University of Cyprus

Chris Meister, Hamburg University

Fritz Breithaupt, Indiana University

Benedikt Löwe, Universität Hamburg

CFP: Style and Response: Mind, Media, Methods (11,12 Nov 2016, deadline 15th Apr 2016)

Monday, February 29th, 2016

The Stylistics Research Group at Sheffield Hallam University (UK) are pleased to announce the CFP for our upcoming conference Style and Response: Minds, Media, Methods which will take place on Friday 11th and Saturday 12th November 2016. 

Keynote Speakers:

Dr. Ranjana Das, University of Leicester.

Prof. Melanie Green, University of Buffalo.

Dr. David Peplow, Sheffield Hallam University and Dr. Sara Whiteley, University of Sheffield.

Dr. Bronwen Thomas, Bournemouth University.

For more information about the conference including how to submit an abstract, please visit the conference website: 

Style and Response: Minds, Media, Methods is hosted by the Stylistics Research Group at Sheffield Hallam University and sponsored by Sheffield Hallam University’s Humanities Research Centre and the international Poetics and Linguistics Association (PALA).

Call for proposals: 2017 MLA “Cultural Narratives” Panel

Wednesday, January 13th, 2016


International Society for the Study of Narrative

Philadelphia, January 5-8, 2017

MLA Guaranteed Session

“Cultural Narratives”

A “cultural narrative” is defined not by its structure but by its function, which is to locate time; it

is grounded in the premise that, in this sense, the functions of a narrative are historically specific

and culturally delimited; and it is presumed that historically specific conditions render specific

narratives cogent and others absurd, such that, at any given moment, at any given social site (the

family, the community, the state, the nation), some cogent narratives are tacitly accepted as

universally true, others as viable possibilities, and others as untenable absurdities. Any specific

culture or subculture, therefore, comprises the map of the untenably absurd, the tacitly true, and

the viably cogent, and thus that culture’s imaginative works reflect its cogent narratives and also

are, through acts of iteration and reinforcement, (re)productive of that culture.

In this context, the panel on “Cultural Narratives” seeks papers:

  •  reading specific texts as reflections or interpretations of culture or as negotiating or failing to

negotiate conflicting cultural narratives that vie for cogency at a given historical moment.

  •  Identifying, through an analysis of contemporaneous texts, emerging cultural narratives or

reinterpretations and modifications of existing cultural narratives. (The Hurt Locker, for

example, portrays soldiering as an occupation rather than a movement, reflecting America’s

narrative of global engagement as one about an occupying force rather than asengaged in

wars with fronts, advances, and battles, in the same way that, at the same moment, American

anti-military narratives emerge as occupy activities, not anti-war movements.)

  •  showing how literary texts in any genre theorize the relationship of culture to narrative or

identify the informing cultural narrative in the work of a specific theorist or theoretical text.

(Said’s Beginnings, for example, could be read as reflecting a Palestinian narrative about the

notion of origins and originary claims, and about the acts of power that legitimizes a

  •  looking at performative aspects of narrative by examining, for example, how they constitute

historical and/or ideological subject positions that perpetuate (or undermine) notions of

ethnicity, nation, gender, class, family, health, normality, democracy, education, equality, or

  •  theorizing the concept of “cultural narrative,” situating it in a genealogy or drawing on one of

many theoretical traditions to complicate the concept or extrapolate its implications.

Send 300-word abstract and short bio to by March 8.