Religion and Transhumanism: The Unknown Future of Human Enhancement

 

transhumanismReligion and Transhumanism
The Unknown Future of Human Enhancement
by Calvin Mercer and Tracy J. Trothen, Editors
November 2014
Praeger

This book comprises essays that explore transhumanism and the issues that surround it, addressing numerous fascinating questions posed by scholars of religion from various traditions. How will “immortality” or extreme longevity change our religious beliefs and practices? How might pharmaceuticals enhance spiritual experiences? Will “post-human” technologies be available to all persons, or will a superior “post-human race” arise to dominate the human species? The discussions are as intriguing as the future they suggest.

Spirit Possession around the World: Possession, Communion, and Demon Expulsion Across Cultures

possessionGlad to be a contributor to this one with several entries related to the work of demonologists Ed and Lorraine Warren. My thanks to Joe Laycock for the opportunity.

Spirit Possession around the World
Possession, Communion, and Demon Expulsion across Cultures
by Joseph Laycock, Editor
June 2015
ABC-CLIO

Beyond addressing the Christian tradition of possession and exorcism, Pentecostalism, and “New Age” and less widely known Western concepts about possession and exorcism, this work examines ideas about possession and exorcism from other world religions and the indigenous cultures of Asia, Africa, and the Americas. It also covers historic cases of possession and presents biographies of famous theologians, exorcists, and possessed individuals. High school and undergraduate readers will learn about world history, religious and spiritual traditions, and world cultures through a topic that figures prominently in popular culture and modern entertainment. Bibliographies that accompany each entry as well as a selected, general bibliography serve to help students locate print and electronic sources of additional information.

 

Call for Papers: Sonic Horror

horrorstudiesSound is arguably one of the most fear-provoking aspects of horror. Ghost stories and horror films employ sonic tropes such as creaking floor boards, sudden loud thumps, or ephemeral children’s choirs in order to enhance suspense through the evocation of unseen terror. “The spectre of sound”, as Kevin Donnelly has called it, creeps up on us dorsally, evading the relative comfort of visual recognition. Sonic horror tropes have also been used to imbue other genres, such as musical theatre and popular music, with elements of horror. Whether through whispers darkly, in the sinister connotations of the harpsichord timbre, via the decontextualising power of white noise, or in the uncanniness of complete silence, horror’s performativity relies on sonic guises.

Horror Studies is seeking essays for a special issue devoted to horror and sound. “Sonic Horror” will explore the manifold roles of music, sound, and silence in horror. Possible topics may include, but are not limited to:

*   Sonic and musical references in horror literature
*   Horror and recording technology
*   Horror film and television soundtracks
*   Survival and psychological horror videogame soundtracks
*   Horror themes in rock/metal/Goth lyrics
*   Horror samples and references in rock/metal/Goth musical settings
*   Horror themes in subcultures of popular music
*   Horror in opera and music theatre
*   Silent horror

Essays of approximately 8500 words (including apparatus) should be sent to Isabella van Elferen (I.vanElferen@kingston.ac.uk) by January 31st, 2016. Horror Studies uses Harvard Style in its formatting; authors should consult http://www.intellectbooks.co.uk/journals/view-Journal,id=151/ and download the full style sheet.

Related post:

“Music in the Horror Film: An Interview with Neil Lerner”

Social Research: An International Quarterly and Horror in Society

sor.81.4_front_smKevin Wetmore, who I have interviewed on this blog previously on his book Post-9/11 Horror in American Cinema, let me know that the forthcoming issue of Social Research: An International Quarterly 84.1 (Winter 2014) has an interesting focus. It will explore horror in society.

 

Here is the Table of Contents:

Endangered Scholars Worldwide
pp. v-xix
Ebby Sharifi

Editor’s Introduction
pp. xxi-xxii
Arien Mack

Horrors and Horror: The Response of Tragedy
pp. 739-767
David Tracy

Christian Demonology in Contemporary American Popular Culture
pp. 769-793
Armando Maggi

The Liberalism of Horror

pp. 795-823
Elisabeth Anker

Metaphor of the Living Dead: Or, the Effect of the Zombie Apocalypse on Public Policy Discourse

pp. 825-849
Daniel W. Drezner

When the Vampires Come for You: A True Story of Ordinary Horror
pp. 851-882
Adam Ashforth

Colonial Possessions: A Fanonian Reading of The Exorcist and its Sequels
pp. 883-896
Kevin J. Wetmore Jr.

Better Horrors: From Terror to Communion in Whitley Strieber’s Communion (1987)

pp. 897-920
Jeffrey J. Kripal

The Horrors of Witchcraft and Demonic Possession
pp. 921-939
Brian P. Levack

Monsters on the Brain: An Evolutionary Epistemology of Horror
pp. 941-968
Stephen T. Asma

Forthcoming Title of Interest – Such a Dark Thing: Theology of the Vampire Narrative in Popular Culture

RESOURCE_Template I’m privileged to promote a forthcoming book, Such a Dark Thing: Theology of the Vampire Narrative in Popular Culture (Resource Publications, 2015) by M. Jess Peacock. Look for an interview with Peacock here in the near future. Here is the back cover description and endorsements:

Evil, death, demons, reanimation, and resurrection. While such topics are often reserved for the darker mindscapes of the vampire subgenre within popular culture, they are equally integral elements of religious history and belief. Despite the cultural shift of presenting vampires in a secular light, the traditional figure of the vampire within cinema and literature has a rich legacy of serving as a theological marker. Whether as a symbol of the allure of sin, as an apologetic for assorted religious icons, or as a gateway into a discussion of liberationist theology, the vampire has served as a spiritual touchstone from Bram Stoker’s Dracula, to Stephen King’s Salem’s Lot, to the HBO television series True Blood.

In Such a Dark Thing, Jess Peacock examines how the figure of the vampire is able to traverse and interconnect theology and academia within the larger popular culture in a compelling and engaging manner. The vampire straddles the ineffable chasm between life and death and speaks to the transcendent in all of us, tapping into our fundamental curiosity of what, if anything, exists beyond the mortal coil, giving us a glimpse into the interminable while maintaining a cultural currency that is never dead and buried.

“Eminently readable, exhaustively researched, and always thoughtful. Well worth reading for any scholar, student, or fan of the genre.”
– David Wellington, author of Positive and 13 Bullets

“Jess Peacock knows his theology and his vampires, making him a perfect guide to the dark places he wants to take us. Such A Dark Thing successfully explores how our fascination with the hungry undead not only connects with religious themes, but also sex, politics, and even social justice.”
– Scott Poole, author of Monsters in America: Our Historical Obsession with the Hideous and the Haunting

“Equal parts fan-boy adulation and academic analysis, this delightful book expresses such joy and enthusiasm in either mode: in both, the author shows what it is to be passionately engaged and intellectually stimulated by the subject. The section on liberation theology and social change also takes the vampire narrative into new areas of interpretation and application that I found especially exciting and invigorating. Those who identify as either fan or critic (or both) will find here fresh insight into and inspiration from their favorite monster—a sort of bracing antidote to Twilight!”
– Kim Paffenroth, author of Gospel of the Living Dead: George Romero’s Visions of Hell on Earth

My forthcoming book – The Supernatural Cinema of Guillermo del Toro: Critical Essays

978-0-7864-9595-5I haven’t seen the proofs yet, but my latest book has an official title, a cover photo, and is included in the forthcoming Spring catalog for McFarland.

The Supernatural Cinema of Guillermo del Toro
Critical Essays

Edited by John W. Morehead
Foreword by Doug Jones

Print ISBN: 978-0-7864-9595-5
Ebook ISBN: 978-1-4766-2075-6
photos, notes, bibliography, index
softcover (6 x 9) 2015

 

About the Book
Guillermo del Toro is one of the most prolific artists working in film. His directorial work includes Cronos (1993), Mimic (1997), The Devil’s Backbone (2001), Blade II (2002), Hellboy (2004), Pan’s Labyrinth (2006), Hellboy II (2008) and Pacific Rim (2013). He has also worked extensively as a producer, with several screenwriting credits to his name. As a novelist he coauthored The Strain Trilogy (2009–2011), which he also developed into a television series for FX in 2014. Del Toro has spoken of the “primal, spiritual function” of his art, which gives expression to his fascination with monsters, myth, archetype, metaphor, Jungian psychology, the paranormal and religion.

This collection of new essays discusses cultural, religious and literary influences on del Toro’s work and explores key themes of his films, including the child’s experience of humanity through encounters with the monstrous.

The book link: http://www.mcfarlandbooks.com/book-2.php?id=978-0-7864-9595-5

And the catalog: http://www.mcfarlandbooks.com/catalogs/

Call for submissions: “The Paranormal and Popular Culture”

We are currently accepting proposals for essays for an edited volume entitled “The Paranormal and Popular Culture.” Academic writers and independent scholars are invited to submit proposals spanning the wide range of topics on pop culture and the paranormal, and their connection to religion, including reflections on the full panoply of extraordinary beings (e.g. vampires, zombies, demons, ghosts, mutants, cyborgs, cryptoids, etc.) and extraordinary phenomena (e.g. psychic abilities, channeling, spontaneous combustion, magic, necromancy, etc.), as well as theoretical and/or historical reflections on supernaturalism, pop culture, and theology.

Those interested in being considered as contributors should send an abstract to the co-editors, Darryl Caterine (cateridv@lemoyne.edu) and John Morehead (johnwmorehead@msn.com) by June 1. Our timeline is as follows: write up a proposal this summer and pitch it to various publishers. Assuming we receive a timely and positive response from one or more of them, the tentative deadline for the essays would be the summer of 2016.

Rod Taylor passes away

Yesterday, Rod Taylor passed away. Fans of the fantastic will remember his fine performances in The Twilight Zone, The Time Machine, and The Birds. Taylor died of a heart attack in his Southern California home. He was 84.

The Babadook

The Babadook has received a lot of praise since its appearance at Sundance in 2014.It comes out of Australia through director Jennifer Kent who also wrote the story. Appreciation for this film has gone so far as to laud this as the best horror film of the decade, and one that might help improve the quality of American horror cinema. The film is especially interesting and creepy in that the horror comes forma children’s book and has connections to dark fairytales.

Marina Warner discusses “How Fairytales grew up”

onceUponTime.jpgOver at TheGuardian.com Marina Warner has an interesting essay titled “How fairytales grew up.” An excerpt:

Fairytales are enjoying a huge rise in popularity and influence in symbiosis with the internet. The traditional functions of the bard and the griot in predominantly oral cultures included “keeping the memory of the tribe”, as Derek Walcott remarked in his Nobel speech, and the enchantments of technology have placed the power to do this in our hands. The entertainment industry increasingly harvests the common store of fairytale to develop one vastly expensive vehicle after another to reach the global market. Some are disastrous (Hansel & Gretel: Witch Hunters), but at the same time, this new ocean of story provides film-makers and website builders of slender means with magnificent new opportunities.

Like a mother tongue, the stories are acquired, early, to become part of our mental furniture (think of the first books you absorbed as a child). The shared language is pictorial as well as verbal, and international, too. Such language – Jung called it archetypal – has been growing into a common vernacular since the romances of classical antiquity and the middle ages – Circe from the Odyssey and Vivienne from Morte d’Arthur are recognisable forerunners of fairy queens and witches, and the sleeping beauty herself first appears in a long medieval chivalric tale, Perceforest. A fairytale doesn’t exist in a fixed form; it’s something like a tune that can migrate from a symphony to a penny whistle.

Read the entire essay here.

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