CFP: Slayage 11
Below is a call for papers for the Slayage conference, which is held biennially at a sponsoring university, and which looks at Buffy the Vampire Slayer and its many afterlives. The CFP below offers a good sense of how broadly this theme is interpreted, and it’s a truly wonderful group of scholars that meet. Please consider proposing a presentation, panel, or roundtable, and please share!
Slayage 11—Call for Papers
Slayage: The International Journal of Buffy+ and the Association for the Study of Buffy+ invite proposals for the eleventh biennial Slayage Conference (SC11).
Devoted to creative works and workers of the ‘fuzzy set’ surrounding Buffy the Vampire Slayer, SC11 will be held on the campus of Illinois State University in Normal Illinois, 9-12 July 2026. This eleventh convening of Slayage conference will be organized by Local Arrangements Chair Bin Lizzo, rlizzo@ilstu.edu.
We welcome proposals of 200-300 words (or an abstract of a completed paper) on any aspect of Buffy+ television, film, and web texts. The name Buffy recalls the significance of scholarly examinations of feminism, but Slayage is much more. The “plus” is meant to be a sign of inclusivity, both for scholars and texts.
The plus-mark is meant to invite analyses of not only Angel, Firefly, Dollhouse, etcetera, but also the work of all the various creators involved with those texts (ranging from, but not limited to: Amy Acker, Christophe Beck, Charisma Carpenter, Stephen DeKnight, Jane Espenson, Nathan Fillion, Sarah Michelle Gellar, Ron Glass, Summer Glau, Marita Grabiak, David Greenwalt, Diego Gutierrez, and all the alphabetical others, including the Ws) as well as (primarily visual) media more or less resembling Buffy (where ‘resemblance’ is likewise subject to further discussion). In other words, the plus-mark indicates the “fuzzy set” of which Buffy is the center. Drawing on Brian Attebery's description in Strategies of Fantasy, the fuzzy set is “defined not by boundaries but by a center.” Hence, a scholar applying to Slayage Conference 10 might use Buffy as a yardstick to tell us why we should consider their chosen topic to be part of this fuzzy set. For further thought, consider:
Is your object of study “high stakes TV” with a kick-ass young female lead?
A movie or book series concerned with the frequent irruption of the supernatural into the mundane?
Are snarky humor and linguistic play part of the appeal of the source text? Strong characterization, an emphasis on relationships, and long story arcs spanning a season or more?
Moral dilemmas, stylish but affordable boots, and starship captains with tight pants?
Moreover, the “plus” specifically alludes to LGBTQIA+, too, one of the important touchstones of the original series. The complexities of queerness are part of the intriguingly nuanced nature of many of these texts. The Tara/Willow storyline was both groundbreaking and, with Tara’s death, ultimately controversial. Scholarship explored this subject from many angles; the response to this LGBTQIA+ storyline is an illustration that our analyses should be scholarly critiques, not just hagiography. The conference was established to provide a venue for writing about good work, but good works are not perfect, and scholarship should strive to see clearly. LGBTQIA+ texts and scholars have been an important part of this clear-sighted assessment, and SC10 would be strengthened by further contributions in light of contemporary scholarship. Intersectional scholarship is strongly encouraged. For further thought, consider:
How do we now see Dru and Darla?
Does Felicia Day’s Mag of Dollhouse connect at all with her Charlie in Supernatural?
Is asexuality visible anywhere in these texts?
How might current scholars address the presentation of J. August Richards’ Gunn in the light of his coming out as a gay man?
Importantly, the “plus” is meant to refer to the need to counteract a “minus”—that is, the scarcity of Latinx and Black, Indigenous, Person of Color representations in Buffy (the Original Sin of the Buffy text) as well as problematic representations in that and related texts. Since Kent Ono’s 2000 essay “To Be a Vampire on Buffy the Vampire Slayer,” scholars have been examining these matters. However, a great deal remains to be done—again, not just on Buffy but also on related texts. For further thought, consider:
What can we say about the multiple roles of Maurissa Tancharoen?
What about Gina Torres and Harry Lennix?
We can revive Kendra in our scholarly discussions, but we should not stop there.
Multidisciplinary approaches (literature, philosophy, political science, history, communications, film and television studies, women’s studies, religion, linguistics, music, cultural studies, art, and others) are all welcome. A proposal/abstract should demonstrate familiarity with already-published scholarship in the field, which includes dozens of books, hundreds of articles, and over twenty years of the peer-reviewed journal Slayage. Proposers may wish to consult the annotated Oxford University Press bibliography on Buffy the Vampire Slayer as well as the Slayage contents list and the bibliography housed at the ASB+ website.
An individual paper is strictly limited to a maximum reading time of 20 minutes, and we encourage, though do not require, self-organized panels of three presenters. Proposals for workshops, roundtables, or other types of sessions are also welcome. Submissions by graduate and undergraduate students are invited; undergraduates should provide the name, email, and phone number of a faculty member willing to consult with them (the faculty member does not need to attend). A limited number of hybrid slots will be provided. Proposals should be submitted online to using this form and will be reviewed by program chairs Cynthia Burkhead, Jessica Hautsch, and James Rocha.
Submissions must be received by January 15th, 2026. Decisions will be made no later than March 15th; however, a rolling response to early submissions will be provided. Questions regarding proposals can be directed to the conference email address: slayage.conference@gmail.com.
