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Donald Trump's now infamous phrase 'such a nasty woman', uttered about
his then rival Hillary Rodham Clinton in the 2016 U.S. presidential
debates, was rudely used to patronise and belittle Clinton, who is known
for being a strong, independent (and feminist) politician.

In reality, Trump is not the only figure to characterise today's women
in this manner. Indeed, the alt-right commentator and Trump supporter,
Milo Yiannopoulos, argues that feminism is 'a cancer' and suggests that
fixing the so-called online gender wars is merely a matter of women
exiting public space. Similarly, in the 'community beliefs' section of
his *Return of the Kings* site, the neo-masculinist, self-styled pick-up
artist and infamous internet misogynist, Roosh V, suggests that the
elimination of traditional sex and gender roles increases female
promiscuity and diminishes the rightful centrality of the nuclear
family, for which he blames, among other things, women and feminism.

Nonetheless, in a demonstration of the power of the internet, the phrase
was rapidly taken up (and continues to be used) by social media as a
rallying cry for feminists, women's rights groups and their supporters.
The result of Trump's comment was a spectacular subversion of his
attempts to discredit Clinton and marginalise women's voices. Alongside
existing feminist slogans such as the Fawcett Society's 'this is what a
feminist looks like' and Laura Bates's the \#everydaysexism project, the
'nasty woman' slogan has gone viral; used in Twitter hashtags, on a
range of merchandise, and as memes. It has inspired poems, theatre,
exhibitions, music and collected responses, as well as sparked political
activism, visible in the global Women's Marches that took place across
the globe in 2017 at which banners celebrating feminist 'nastiness'
could be seen: 'Stay Nasty', 'The Future is Nasty', and 'I am a Nasty
Woman'  
Alongside this, the rise in visibility of strong, complex and vocal
women in popular media, including television and film, suggests that the
time of the 'nasty woman' is not over but about to begin.

This collection will interrogateand contribute to this ongoing debate by
bringing together new scholarship focusing on the idea of the 'nasty
woman', and the embrace of this label, in late 20th  and 21st  century
popular media and culture. The collection will ask how can we best
theorise 'the nasty woman'? What characterises or who
*[/]{.moz-txt-tag}is[/]{.moz-txt-tag}* the 'nasty woman' and where can
we find her? Is her central characteristic anger, strength, crudity,
power, or all of these things? Finally, it will consider the question of
whether she bears responsibility for others and what, if anything, makes
her different to previous iterations of the arguably feminist female
figure?  
The collection will both celebrate and problematise the application and
endorsement of the term, considering recent debates, responses and
trends in popular culture and feminist scholarship.

We seek contributions that engage with the notion of the 'nasty woman'
in all forms of media (including recent film and television) and popular
culture in late 20\^th  and 21st century sex and gender politics.

Possible topics could include but are by no means limited to:

- Theorising the 'nasty woman'
- Television and Film (e.g. Furiosa in/ Mad Max: Fury Road, /Claire
  Underwood in *[/]{.moz-txt-tag}House of Cards,
  *[/]{.moz-txt-tag}Waller-Bridge's[/]{.moz-txt-tag}*
  Fleabag[/]{.moz-txt-tag}*)
- Relationship with other feminist movements such as 'this is what a
  feminist looks like' movement and everyday sexism projects, among
  others
- Nasty women and bad language
- The 'nasty woman' of comedy (e.g. Amy Schumer, Melissa McCarthy, Tina
  Fey,Amy Poehler, Sharon Horgan, Phoebe Waller-Bridge)
- Nasty women of pop (e.g. Madonna, Lady Gaga, Miley Cyrus)
- Nasty women of fashion, TV, film, theatre, gaming
- Nasty women of history as viewed by contemporary culture
- Issues of responsibility and shared identity
- Politics, the media and the nasty woman
- Controversial commentators and the idea of the nasty woman (e.g. Roosh
  V, Milo Yiannopoulos, Katie Hopkins, Ann Coulter, Camille Pagilia)
- Nasty women in different global contexts

Please address any enquiries and expressions of interest to the editors,
Dr Alexia L. Bowler
([a.bowler@swansea.ac.uk](mailto:a.bowler@swansea.ac.uk){.moz-txt-link-abbreviated}),
Dr Adele Jones
([Adele.M.Jones@swansea.ac.uk](mailto:Adele.M.Jones@swansea.ac.uk){.moz-txt-link-abbreviated}),
and Dr Claire O'Callaghan
([Claire.Ocallaghan@brunel.ac.uk](mailto:Claire.Ocallaghan@brunel.ac.uk){.moz-txt-link-abbreviated}).

Abstracts of 500-600 words, for chapters of between 6,000-7,500 words,
along with a short biographical note, should be emailed to both editors
by 1st  August 2017. Successful proposals will be notified by 1st
September 2017. Completed chapters will be due by 31st  January 2018.

A full proposal will be submitted to I.B. Tauris's [Library of Gender
and Popular
Culture](http://www.ibtauris.com/en/Series/Library%20of%20Gender%20and%20Popular%20Culture){target="_blank"}
series in autumn 2017.


Donald Trump’s now infamous phrase ‘such a nasty woman’, uttered about his then rival Hillary Rodham Clinton in the 2016 U.S. presidential debates, was rudely used to patronise and belittle Clinton, who is known for being a strong, independent (and feminist) politician. In reality, Trump is not the only figure to characterise today’s women in this manner.

Call for Chapters: Nasty Women in Popular Culture (Deadline: August 1, 2017)

"What's in the box?" Dean Winchester asks in "The Magnificent Seven,"
episode one of the third season of *Supernatural*, to the befuddlement
of his brother Sam and their avuncular mentor Bobby Singer, but to the
delight of fans who revel in the show's wry meta elements.

Dean is of course quoting Detective Mills, Brad Pitt's character in the
thriller *Se7en* (1995), directed by David Fincher. Throughout its
twelve-year run (to date), *Supernatural* has revelled in breaking out
of the limitations usually implied by a television show, breaking out of
the box in numerous ways. Acknowledging the popularity of the meta-play
in the show, current showrunner Andrew Dabb promised the most
meta-finale ever for the season twelve finale.

One of the most noteworthy examples of this predilection is the
extensively meta elements of the season five apocalypse plotline, which
featured the character Carver Edlund (his name derived from series
writers Jeremy Carver and Ben Edlund) in several episodes. Edlund is a
novelist who has written supposed works of fiction that in fact document
Sam and Dean Winchester's lives, thoroughly breaking the fourth wall.
Edlund is the pseudonym of Chuck Shurley---who turns out to be God,
making one of his rare mainstream television appearances. However, this
meta plot element represents only one of the myriad ways *Supernatural*
has broken out of the box. Season five, episode eight ("Changing
Channels"), transports Sam and Dean into the worlds of several
television shows, while season six, episode fifteen, "The French
Mistake," carried the conceit further, having Sam and Dean visit the
"real" world, in which they are characters in the TV show
*Supernatural*. Season eight and nine feature as main villain the
appropriately-named Metatron, the scribe of God trying to write himself
into the position of God---in effect plotting in both senses of the
word. Season eight also featured, in episode 8 ("Hunteri Heroici"),
Warner Brothers style cartoon gimmickry, and the upcoming season
thirteen promises an animated crossover episode with Scooby Doo. Season
ten's 200^th^ episode is yet another recursive metanarrative, featuring
a highschool student trying to mount a musical adaptation of the Carver
Edlund novels.

In short, despite its horror trappings, *Supernatural* has been
decidedly postmodern in its liberal use of pastiche, meta,
intertextuality, and generic slippage. This collection is interested in
exploring the ways *Supernatural* breaks boundaries. Topics of potential
interest include but are not limited to

- Explicitly meta elements in *Supernatural*
- *Supernatural* and fandom: interpenetrations
- God, Metatron, and other *Supernatural* authors
- Role and role-playing
- Generic slippage (comedy; found footage; the musical episode)
- Allusion and intertext in *Supernatural*
- Canonicity
- Non-*Supernatural* (e.g. the episodes with no fantasy elements)
- *Supernatural*  and genre TV
- reality and retcon: how the show has shifted and redefined its own
  rules
- casting and self-consciousness (e.g. the use of celebrity guest stars
  such as Linda Blair, Rick Springfield, etc.)
- Importance of music throughout the show

Proposals of 300-500 words should be submitted to Lisa Macklem
([lmacklem1@gmail.com](mailto:lmacklem1@gmail.com){target="_blank"
rel="nofollow"}) or Dominick Grace
([dgrace2@uwo.ca](mailto:dgrace2@uwo.ca){target="_blank"
rel="nofollow"}) by **October 1 2017**.

Final papers should be between 5,000 and 7,000 words long and written in
conformity with MLA style and will be due by May 1 2018. McFarland has
expressed interest in this collection, with a contract forthcoming.


“What’s in the box?” Dean Winchester asks in “The Magnificent Seven,” episode one of the third season of
<em>
 Supernatural
</em>
, to the befuddlement of his brother Sam and their avuncular mentor Bobby Singer, but to the delight of fans who revel in the show’s wry meta elements. Dean is of course quoting Detective Mills, Brad Pitt’s character in the thriller
<em>
 Se7en
</em>
(1995), directed by David Fincher.

Messaggi di Rogue Scholar

Call for Chapters: Nasty Women in Popular Culture (Deadline: August 1, 2017)

CfP: Breaking out of the Box: Critical Essays on the Cult TV Show Supernatural