Upcoming Theme (AY 2025-26)
For the 2025-26 academic year, the Symposium theme will be “Monsters.” From time immemorial, across every culture, monsters are allegorically woven into the tapestry of human existence. Whispered in the dark, told around campfires, canonized in popular media; we love to scare ourselves. From the big bads in cautionary tales to the misunderstood Other given sympathy in retellings, monsters threaten established social structures and moral order. But the effect is mixed. A monster might expose a lot about our humanity or could reveal a lack thereof. German philosopher Friedrich Nietzsche cautions, “Whoever fights monsters should see to it that in the process he does not become a monster.”
The etymological root, moneo, gives a sense of the larger purpose of monsters: to remind, warn, instruct, or foretell. Considered broadly, the term could include everything from aliens, ghosts, mythical creatures, or mutated animals. It might even refer to a naturally occurring animal that is massive in size and/or infrequently seen, like deep sea monsters. Monsters might be human-made like Dr. Frankenstein’s creation, occur naturally like Big Foot, or come from another dimension like the Demogorgon in Stranger Things. Sesame Street’s educational monster Muppets and the catchable pocket monsters from Pokémon offer another avenue for monsters to exist, including lucrative, trademarked product tie-ins. Humans themselves might be labelled a “monster.” Perhaps they are an inventor whose technologies are used to carry out monstrous means. Or the title is bestowed when they violate a social taboo, marking them as less-than-human.
This year’s Symposium will examine monsters from a variety of disciplines and approaches. The discourse generated will tackle monsters expansively, aiming to capture the spectrum and significance of monsters in our world.
- Monsters as allegories for human fears and worries
- Monsters in antiquity via mythology, legends, and folklore
- Monsters of science or the natural world (e.g. biology, cryptozoology, etc.)
- The rhetorical “monster” to dehumanize based on race/ethnicity, ability, appearance, gender, socioeconomic class, nationality, etc.
- Crimes against humanity, murder, political “monsters,” and other acts considered monstrous
- Adaptations of monsters through time, medium, and across cultures
- The ethics of “monster” creation (e.g. the scientist’s responsibilities for their creation)
- Regional cryptids (e.g. the New Jersey Devil, kappa, Wendigo, etc.)
- Monsters as a foil to human hubris (e.g. King Kong, Gremlins, Blair Witch, etc.)
- Monsters as a metaphor for human development (e.g. puberty, sexual desire, pregnancy, aging, etc.)
- Practical effects, puppetry, rubber suits, and animating monsters
- The monstrous feminine (e.g. witches, Baba Yaga, Medusa, Wilis, Monstress, etc.)
- Retellings and new perspectives (e.g. Maleficent, Monster High, etc.)
- Creature features, midnight movies, Universal monsters (e.g. Frankenstein’s monster, Dracula, Invisible Man, Creature from the Black Lagoon, etc.) and their impact on film
- Technologies for proving the existence of monsters (e.g. taxidermized animal hybrids, electronic voice phenomena [EVPs], found footage, Ouija boards, spirit photography, etc.)
- Queer coded monsters (e.g. the Babadook, Ursula the Sea Witch, Mothman, etc.)
- Monster-of-the-week serials (e.g. The X-Files, Buffy the Vampire Slayer, Wednesday, etc.)
- Kid-friendly monsters (e.g. Jim Henson’s monster Muppets, Pokémon, Hotel Transylvania, etc.)
- Monster seduction stories and their popularity through time
Godzilla: Eco-terrorist, Hometown Hero, or Cultural Bellwether
Since 1954, Godzilla has been a pop culture phenomenon. Often considered the first kaiju, or giant monster, Godzilla films, television series, novels, comic books, video games, and other merchandise have made this iconic character a staple across the world. Arriving in the aftermath of Japan’s post-World War II devastation and on the heels of nuclear testing in the Bikini Atoll, Godzilla was an ancient monster awoken by human actions: the detonation of the atomic bomb. On the one hand, these early films might be relegated to a man in a rubber suit, destroying on miniaturized cities, but considered within their historical context, Godzilla also reflects the social and political climate in Japan. Over time, Godzilla’s meaning has changed; the most recent Godzilla films are Hollywood productions. In this class, we will explore Godzilla’s evolution from villain to hero to anti-hero, analyzing the shifting cultural implications, and querying the character’s effectiveness in global messaging about the environment. We will approach the topic through Media Studies, Environmental Studies, and History.
Here Be Dragons: Folklore Beast to Mario the Mascot
Dragons exist in folklore from virtually every culture around the globe. Although there is no clear record of where the idea of dragons came from, some theorists speculate that the inspiration came from the fossils of dinosaur or other massive, prehistoric animals. Others suggest human fears related to large reptiles like snakes, alligators, and lizards inspired dragon tales. This class will trace the origins of dragons through Eastern and Western folklore and art, comparing and contrasting their representation and cultural purpose. We will also explore the use of dragons in more recent popular culture intended for a broader, more global audience. For the class’s culminating assignment, students will work together to create a virtual museum exhibit meant to educate a general audience about the history and meaning of dragons through time.We hope you are as excited as we are about the upcoming Symposium theme. Watch this space for more information about how to submit course proposals, support for finding co-instructors, and expected timeline.
If you are interested in being a part of the 2025-26 Symposium, consider submitting a course proposal for review. Here’s how it works:
Identify a potential interdisciplinary co-instructor
An interdisciplinary co-instructor simply means someone with a different academic background or disciplinary expertise than you.
Don’t have an interdisciplinary co-instructor yet? No problem!
Faculty interested in teaching for the Symposium but in need of an interdisciplinary co-instructor attend the Symposium Co-Instructor Networking Session to identify a potential partnership. If a co-instructor is successfully identified following the session, the faculty pair may then submit their official course proposal for consideration prior to the April 1st deadline. The networking session is required if you propose a course without a co-instructor!
Register for the 2025 Course Proposal Networking Session now by submitting the Symposium Course Proposal Form and following prompts by February 1, 2025.
Plan to attend the Friday, February 21, 2025 networking session held on Zoom!
Already have a co-instructor in mind? Great!
Faculty who have already identified an interdisciplinary co-instructor may submit their official course proposal for consideration any time prior to the final course proposal deadline, April 1, 2025.
Submit a 2025-26 Symposium course proposal
Complete the AY 2025-26 Symposium Course Proposal Form by April 1, 2025.
If your course proposal is selected …
Attend the Symposium Faculty Kick-off Event in Summer 2025.
Prepare for your upcoming course!