Popular culture is a resonator of current social, economic and political problems; for this reason alone it deserves scholarly introspection. With the development of technology, the area of ​​its influence is becoming more and more powerful. Popular culture is a multi-parameter, heterogeneous, complicated and — in terms of scope — universal phenomenon. It is a component of the everyday life of even those who directly deny the value of its existence or who declare that they are cut off from its phenomena. Detaching from pop culture is almost impossible, given that the sources of communication and distribution of artifacts have become multiplied. Everyone who tweets, posts on Facebook, plays games, listens to the radio or audiobooks, watches TV, goes out in the streets of cities filled with advertising billboards, decides what fashion style they prefer — cannot afford the luxury of denying their participation in culture. We aim therefore to consider all the eponymous shades of this discourse and to encourage interdisciplinary re­flexion on:

·         theoretical, philosophical, and critical analysis of popular culture;

·         major tendencies in the evolution of popular culture (literature, video games, movies, TV shows, music, social- and transmedia, internet);

·         network culture: popular culture and digital humanities;

·         music and popular culture;

·         economy of popular culture;

·         politics, power and pop culture;

·         psychology and/of pop culture;

·         sport in/of pop culture;

·         (fast) food and cooking as a pop cultural phenomenon;

·         pop culture tourism;

·         pop cultural fashion;

·         body and diseases of/in pop culture;

·         popular culture and fan studies (fan fiction, cosplay, e-zins, convents, festivals, fan and aca-fan movement, self- and vanity publishing);

·         fandom unlimited;

·         remediation, renarration, and retelling in popular culture;

·         pop culture and social media (YouTube, TikTok, Instagram etc.);

·         dichotomy of the mainstream and the underground (high culture and low culture/mass culture);

·         artists-celebrities and new ways of promoting artistic ventures;

·         (inter)nationality od (pop) culture;

·         case studies of selected texts of popular culture across media.

Please note that the above topics serve only to briefly outline the conference scope and authors of abstracts are strongly encouraged to develop their papers further. We are interested in general analyses of popular culture theory, philosophy and practice as well as in specific case studies.

The conference language is English and Polish. To register for the conference, one should send in editable format (.doc, .docx.) ca. 600-words abstracts featuring (1) the title of presentation, (2) a concise bio-note, (3) current affiliation, and (4) all necessary contact information (official email address & phone number) at pop.congress.ff@gma­il.com by 28.07.2025. The conference fee is 80€.  The committee offers a possibility of publication in the form of a reviewed monograph in the Facta Ficta. Journal of Theory, Narrative & Media series or monographic issues of the journal (depending on the number of articles submitted for review after the conference). Polish attendees will be kindly asked to transfer the equivalent of the fee in local currency (350 PLN).

For further information please refer to the site of the congress: https://popculturecongress.wordpress.com