Calls for contributions to books and special issues of journals

An issue of Antae
Deadline for submission: 29 February 2016

The wonder opened up elsewhere. The things we don’t do.
Andres Neuman, ‘The Things We Don’t Do’, The Paris Review (Summer 2015), 207-208 (p.208).

Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth
See ‘The Road Not Taken’, in Robert Frost, The Road Not Taken and Other Poems (New York, NY: Dover Publications, Inc., 1993), p. 1

Thanks to consciousness, am I not at all times elsewhere from where
I am, always master of the other and capable of something else?
Yes, this is true, but this is also our sorrow.
Maurice Blanchot, The Space of Literature, trans. by Ann Smock (Lincoln, NE, and London: University of Nebraska Press, 1989), p. 134

antae.journalFind a map and spread it out on your desk. Close your eyes and pick a random spot. Open your eyes and find out whether the place you picked is any better than where you are now. The chances are it isn’t, and yet, to think of elsewhere often comes with the unspoken addendum, ‘anywhere but here’.
And of course, elsewhere is so appealing because of the implicit promise that, elsewhere, there must be something else. To want to leave here is to ask: Is this all there is? Is there nothing else? But this desire or demand can be easily disappointed, either because elsewhere is always inaccessible, or because (and this is not necessarily different), once we are elsewhere, it becomes here.

Though often associated with suspended desire, elsewhere can also, contrarily, be an undesirable possibility kept at bay on purpose, if not an impending peril threatening to defamiliarise the here and now. Our fears and anxieties of what is not (yet) here, however, can become familiar to the extent that they are no less real than what is here already. This is not always a thing of terror. If elsewhere can be the unmappable dreamscape for fantasy and whimsy, the forever-delayed escape, elsewhere can also be a very real and habitable place. If we combine temporal and spatial coordinates, we might find ourselves thinking of someone, somewhere–‘how can the world contain so many lives?’ Jeffrey Eugenides asks. It is rather extraordinary to consider, for a minute, how life necessarily entails simultaneous, parallel, but entirely separate existences, to the point of mutual affirmation. And for each here, there is at least one elsewhere-and all this in one single world.
Elsewhere can be both a testimony to potential and possibility, as well as to the disappointment that there is nothing else. Because elsewhere should, by definition, be other than what is there, its already precarious existence depends entirely on the binary formula of which it is part. The term ‘elsewhere’ must, a priori, be evasive. Otherwise, why would we be interested in it in the first place? And what can be more appealing than elsewhere and otherwise? Conversely, here is definite and definitive. Where else can we be but here? If we were to follow the vague direction of elsewhere, we would never be able to get there. Where is elsewhere? Nowhere, or at least, nowhere in particular.
And so elsewhere opens up the possibility of possibilities, while itself being impossible. What is this impossible heterotopia, and what are its possibilities?
It can be Thomas More’s Utopia, or it could be George Orwell’s or Margaret Atwood’s dystopias. But must one only imagine elsewhere? To return to maps, elsewhere is Africa, what was to Marlow’s imagination the ‘biggest, the most blank’ of blank spaces, ready to be made here. Or perhaps elsewhere is the orient as presented in Forster, where ‘India’s a muddle’. Novels like Things Fall Apart may evidence the violence of transposing elsewhere. The reality of elsewhere, then, seems also to place an ethical onus on both the notion of elsewhere. And what happens when people from elsewhere come here, as with immigration? Is not their anxiety of displacement simultaneously ours as well? Can elsewhere be demarcated by political borders? If not, is travel and travel-writing even possible, in going from here to here? Elsewhere is another culture. The vagabond, the wanderer, the peripatetic, itinerant, nomadic–how do these figures problematise ideals of settling down into a here and now?
Elsewhere is another now in another time. Can biography, history, or archaeology grasp the elsewhere, and how do they do it? It is the future, too, one we so often meet in fiction, what we realise is not yet present. But is fiction the elsewhere of what is real, or is it its essence? Where exactly are the other worlds presented in science fiction and fantasy, and are they further from the other worlds of Jane Austen or Franz Kafka? What is a parallel universe, and is fiction here, between the covers of this book? Where else?
How far can we stretch the notion of elsewhere? How far does elsewhere extend? And conversely, how local, inward and internalised can elsewhere be? Elsewhere is another feeling. Perhaps all one needs to do is to think otherwise than being. Who is elsewise? Is it the other gender, the other race, the other religion, the other demographic? Elsewhere sometimes speaks back, its discourse being reverse. Is elsewhere only what is different to the same, or am I also, biologically, psychologically, temporally, philosophically, other to myself? Arguably, you can be elsewhere right here, just a pill away, from the elsewhere of illness to the here of well-being, or from boredom to ecstasy… and back. So how close is elsewhere, really?
In today’s world, elsewhere can be very close indeed, as far as the closest cinema. How does film, in all its manifestations from documentary to detective drama, represent other places, other scenarios? Elsewhere can be even closer, as the clicking shutter of a camera. Is photography a representation of elsewhere, or itself? Elsewhere can be at your hands right now: is going to a different website going elsewhere? What about video games? Is the person you are chatting with online elsewhere, just as you are? With GoogleMapsTM perhaps just one click away, what stops us from going to Brazil or Australia?
And so, having come back to maps, we realise how elsewhere can sometimes encourage paralysis, simulate and situate inertia, so that, having gone everywhere, one has gone nowhere.

In light of the above, the editors of antae welcome submissions on or around the topic of elsewhere. The authorial guidelines are available on, and the deadline for submissions to is the 29th of February, 2016.
Issues and topics relevant to this publication include, but are not limited to:
• Thinking Elsewhere: Alterity, Ethics, Existentialism, Phenomenology, Ontology and Ontologies
• Elsewhere on drugs
• Elsewhere in Postcolonial Studies
• Writing Time Elsewhere: Biography, History, Archaeology, determinism and fatalism, death
• Elsewhere and International Politics, migration, borders and displacement
• Writing Space Elsewhere: Travel Writing, Science Fiction, Fantasy, heterotopias, the exotic
• Digital Elsewhere: the other spaces of photography, the internet, gaming, technology
• Identities elsewhere: minorities, marginalisation, cultures, myself, friendship
• Elsewhere in Film Studies
• Elsewhere and love, among other feelings
• Quantum elsewhere: parallel universes, exoplanets, terraforming, fictions of space

antae is an international refereed postgraduate journal aimed at exploring current issues and debates within English Studies, with a particular interest in literature, criticism and their various contemporary interfaces. Set up in 2013 by postgraduate students in the Department of English at the University of Malta, it welcomes submissions situated across the interdisciplinary spaces provided by diverse forms and expressions within narrative, poetry, theatre, literary theory, cultural criticism, media studies, digital cultures, philosophy and language studies. Creative writing is also accepted.

(posted 18 November 2015)

Masculinities and Film
A special issue of The Human
Deadline for completed essays: 1 March 2016

The-Human-logoThe Human (issn: 2147-9739) is an international and interdisciplinary indexed journal that publishes articles written in the fields of literatures in English (British, American, Irish, etc.), classical and modern Turkish literature, drama studies, and comparative literature (where the pieces bridge literature of a country with Turkish literature). To learn more about The Human: Journal of Literature and Culture and its principles, please see our manifesto on this page:

The Human is now inviting submissions for a special issue to be published in June 2016. The special issue will be devoted to the performance of masculinities on film in all of its diverse forms and multiplicity of cultural, social and historical situations. Interdisciplinary approaches are encouraged, as are treatments that deal with global (both Western and non-Western) film or that bridge East and West. Less-covered subjects are most welcome.
Areas of inquiry can include documentary, feature film, short film, and/or animation, focusing attention on the visual landscape of masculinity in world cinema and exploring the social, political and economic value of masculinities within global film production.
Successful submissions will demonstrate originality, rigor and persuasive argumentation. View further details on the journal’s website:
Completed essays of 4500-5500 words should be submitted no later than March 1, 2016, to guest editors, Robert Mundy and Jane Collins at

(posted 9 October 2015)

Narratology: State of the Art
First Issue of Comparatismi: digital periodical of the Board of Literary Criticism and Compared Literature
Deadline for the submission of articles: 31st March 2016

Interactive, transmedial, multi-modal, adaptive, therapeutic or global, narratives have been revealing an extraordinary pervasiveness in the current scenario of literary and non-literary communication. As a consequence of the progressive and rapid broadening of the focus of research from the forms traditionally reputed as authoritative (like literature), to storytelling meant as a mode of thought, peculiarly characteristic of the human species, speculation about the act of narrating has been continuously enriched with contributions from various and different fields and disciplines. Not to neglect the analyses of the symbolic universe, of the processes of identity construction, of the various modes the Self shapes itself in relation to others.

On the theoretic side, for example, we are attending to a redefinition of narratology in the light of new methodologies of investigation and criticism, which take into consideration the discoveries of neuroscientists and cognitive psychologists and the new centrality conferred to the reader; studies are being developed which interpret original works in their potential for interaction with the user or for transcoding towards media different from ‘native’; possible answers are being investigated to the big question about the role narratives have played in the adaptive-evolutive process of the human species; hypotheses and speculations are being carried out about their impact on humans’ wellbeing and sociality.

Stirred by the new “learned” attention and by seven-digit sales, narrative production has been diversifying itself in countless blends of genre, with different modes of fruition and a gradient of potentials for immersive transportation into fictional worlds: from the fragmentation of fanfictions on the web to the unchallenged emerging of a dominant kind of global novel.

The first issue of «Comparatismi», the official digital periodical of the Board of Literary Criticism and Compared Literature, aims at hosting contributes representing as widely as possible the current range of approaches to narrative thinking, both in theory and in the practice of criticism; including studies both in close and distant reading on the most significant narrative modes in the world today, in literature, advertising, life-stories, television serials, cinema and graphic novels.

Contributes, in the form of articles ready for publication and inclusive of an abstract, should be submitted within 31st March 2016, following the instructions available on this website (see Online submissions). The texts selected to be submitted to peer review will be notified within 15th April 2016. The articles accepted after reviewing will be published in June 2016. Submissions in languages other than Italian (preferably English, otherwise French) are encouraged and appreciated.

For further information, please write to Francesco Laurenti ( or to Stefano Ballerio (

You can read the call for papers and submit your proposals here:

(posted 22 January 2016)

International Migrations in the Victorian Era
Call for chapters for a book to be publshed by Brill, 2017
Deadline for proposals: 1 April 2016

Edited by Marie Ruiz (Université Paris Diderot, LARCA)

Migration in the Victorian era has been identified as a paramount feature of the history of worldwide migrations and diasporas. Contrary to popular belief, the Victorian era was not only marked by an extensive exodus from Britain to the USA and the British colonies, but the Victorians also experienced a great degree of inward migration with the arrival of Catholic Irish, and oppressed Jews and Germans, among others. Inward, outward and internal movements were sometimes a response to economic hardships and employment opportunities, but this cannot solely explain the extent of international migrations in the Victorian era.

In the Victorian period, mass migration played a significant role in shaping the nation’s identity, as well as Britain’s relationships with the outside world. This raises the question of the impact of migrations on the Motherland, as the Victorian migration trends also attracted numerous immigrants and transmigrants, who ended up remaining in Britain rather than emigrating to the USA or the British colonies. Yet, while the origins of these immigrants and transmigrants are now difficult to trace, the question of their potential impact on the Victorian society needs to be addressed.

This edited volume aims at offering a global perspective on international migrations in the Victorian era including emigration, immigration and internal migration within Britain. Papers relating to the following themes, though not exclusively, are welcome:

  • Child migration
  • Civilising missions
  • Community migrations
  • Cultural and artistic migrations
  • Emigration and philanthropy
  • Emigration and Trade-Unions
  • Emigration societies
  • Factors determining migration
  • Family migration and individual migration
  • Female migrants and reproductive labour
  • Female migration in the Victorian era
  • Forced migration
  • Free passages to the New Worlds
  • Impact of demographics on migration
  • Impact of industrialisation on migration
  • Indentured migration
  • Internal migration / rural exodus
  • Invisible migrants
  • Inward migration/outward migration
  • Labour transportation
  • Land grants
  • Middle-class migration
  • Migrant stories and diaries
  • Migration and Empire-building
  • Migration and patriotism
  • Migration and surplus populations
  • Migration in the press
  • Migration and the Transport Revolution
  • Migration and xenophobia
  • Migration in the visual arts
  • Migration on screen: representing Victorian migration
  • Migration regulations and public policies
  • Migration within the British Isles
  • Missions and missionaries
  • Networks of migrations
  • Patterns of migration
  • Ports of emigration
  • Poverty-related migration
  • Promoting migration
  • Religious migration
  • Seasonal and permanent migrations
  • Servitude migration
  • Settlement patterns
  • Trade migration
  • Transmigration through Britain
  • Voluntary migration / involuntary migration

350-word abstracts, along with short academic biographies, should be submitted to The deadline for submission of abstracts is April 1, 2016.

(posted 23 March 2016)

Children’s Literature
The ESSE Messenger, Issue 25-1, Summer 2016
Deadline for proposals: 1 May 2016

MessengerThe first issue of the ESSE Messenger online (Volume 25, Issue 1, Summer 2016) will have Children’s literature as theme for professional articles.

Please note that contributions sent to the ESSE Messenger should observe the Editorial Code and the Stylesheet.

Proposals should be sent to Adrian Radu, editor of ESSE, by 1 May 2016

See the ESSE Messenger website.

(posted 1 February 2016)

Ideological Messaging and the Role of Political Literature
Deadline for proposals: 30 May 2016

This book project tries to produce an outline for the diversification of literature and political writings. The book covers many disciplines ranging from political literature, gender politics, identity politics, minority politics, to ideologized writing, censorship, rhetoric and aestheticism of politics, and gendered literature.

The reasons for the huge achievement of political and ideological writings are many. The first that comes to mind is the intercontinental attractiveness of the source materials from many differing cultures and nationalities, addressing power, autonomy, left/right wings, justice, prohibition, law, censorship, identities, and etc. Politics and political literature studies have emerged as one of the most dynamic areas of scrutiny since the existence of human being. Following in the footsteps of Plato and Aristotle, for instance, a number of scholars have explored the function of ideology and politics in culture and social life. Relying on ideological as well as socio-political theories, politics has contributed to cultural studies in many ways: books focusing on direct and indirect politics, gender politics, minorities, exile, identities, censorship, political engagement and leadership theories from the perspective of ideology, philosophy and cultural studies were published, among many other studies that investigate the role of politics in social life.

Few critics, however, have investigated the intersections of politics and literature in literary texts. George Orwell has famously claimed that “[…] there is no such thing as ‘keeping out of politics.’ All issues are political issues.” And Jacques ranciere expresses that all literature is political. Then, can we talk about a literature out of politics? Do writers use politics, or are they unaware of outer world? How do the authors make advantage of writing political? What are the disadvantages of political or highly ideological writings? Our study aims to find some explanatory answers to these questions.

The book will be a help for the scholars, academicians, students, librarians studying world literatures. The book will not only contribute to those in the department of any literature, but to those who specifically study politics, international relations, cultural studies, women studies, gender studies and political and ideological studies. As the world and writings get more politicized day by day, this book will benefit from what it includes.

The Tentative table of Contents comprises but is not limited to the following subject areas:

  • Literature, Ideology and Politics
  • The Literature Today and Censorship
  • World Literature (Including Different Literatures) and Politics
  • Ideology and Writing
  • Minority Literature and the Politics of Identity
  • Gender Politics and Gendered Literature
  • Ideologized Art and Samples
  • Political Writers and Contributions
  • War Politics and War Writings
  • Politics and Prose
  • Politics, Drama and Poetry

Researchers and practitioners are invited to submit on or before May 30, 2016, a chapter proposal of 1,000 to 2,000 words clearly explaining the mission and concerns of his or her proposed chapter. Authors will be notified by June 15, 2016 about the status of their proposals and sent chapter guidelines. Full chapters (each comprising at least 10,000 words) are expected to be submitted by September 30, 2016, and all interested authors must consult the guidelines for manuscript submissions at prior to submission. All submitted chapters will be reviewed on a double-blind review basis. Contributors may also be requested to serve as reviewers for this project.
Note: There are no submission or acceptance fees for manuscripts submitted to this book publication, Trust in Knowledge Management and Systems in Organizations. All manuscripts are accepted based on a double-blind peer review editorial process.
All proposals should be submitted through the E-Editorial DiscoveryTM online submission manager.

This book is scheduled to be published by IGI Global (formerly Idea Group Inc.), publisher of the “Information Science Reference” (formerly Idea Group Reference), “Medical Information Science Reference,” “Business Science Reference,” and “Engineering Science Reference” imprints. For additional information regarding the publisher, please visit This publication is anticipated to be released in 2017.

Important Dates

  • May 30, 2016: Proposal Submission Deadline
  • June 15, 2016: Notification of Acceptance
  • September 30, 2016: Full Chapter Submission
  • November 30, 2016: Review Results Returned
  • January 30, 2017: Final Acceptance Notification
  • February 28, 2017: Final Chapter Submission

Editor: Önder Çakırtaş
Editor’s Affiliation: PhD, Assistant Professor, Bingol University (Turkey), Department of English Language and Literature

Editor’s Contact Information
Bingöl Üniversitesi
Fen Edebiyat Fakültesi
Oda No:D2-8 12000 Bingöl/TÜRKİYE

(posted 4 April 2016)

The Sacramental Text Reconsidered
A special issue of Christianity & Literature
Deadline for essays: 1 June 2016

Special Issue Editor: Matthew J. Smith

This special issue of Christianity & Literature furthers the journal’s aim to investigate the complex relations between literature, drama, and Christian thought and history by bringing a critical eye to “sacramental” reading — to examine its limitations, unseen investments, and unexplored promises.

A dominant theme of recent years’ turn to religion in English studies has been the sacramental dimensions of texts and performances. Scholars have explored the interpretive deliverances of how texts enact and embody the cultural, epistemological, and metaphysical functions that Christian practice traditionally associates with sacramental devotion. Especially in their poetics and theatricality, texts and performances have been described as sacramental, incarnation, and eucharistic. Sometimes scholars connect these readings to an author’s awareness of theological controversy, such that an author or playwright is thought to engage in theological debate through writing and performance. Other approaches focus on a broader cultural demand or “gap” in popular access to the transcendent, and literary production is understood to meet such demands for transcendence, justice, semiotic complexity, embodiment, or metaphysical depth.
Yet these reading strategies — e.g., sacramental drama, sacramental poetics, incarnational texts — have been largely neglected from critical scrutiny and, at times, are only defined loosely or even analogically in connection with theological doctrines of penance, the trinity, and various historical versions of sacramental theology (transubstantiation, consubstantiation, memorialism, and so on). In fact, it has begun to be suggested that sacramental reading may in fact, almost ironically, contribute to a secularization thesis, where claims of literature’s sacramental surrogation imply some sort of loss or dysfunction in sacred access in mainstream devotional culture.
What do sacramental readings imply about the state of devotion in a given society? How, if at all, are such terms as sacramental, eucharistic, and incarnational any more than metaphorical when applied to literary production or to audiences? And does this reading strategy sometimes impose a sacred-secular binary anachronistically upon historical societies? Alternatively, does the language of sacramentality demand further investment and offer unique insight into semiotic and performative force of drama and poetry?

We invite essay submissions that question and explore the sacramental, incarnational, or eucharistic aspects of texts or performances from any historical moment.
Submit essays (6,000-9,000 words) to Matthew Smith at by June 1, 2016.
Christianity & Literature is a peer-reviewed journal published by SAGE.

(posted 4 November 2015)

Horace Walpole
Special Tercentenary Issue of Image [&] Narrative
Deadline for proposals: 1 June 2016

Ed. Jakub Lipski, Kazimierz Wielki University in Bydgoszcz

Image [&] Narrative is seeking papers for a special tercentenary issue devoted to the work of Horace Walpole (1717-1797). Articles covering all aspects of Walpole’s literary career are welcome, though preference will be given to those focusing on the correspondences between word and image. Possible topics may include:

  • narrative functions of image in Walpole’s work
  • Gothic imagerie in The Castle of Otranto and The Mysterious Mother
  • art commenetaries in Walpole’s correspondence, journals and Anecdotes
  • narratives and catalogues of Houghton Hall and Strawberry Hill
  • book design at the Strawberry Hill Press
  • illustrations of Walpole’s work

Prospective contributors are invited to send in 300-word abstracts of papers by June 1, 2016. Preliminary selection will be made by the end of June, 2016. Complete essays of about 5000 words should be submitted b February 1, 2017. Final selectdion, following double-blind peer review, will be made by the end of June 2017. The issue will be published in September 2017, in the month of Horace Walpole’s birth. Questions, expressions of interest and article proposals should be addressed to

To read more on the journal’s aims and scope, as well as the author guidelines, see

(posted 29 January 2016)

Shakespeare and Cervantes: 1616‒2016
Special issue of Meridian critic
Deadline: 1 June 2016

The academic journal Meridian critic invites contributions which celebrate the global cultural legacy of Shakespeare and Cervantes, in a year which marks the fourth centennial of their death. Submissions might address any related issues including, but certainly not limited to, the following:

  • The myth of authorship: Cervantes’s fictitious authorship (Mata, 2008) and the Shakespeare authorship question (Bradbeer and Casson, 2015)
  • Shakespeare’s and Cervantes’s role in the genealogy of modern ideas regarding love and friendship (Donskis, 2008) as well as in the humanist educational revolution;
  • The two writers’ concerns overlapping with our understanding of Green politics (Egan, 2006);
  • Imitating and imitated: Shakespeare, Cervantes, and the dynamics of literary influence;
  • Servants’ resistance (Shin, 2010) in Shakespeare’s and Cervantes’ works as a literary solution to the narrative and ideological problem of ineffectual or tyrannical authority;
  • Popular historical and political appropriations of Shakespeare and Cervantes as part of wider popular culture practices of re-imagining the Renaissance (Semenza, 2010);
  • Shakespeare, Cervantes, and the problem of adaptation: the wide variety of guises under which their work circulates;
  • Shakespeare’s wife (Greer, 2008), Cervantes’s daughter, and the ‘problematic’ woman (Gay, 1994) in their life and works;
  • The roots of political theory and the discourse of politics in the writings of Shakespeare and Cervantes (Cascardi, 2012).

Deadline for article submission: 1 June 2016. Please send the abstracts (ca 200 words), the full paper (up to 7000 words), as well as a brief biographical note (ca 400 words) to the following addresses:,

For details regarding style, please visit the following page:

We also welcome book-length studies in the field of literature, linguistics, and cultural studies published in 2015, to be reviewed in our journal. Please send the books to the following address: Meridian critic, Facultatea de Litere şi Ştiinţe ale Comunicării, Universitatea „Ştefan cel Mare” Suceava, Str. Universităţii nr. 13, 720229 Suceava, Romania

(posted 1 February 2016)

Documents in Women’s History
A special issue (Summer 2017) of Women’’s History
Deadline for the submission of articles: 1 June 2016

A special issue (Summer 2017) of Women’s History edited by Marie Ruiz (Université Paris Diderot, LARCA) and Mélanie Grué (Université Paris-Est Créteil Val de Marne, IMAGER)

Historians face a difficult task when dealing with historical documents, testimonials revealing or concealing “truth.” As objects of enquiry, documents, sometimes limited in what they can disclose, have very often resisted historians’ intentions to show “reality.” This is even more vivid in the context of women’s history, a subjected topic that has undergone invisibility through male domination. In “Policing Truth” (1994), Leigh Gilmore argues that the notion of truth is intertwined with the notion of gender: man is a judge who has historically defined the rules and standards of truth in order to perpetuate patriarchal authority and male privilege.
Barbara Kanner’s work of bibliomethodology, Women in English Social History, 1800-1914: A Guide to Research (1988), has been a major contribution to unveiling the existence of documents informing the participation of women in all fields of British history. This special issue of Women’’s History intends to address the subjectivity of historical documents, and the place left to women in the course of history. It gives a special place to historical evidence and iconic documents revealing women’s resistance to patriarchal rule, whether in history, photography, film, or artistic representations. This volume focuses on the nature of historical documentation and its gender bias. It intends to address the question of subjectivity in women’s history.
The articles that will constitute this special issue shall focus on what documents have shown about women. The role of historians, witnesses, artists and writers shall also be included, as well as questions related to reality and objectivity in women’s history. Contributions dealing with women as producers of documents are welcome. As an oppressed group, women have indeed seized the opportunity to write their personal and collective history on their own terms, to document their lives and claim their worth against the patriarchal rule. They have produced a wide array of documents, from text to image and film, revealing the reality of female experience.
The question of perception and reception is also of interest as it determines what documents tell us about women’s ability to find a place in history through their disruption of dominant cultures.

Proposals dealing with what documents can reveal about women’s personal and collective history are welcome. They may include the following themes, though not exclusively:

  • absence in historical records/scarcity of references
  • art as historical document
  • bibliomethodology
  • difference in documents’ treatment
  • documentary and oral record
  • document and memory
  • documentary evidence
  • documents’ archiving and classification
  • documents’ mislabelling
  • historical representations of women in the arts
  • women’s historic artistic productions as sites of identity claims
  • iconic documents
  • immediate archive
  • journalism/mass information
  • manipulation/selection
  • objectivity/subjectivity
  • official records
  • production and intention
  • subaltern documents
  • visibility/invisibility
  • women in aesthetic movements
  • women’s speeches and speeches about women
  • documenting the past, documenting the present
  • the reception and interpretation of documents
  • relationship between producer/writer and spectator/reader

5000-word articles, along with short academic biographies, should be submitted to both editors: and The deadline for submission of articles is June 1, 2016.

(posted 21 March 2016)

Scotland and the Sea
Études écossaises / Scottish Studies, n°20, 2017
Deadlinefor proposals: 1 June 2016

The 2017 edition of the journal Études écossaises / Scottish Studies (Université Grenoble Alpes – ILCEA4) is seeking submissions of papers on Scottish culture, history and politics on the theme of the sea. Papers in English or French are welcomed from specialists in all fields of Scottish studies including arts and literature, civilization studies, history, political science, culture and the media.

While much of Scottish identity, culture and politics is informed by the relationship between Scotland and England, this polarization has resulted from their geographic situation as two neighbouring peoples and countries sharing a land border within a single geographic territory. Underpinning this relationship and shaping so much else about Scotland, therefore, is the maritime nature of a territory bounded everywhere else by water. Of course, the insularity of Great Britain, and the subsequent peninsularity of Scotland, should not be thought of in a pejorative sense, given the wealth of connections afforded by the sea at a time when it offered a privileged means of cultural, diplomatic and commercial exchange. Glasgow tobacco merchants in the USA, Scottish colonial administrators in India, or Scottish brigades in Sweden during the Thirty Years’ War have all been dependent on the sea for advancing their individual prospects and extending the wealth and reach of Scotland. But as Gunn’s The Silver Darlings (1941) recounts, Scots have viewed the sea in a profoundly ambivalent manner—as much as the herring of the novel represent a bountiful resource, the sea itself is often synonymous with loss and displacement. As both boundary and vector, surface and depth, the sea can be seen to incarnate this essential duality which, from Hogg to MacDiarmid, has often been seen as a fundamental trait of the supposed Scottish character. It is certainly true that the sea plays a federating role, binding local and regional specificities within a subsuming, shared experience. From the former shipyards, ports and naval bases of the Forth and Clyde to the seal-watching tours, ferries and oil terminals of the Shetlands, the Scots continue to share a common history bounded by the sea.

The upcoming issue of Scottish Studies/Études écossaises is seeking papers which address how Scotland has been shaped by its proximity with the sea, with a particular focus on maritime communication and cultural transfer.
As a multi-disciplinary journal, we encourage contributors from all specialties, particularly in the fields of literature, poetry, history, cultural studies and political science. Some fruitful areas of study will include:

  • the cultural representation of the sea and of maritime communities
  • the maritime displacement of Scottish diaspora communities
  • the role of the sea as a facilitator of Scottish culture and presence
  • the sea as a vector of cultural change in Scotland
  • the history of maritime commerce to and from Scotland
  • the development of maritime resources such as fishing and oil exploration
  • the sharing of  Scottish maritime resources at a UK or EU level
  • the socio-economic vitality of coastal communities
  • the symbolism of the sea as a tangible physical frontier

A brief proposal (200-300 words) should be sent by 1st June 2016.
Papers (45,000 signs max., including spaces) may be submitted in French or English, but authors must first obtain the appropriate style-guide from the address below. The deadline for finished papers is 1st October 2016.
Contact :

This edition of the journal Études écossaises contributes to the ongoing research project into borders and migration run by the Institut des Langues et Cultures d’Europe, des Amériques, d’Afrique, d’Asie et d’Australie (ILCEA4 — Grenoble Alpes University)

(posted 25 March 2016)

Literature and Society
Contributions are invited to a book
Deadline for proposals: 5 June 2016

Deadline for full length papers: 30th July, 2016

Submit to:

Editor: Dr. P. Prayer Elmo Raj, Assistant Professor
PG & Research Department of English
Pachaiyappa’s College
Chennai-30, India

Society fashions literature. Literature and society are in a constant state of evolution. As society progresses, it faces fresh and intriguing issues that challenge humanity and as literature evolves, it engineers novel ways of creatively and artistically expressing and challenging the issues facing the society. Creative representations of social issues and political debates creatively in literature allow us to critically evaluate and hopefully explore the possibilities for a better society. Moreover, literature has the capacity to unveil complex sociopolitical and economic struggles, situations and discussions navigating them into an imaginable hopefulness. How is society represented in literature at various periods in history? How does society impact the creativity of the author?  Is it possible to employ literary texts to achieve pertinent insights into the central aspects of culture and society? How does literary and cultural analysis bring out literary texts in relation to theoretical debates on race, class, gender, sexuality, identity, nationhood, ecology, and species? This volume is an attempt to critically and analytically investigate the implications of issues relating to literature and its social contexts. Themes of focus may include but are not restricted to:

  1. approaches to the interconnection between literature and society
  2. representations of politics, culture, economics and history in literature
  3. issues on race, class, gender, sexuality, identity, nationhood, nature and species

The research paper shall focus on any aspect of the nexus between literature and society. Theoretically informed critical and analytical papers will be preferred over summations of literary texts. The volume will be published with an ISBN. There will be no publication/processing fees.

(posted 11 May 2016)

A special issue of Antae Journal
Deadline for proposals: 30 June 2016


‘While we talk, the sun is getting older. It will explode in 4.5 billion years.’
Jean François Lyotard, ‘Can Thought Go on Without a Body?

‘living on can mean a reprieve or an afterlife, “life after life” or life after death, more life as
more than life, and better; the state of suspension in which it’s over – and over again’
Jacques Derrida, ‘Living On: Borderlines

‘Whether my life had been before that sleep
The Heaven which I imagine, or a Hell
Like this harsh world in which I wake to weep,
I know not’
Percy Bysshe Shelley, ‘The Triumph of Life

When you die, surrounded by loved ones, a misty and transparent version of yourself will detach itself from your body. You will gaze at yourself, dead, before you let yourself go into the light, and then you shall live on eternally. Or, perhaps, “when you die” is only a linguistic construct that can only be followed by a full-stop.
It is difficult, if not impossible, to think of a “post-” to life, in the same way that it is nearly impossible for some of us not to. Life and its ceasing are all we know, and the (de)valuation of life can depend on both its termination and its continuation. How death-centred is after-life, and by implication, life itself? Can we reverse the formula and live life, in Derridean fashion, after death? The onus can be shifted to what we mean by “after”, where the connotations of “following” are less about a passive chronological occurrence than a possibly self-purposing direction. Unsurprisingly, there have been countless representations and permutations of the idea of an afterlife throughout theology, philosophy, literature and the arts, extending even to debates within scientific spheres.
Contemplating such an idea immediately situates one between several long and well-articulated traditions of the afterlife. On the one hand, there are the endless and at times even conflicting depictions of heaven, hell, and purgatory in painting, music, architecture and literature. After all, as Milton reminds us, ‘[t]he mind is its own place, and in itself can make a heaven of hell, a hell of heaven’. One also encounters reincarnation (haven’t we heard of how Pythagoras met his old friend as a dog?) and the liberation from that interminable cycle as Nirvana. There is the elaborate afterlife of the Ancient Egyptians, or the idea from Germanic folklore that souls leave bodies in the form of bees, and thus the beehive is the abode of spirits. On the other hand, one sees the broad spectrum of secular nihilism stretch out across time and cultures. Don’t be daft, they tell us, there is nothing beyond life; “where death is, I am not”, to paraphrase Epicurus. Beyond life there is only decomposition. Whether or not there is an afterlife, then, seems to obstinately and perpetually remain debatable.
And yet we may already be living an afterlife of sorts, however paradoxical “living afterlife” might sound. Is not our contemporary age the afterlife of the twentieth century, and that in turn of the nineteenth, and so on? Is it possible that sometimes life changes so drastically that life becomes life-after-life, as after-event: after 9/11, or the Holocaust, or the French Revolution—and so who are we now? After trauma, there begins a new life, perhaps a lesser life. ‘Writing poetry after Auschwitz is barbaric’, Adorno contends. Perhaps afterlife is where the humanities die, and thus one thinks of the post-literary, where poesis might end… or begin to live anew.
Taking chronology more macroscopically, is the contemporary human being in itself not the afterlife of its evolutionary predecessors, haunted by the Neanderthals that could have been but never were? From this, therefore, it emerges that one can also look for an afterlife not just as the yet-to-come, but in the already-has-been.
Despite this, the idea seems to implicate within it, almost necessarily, something that is always future. What lies beyond human life—and one here thinks of robotics, virtuality and prosthetics, or the transhuman technological singularity that we so often hear prophesised—might not be too far removed from what lies beyond human death. What about games, where, after losing a life, you will always have another? Literature, too, seems to be making this leap into cyberspace. Is electronic literature the afterlife of the printed word, its spirit intact but lacking a body (of literature)? What about the reception of literature itself, or of the work of art more generally? When we sing the praises of Shakespeare, Dante, Hieronymus Bosch or Chopin, the “death of the author” might be transformed into the author’s eternal afterlife. Homer is still alive. And of course Shakespeare and Dante themselves gave us visions of afterlife through, for instance, Macbeth or Inferno; Chopin gave us the soundtrack to our afterlives, and Bosch, in his third panel of The Garden of Earthly Delights, a horrifying prevision. Across myth, literature, film and television, we find a multitude of afterlives: Frankenstein’s monster, vampires, ghosts and ghouls, zombies and all sorts of undead. Apocalyptic narratives all attempt an envisioning of life after life, where afterlife might be no more than base survival. No less imaginative, one reads the forms of the elegy, the memoir, the commemorative epic or the biography of the deceased as words after life. In this case, is not afterlife a memory?
And yet, memory stops where life does, science tells us. What problems does the condition of brain death present us, and what about life-support? Is organ donation a sure method of living on after your death, where parts of you live on in others? Is it still your kidney or your eye, especially when your I lives on in someone other? What about life after disease? How does one live with chronic debilitations, or how does one live with the death sentence that is terminal illness? What can disability studies tell us about afterlife?
We attempt to think of afterlives, of thought after life. It is something that concerns all of us: as Lyotard reminds us, all of us will die soon enough. How have cultures, both ancient and modern, thought of death and its consequences? After life, what lives on? What persists after all that is left of us are bones? What remains after remains?
In light of the above, the editors of antae welcome submissions on or around the topic of after(-)lives. The authorial guidelines are available on, and the deadline for submissions to is the 30th of June, 2016. Submissions should be in the form of finalised papers of around 5,000 to 7,000 words. Issues and topics relevant to this publication include, but are not limited to:

  • Representations of afterlives in literature, film, music, painting, architecture, or other arts
  • Narratives of afterlives across contemporary or historical cultures
  • Life after colonialisation; life after biopower; the politics of afterlife
  • Posthumanism and death; technologies of afterlives; materialities of afterlife
  • What the post-literary is; electronic literature; digital arts
  • Life after gender; constructions of sexuality
  • Biographies, memoirs, elegies; posthumous and unfinished literature; auto-thanatography
  • Scientific theories of post-life; epidemics and end-of-the-world scenarios
  • The reception of literature; fame, posterity, influence; lateness, late style
  • Gothic fiction; supernatural representations of the afterlife
  •  Animal afterlife; Other afterlives

(posted 7 April 2016)

“A Death of One’s Own”? Narratives of the (Un)Self : American Autothanatographers, 17-21st centuries
A thematic issue of E-rea (Spring 2017)
Deadline for proposals: 30 June 2016

E-rea is the webjournal of Aix-Marseille University’s English and American Studies Unit, LERMA.

Since the 1980s-1990s, the terms “autopathography” and “autothanatography” have increasingly been used by the theorists of autobiography. Defined by Thomas Couser as “life writing that focuses on the single experience of critical illness” (“Introduction: The Embodied Self”, a/b: Auto/Biography Studies, vol.6, no 1, Spring 1991, 1), autopathography often— but not always—envisions death. The aporic term autothanatography, the writing of one’s own death, has provided a useful framework for the theorists interested in the relationships between writing, the self and death. Much of the theoretical background of autothanatography can be attributed to French thinkers (Jacques Derrida who spoke about his “testamentary writing”, Louis Marin or again Maurice Blanchot, the very embodiement of the modern myth of the writer, according to Philippe Lacoue-Labarthe who described Blanchot’s both existence and writing as “posthumous” …) but recent works on autothanatography have also drawn inspiration from other European or American writers such as Paul de Man, Jeremy Tambling, Laura Marcus, Linda Anderson, Susan Sontag, Judith Butler or Felicity Nussbaum. Still, a brief overview of recent autothanatographical studies seems to indicate that American writings have not been as thoroughly or systematically explored as European ones.

The purpose of this volume is to address this void by questioning the evolution, the practices and the perspectives of American autothanatographers ever since the 17th century. While not systematically disconnecting death from disease, we will consider how one’s own death shapes the author’s writing project, turning it into a deathward project actually emerging “from beyond the grave”. The focus, therefore, will not necessarily be placed on the process of dying (as it is in autopathographies), but on death itself as at once the starting point and the result of the writing process. In a 1978 article entitled “The Shape of Death in American Autobiography,” Thomas Couser pointed out that “the form and content of the narratives are often significantly shaped by the writer’s preoccupation with death. A surprising number of our major autobiographers anticipate or offer a substitute for their own deaths; some even point beyond it, offering intimations of their own immortality” (“The Shape of Death in American Autobiography”, The Hudson Review, Vol.31, n.1, Spring 1978, 53). While such preoccupation with death is likely to be a common feature among autobiographers in general, this volume will seek to delineate and explore the cultural, religious, racial and gender parameters that could contribute to the specificities of American autothanatography. Because of this approach, the historical timeframe is deliberately broad, reaching back to the 17th century, when religion pervaded autobiographical writings, up to the early 21st century. Also, because the boundaries between reality and fiction are by no means clear-cut in the genre of autobiography (and perhaps even less so with autothanatography), contributions examining autofiction will be welcome. Finally, we wish to envision a large spectrum of autothanatographical expressions, including textual genres such as diaries, memoirs, and autofictional works but also iconographic or visual productions dealing with the author’s own death (comics, photography, self portraits, art works…).
While the essays are expected to explore American autothanatographical practices, they must also endeavor to anchor those practices in—or detach them from—the theoretical discourses shaping autothanatography. Ultimately, the volume will question whether the individual act of writing about/from/against one’s death has the power to (de)construct “a death of one’s own” (Rilke), and whether such writings can collectively constitute a specifically American literary phenomenon.

Articles may examine:

  • Special historical moments liable to (dis)connect the individual from/to a sense of national/collective identity
  • Issues of race/class/gender/religion inasmuch as they may impact the way in which death affects autobiographical practice
  • How cultural and medical discourses on death shape individual representations of one’s own death
  • The literary, poetic and/or pictorial devices that allow a writer or artist to represent his/her own dying or death
  • Double-bottom texts in which the exploration and narrative of the death of the other (thanatography) hide an autothanatographical project
  • The notion of mortiferous writing, its modes of existence and implications

Articles in English should be sent to and for October 1, 2016.

Please use E-rea’s stylesheet If you decide to submit a contribution, please let us know by sending us a message with a brief description of your project by June 30, 2016.

(posted 8 April 2016)

Geography, Law and Space(s)
A special issue of Revue Géographique de l’Est
Deadline for proposals: 15 September 2016

1609-geographie-estLegal Geography, a fairly recent phenomenon, investigates the interconnected, reciprocal and interdependent links between geography and law. This interdisciplinary field of study concerns the complex interrelations between law, space and society. Law can be geographically located, in physical settings and spaces it describes and codifies. Space affects law, in order words, geographies structure law, like the north-south divide in the UK between separate national English and Scottish legal systems within the same British state. On the other hand, law affects space in inverting the environment-law relation to look at how laws impact space. The perspective of “critical legal geography/-ies” looks beyond these binary categories to examine and challenge deterministic views of these intricate interrelations. A third way, then, might be identified, which transcends the strictures of the law/space – space/law binaries, and allows these complex interrelations of the legal, spatial and social to be explored. It becomes useful to recognise that there is no analytical separation of law, space and society, no passive spatial structure, no two discrete realms, and no higher sphere above politics.

This journal’s edition attempts to contribute to a critical legal geography, studying law as a site of a “struggle over geography” (Saïd) from the premises that space is socially and politically produced (Lefebvre et al.). The following questions may be considered, notably whether spatio-legal dimensions create spatializations in France and abroad. Also, does legal-decision making stem from the jurisdiction of a state, a region, a supranational construct, or does it take place at the very margins of confined spaces? It is conceivable to reflect on new dialectical implications between geography and law based on spaces in which such ideas as concrete and abstract, memory and identity, passages and transgressions, chaos and order collide. This might also include the critical assessment that law is somehow “above geography,” in a higher sphere divorced from its environmental contexts. Spatial claims and representations in legal and linguistic constructs might be evaluated. In addition, it might be interesting to look at “geopolitics of law.” What kinds of theoretical approaches can be adopted to interpret the interdisciplinary relationship of geography and law in order to critically engage readers and researchers in a constantly changing geographical world? Articles may concern various fields of studies and disciplines (geography, law, linguistics, literature, etc.).

A selection of articles will be published in the Journal Geographie de l’Est (Université de Lorraine).
For more information, please go to:
Articles (max. 50 000 signs), along with short academic biographies, should be submitted to
The deadline for submission of articles is 15 September 2016.

(posted 18 February 2016)

Literary Hermeneutics
An issue of the Academic Journa Polifemo
Deadline for abstracts: 3 October 2016

During the twentieth century hermeneutics as an art or science of interpretation took on new vigour and became increasingly more autonomous compared to the ancillary position it had held in the past regarding theology, law and philology. Actually, in the late nineteenth century with Schleiermacher, hermeneutics had already started to fill a space of understanding outside the bounds of text interpretation and was coming to be seen as a general theory of interpretation concerning all aspects of spiritual life, subsequently acquiring with Dilthey a new centrality for the human sciences. In short, the sphere of action of hermeneutics expanded until it had almost joined that of philosophy. It is thanks to Heidegger, and then to Gadamer, Ricoeur, Pareyson and Betti, to mention only some of its greatest exponents, that twentieth-century hermeneutics has been able to develop key concepts such as the hermeneutic circle, the hermeneutic arc, the dialectical relationship between explanation and understanding, the history of effects, the fusion of horizons, the interpreter and interpretant etc. Many of the names mentioned above elaborated these concepts in a dialogue with literary texts to the point that hermeneutics took on specific connotations in its application to literature, thereby contributing to the establishment of an actual axis of application with an extremely strong element of autonomy: literary hermeneutics.

It was Peter Szondi who then provided vital input into the development of literary hermeneutics seen as “a science of interpretation which, while not wishing to disregard philology, nevertheless wants to move in the direction of aesthetics. It must therefore be based on the concept of the art of our own time, and for this reason will be historically conditioned and deprived of universal and supra-temporal validity “. Szondi’s proposal, in the panorama of literary sciences, is embedded in a need to break with a positivistic attitude and open up to marginalized literary traditions. Against all universalistic and self-reflexive pretensions, literary hermeneutics is proposed as a methodical hermeneutics that puts the text at its centre thereby calling into question concepts such as the hermeneutic circle. The interpretation is only possible thanks to regional hermeneutics, which are to be rigorously validated thanks to the centrality of the object of application, i.e. the literary text, and thereby taking on the structure of true material hermeneutics. Jauss and Iser move in a similar direction. They recovered the relationship between aesthetic experience and literary hermeneutics proposed by Szondi, describing it according to “an aesthetic of reception” aimed at clarifying the effect and meaning of a text for a contemporary reader and rebuilding the historical process within which it emerged according to interpretative paradigms of multiple readings which create a fusion of the horizon of experience and the horizon of expectation, the history of effects and reception.

But what about the future of literary hermeneutics? What is its relationship with philosophical hermeneutics? Does it stand out for its “material” demand for textual concreteness, or does it draw on general philosophical theory for its interpretative application? What are the current developments in literary hermeneutics? And what is the function of literature in the elaboration of a philosophical hermeneutics? What are the features of Bollack’s “critical hermeneutics”, which are the continuation and transformation of Szondi’s literary hermeneutics in the direction of text intelligence?

The topics that may be presented will take into consideration:

  • Literary hermeneutics today: new paradigms and new proposals
  • Between literary hermeneutics and philosophical hermeneutics: dialogues and differences
  • Text intelligence: new interpretations and new critical paradigm
  • Literary hermeneutics and critical hermeneutics: philology and cultural science
  • For a new theory of reception between text and context

Other proposals for study on the subject put forward by those intending to collaborate in the publication will be scrupulously examined by the Scientific Committee, in order to widen the field of exploration undertaken in this issue of the Magazine. Proposals for contributions will be accepted in Italian, English and French.

To this end, the Editorial Board propose the following deadlines, with an essential preliminary step being the sending, to of an abstract (min. 10/max. 20 lines) and a short curriculum vitae of the proposer, by and absolutely no later than 3rd October 2016. Authors will receive confirmation from the Editorial Board of acceptance of their contributions by 24th October 2016. Contributions shall be delivered on 6th February 2016. All contributions will be subject to a double blind peer review. The issue, edited by Prof. Maria Tilde Bettetini and Dr Renato Boccali, will be published in June 2017.

You can read the Call for Papers here:

(posted 24 May 2016)

Approaches to Old Age
European Journal of English Studies, Volume 22
Deadline for proposals: 31 October 2016

ejesGuest Editors: Sarah Falcus (Huddersfield) and Maricel Oró Piqueras (Lleida)

The final decades of the twentieth century saw the rise of humanistic or cultural gerontology, and this has continued apace into the twenty-first century. Interest in English Studies has ranged across the disciplines and beyond, establishing connections with biomedicine, sociology and politics. This work includes studies and creative projects that both analyse and produce visual representations of ageing, from photography to film. In linguistics, explorations of language attrition in Alzheimer’s Disease provide humanistic perspectives on the experience and treatment of this form of dementia. Literary studies has seen explorations of the affect value of literary and cultural texts and analyses of the intersections of ageing and gender, race, sexuality and disability. There is also much work on late-life creativity and late style.

This issue seeks to extend the variety and multiplicity of approaches in cultural gerontology, contributing to the dialogue between English Studies and Ageing Studies. We welcome contributions that explore old age across the full range of literary and cultural forms.

Topics may include, but are not limited to:

  • the ageing body
  • approaching old age
  • genre and age
  • ageing readers/audiences
  • ageing as a cultural anxiety
  • old age across history
  • picturing old age
  • ageing and loss of language
  • language use and Alzheimer’s Disease

Detailed proposals (600-1,000 words) for essays of no more than 7,500 words, as well as any inquiries regarding this issue, should be sent to both editors: Sarah Falcus and Maricel Oró Piqueras.

Potential contributors are reminded that EJES operates a two-stage review process. The first is based on the submission of proposals and results in invitations to submit full essays from which a final selection is then made.

The deadline for proposals is 31 October 2016, with delivery of completed essays by 31 March 2017.

(posted 30 January 2016)

Global Responses to the “War on Terror”
European Journal of English Studies, Volume 22
Deadline for proposals: 31 October 2016

ejesGuest editors: Michael C. Frank (Düsseldorf) and Pavan Kumar Malreddy (Goethe University Frankfurt)

This issue proposes a thematic shift from the widely discussed traumatic impact of the 11 September 2001 attacks themselves to the transformative impact of the ensuing ‘war on terror’. In particular, it identifies a conceptual gap in the existing criticism on ‘9/11’ and its cultural resonance, which tends to privilege Euro-American responses to the event, while considering trauma, grief and suffering as primarily transatlantic experiences. The corresponding Anglophone canon of ‘post-9/11’ fiction and nonfiction literature, documentary, drama, and film has failed to address the responsive violence incited by the decade-long military campaigns in Iraq and Afghanistan, the destabilisation of political regimes in the Middle East, and other clandestine operations in the Global South in the name of countering ‘terrorism’.

The aim of this issue is to de-centre the singularity assumed by ‘9/11’, and to draw attention to new sites of literary and cultural criticism that move beyond the destruction of the World Trade Center and the physical space of New York City to engage with the multiple crises related to the ‘war on terror’ on a global scale.

Contributions are invited from any sub-discipline in Anglophone cultures and might include, but are not limited to, the following topics:

  • transatlantic and diasporic responses to the ‘war on terror’
  • intersections of European and postcolonial criticism in approaching the ‘war on terror’
  • public discourses on terrorism and counter-terrorism
  • responses to the war on terror in architecture, monuments, memorials, photography, visual arts, sculpture, rituals (commemoration), popular culture (internet, social media) and video-games
  • terrorism in novels, poetry, and reportage narratives from the Global South and the Middle East

Detailed proposals (600-1,000 words) for essays of no more than 7,500 words, as well as any inquiries regarding this issue, should be sent to both editors, Michael C. Frank and Pavan Malreddy.

Potential contributors are reminded that EJES operates a two-stage review process. The first is based on the submission of proposals and results in invitations to submit full essays from which a final selection is then made.

The deadline for proposals is 31 October 2016, with delivery of completed essays by 31 March 2017.

(posted 30 January 2016)

Poetry, Science and Technology
European Journal of English Studies, Volume 22
Deadline for proposals: 31 October 2016

ejesGuest editors: Irmtraud Huber (Berne), Wolfgang Funk (Mainz)

In the preface to Lyrical Ballads, William Wordsworth famously calls poetry ‘the first and last of all knowledge’ and describes the poet’s task as carrying ‘sensation into the objects of science itself’. The editors invite contributions that explore relations between poetic and scientific knowledge, an association commonly neglected in favour of a focus on narrative. Moreover, we seek to explore how technological advances such as the invention and development of eveÍr more sophisticated machinery or changes in the means of communication find echoes in the imaginary and structure of poetry.

By focusing on these connections and correspondences between apparently dissimilar ways of world-making, this issue aims to offer new perspectives on the interplay between scientific and technological innovation and poetic form. It will attempt to trace how paradigm changes such as Darwinism, post-Newtonian physics or non-Euclidean geometry find correlatives in poetry. The editors also wish to promote a critical dialogue between poetic and narratological approaches to relations between literature and science at different historical moments. We welcome critical engagements with specific case studies of poetic or scientific works, as well as theoretical reflections on the relations between poetry and science and technology from the nineteenth to the twenty-first century.

Relevant topics in this context might include, among others:

  • poetry and science as complementary and/or competing epistemological structures and forms of knowledge conservation and dissemination
  • concepts and metaphors common to both poetry and science, like the experiment, the model, innovation or abstraction
  • formal transformations in poetry in relation to scientific and technological paradigm changes
  • shifts in the cultural authority of science and poetry
  • poetry as a possible mediator between abstract scientific knowledge and its technological application
  • representations of scientific procedures and knowledge as well as technological innovation in poetry

Detailed proposals (600-1,000 words) for essays of no more than 7,500 words, as well as any inquiries regarding this issue, should be sent to both editors Irmtraud Huber and Wolfgang Funk.

Potential contributors are reminded that EJES operates a two-stage review process. The first is based on the submission of proposals and results in invitations to submit full essays from which a final selection is then made.

The deadline for proposals is 31 October 2016, with delivery of completed essays by 31 March 2017.

(posted 30 January 2016)

Permanently valid calls for papers

The Journal of Cultural Mediation

The Journal of Cultural Mediation of the SSML Fondazione Villaggio dei Ragazzi “don Salvatore d’Angelo” focuses on the role of culture in perceiving and translating reality. The aim of this Journal is to promote research in communication, especially by investigating language, languages, cultural models, mediation and interculturality, welcoming contributions focussing on cultural mediation in modern society.
In particular manuscripts should concern:
– The role of the cultural mediator
– Linguistic/cultural mediation teaching methodologies
– Cultural mediation and identity
– Linguistic mediation in specialized discourse
– Analysis of text translations
– Quality interpreting – Interpreting as cultural mediation
– Professionalization and professional issues of interpreters
– Interdisciplinarity within Interpreting Studies
– Teaching methodologies in interpreter training
– Research on any aspect of interpreting in any research paradigm (including cognitive science, psycholinguistics, neurolinguistics, sociolinguistics, applied linguistics, discourse analysis, pragmatics, anthropology, semiotics, comparative cultural studies, cross-cultural communication, etc.)

All papers submitted to The Journal of Cultural Mediation should be original, neither having been previously published nor being considered elsewhere at the time of submission.
Papers can be written in Italian, English, French, Spanish or German, they should not exceed 6000 words and should be preceded by an abstract of 200-250 words. If the language of the paper is not English, please include a translation of the abstract in English as well. At the head of your abstract please indicate the title of the proposal, the name of the author/s, affiliation and email address. Please include five to six keywords.
The editor will select contributions for each issue and notify authors of acceptance or otherwise according to the dates below.
Authors wishing to contribute to the Journal of Cultural Mediation are welcome to submit their abstracts as email attachments to:

For further information, contributors are encouraged to read the guidelines of the journal, given on our website:

(posted 16 February 2012)

The Brontës and the Idea of Influence
A thematic dossier in the “Writers, writings” section of LISA e-journal

In March 2007, Stevie Davies, Patricia Duncker and Michele Roberts gathered around Patsy Stoneman at Haworth in Yorkshire to talk about the influence that the Brontës had had on their evolutions as authors, and more generally, about the source of inspiration that the most famous family of writers in England could represent. Patsy Stoneman had already tackled the topic by publishing a book entitled The Brontë Influence in 2004 with the help of Charmian Knight. The issue of LISA e-journal “Re-Writing Jane Eyre: Jane Eyre, Past and Present” is further evidence of Charlotte Brontë’s influence on the writers of the following decades or centuries. So far, these studies have been quite limited and this field of research, “the Brontë influence”, offers a wide range of possible developments.
Moreover, if the four authors’ poetry and novels have already been the object of numerous studies, there is much left to write about the influences which were exerted on the Brontës, whether religious, literary, philosophical or cultural. Taking account of the context of  a work is often a good way of understanding the issues underlying a text: the path taken by the Brontës, their journeys, their stays abroad, the books they read, etc. could prove to be very enlightening. Besides these external factors, one could also consider the interactions between the three sisters, who wrote in the same room and who read passages from their works aloud.
A final aspect to identify and study could be the influences which are exerted within the Brontës’ works themselves. How can one account for the progress of the heroes and heroines? How is the influence that characters have on one another expressed? What role does nature play in the destiny of characters? Which other elements intervene in the novels?

This dossier devoted to the Brontës intends to analyse the works through the perspective of influence and three different fields of research can thus be considered:
–    influences on the Brontës
–    the idea of influence in the Brontës’ works
–    the Brontë influence on the writers of the 19th, 20th and 21st centuries.
Please send your proposals (one A4 page maximum) to Dr. Élise Ouvrard
Accepted articles will be published in the thematic dossier “The Brontës and the Idea of Influence” on the website of LISA e-journal:

(posted 10 January 2008, updated 3 November 2010)

Controversy: Literary Studies and Ethics
JLT-Journal of Literary Theory online

Submissions are continuously accepted.
Are literary scholars and critics supposed to voice their view on normative questions within their academic writings? How far should world views, political opinions and evaluations enter into the scholarly and critical work with literary texts? Is it even possible to exclude such judgements from literary studies? How and why do different traditions of literary studies treat these problems divergently?
Submissions are expected to refer to previous contributions to this controversy by Peter J. Rabinowitz and Marshall W. Gregory, which can be found at and at
Please contact the editorial office for further details at

(posted 10 February 2011)