Books and special issues of journals – Deadlines January to March 2022

Études Médiévales Anglaises nr 100
Deadline for papers: 10 January 2022

The French Journal of Medieval English Studies Études Médiévales Anglaises is seeking submissions for its 100th anniversary issue focusing on the notion of “time”. The papers, written in French or English, should be submitted to Fanny Moghaddassi and Martine Yvernault by 10 January 2022 (see more information below). Authors who wish to submit a paper are advised to get in touch and submit a title with a brief description of content as soon as convenient.

As the foundation of human experience, time unites natural and cultural phenomena. In 1977, Jacques Le Goff (Pour un autre Moyen Âge, 75) posited that “time related to natural cycles, agrarian activities and religious practice was the essential medieval timeframe”. Medieval societies organized working hours and prayers and liturgical celebrations – Church time – in connection to, and sometimes in contrast with, the necessities of natural and agricultural temporalities. Medieval time – unlike Early Modern time – was not constrained by measure and accuracy, but experienced as a flow, marked by cyclical agricultural activities, and the articulation of daily life with exceptional events, in the form of rituals and celebrations, which often included music and its both specific and complex relation to the measuring of time.

Yet Le Goff also stressed that the rise of “commercial capitalism” (Pour un autre Moyen Âge, 47) led to a partition in the medieval conception of time: Church time, “ruled by God only” spread in linear fashion towards God (Gourevitch defines such a movement as “fusion with eternity”, Catégories de la culture médiévale, 96), became distinct from merchant time, structured by dates, deadlines, context, anticipation, or, reversely, economic and weather accidents. From an ecocritical perspective, the desired, actual or dreaded domestication of natural environments acted as temporal landmarks, namely reflected in medieval literature.

In pagan polytheist cultures before the advent of Christianity, a mythological approach to the world structured conceptions of time and space, which were centered on the past and organized in cycles (Gourevitch). Christianity, grounding time on an only God, introduced the notion of eternity while still preserving some of the forms and landmarks of pagan time. Both Le Goff and Gourevitch showed that merchant time and productive time stemmed from the rise of cities and the development of a new approach to the world, and to time. Townhalls started to display clocks as secular time, anchored in activity and production, started to challenge theological time, regulated by churches. Now partition and measure came to draw a clear line between material and theological times (Schmitt, « Le temps. ‘Impensé’ de l’histoire ou double objet de l’historien ? », 46-7). The growing gap between these conceptions of time induced by galloping industrialization in the 18th and 19th centuries led thinkers, artists and writers to invent and romance a pre-productive medieval period.

Gourevitch also pointed to the links that exist between space and time, as experienced both objectively and subjectively. According to him, man’s relation to time and space evolved dramatically from ancient times to the medieval period, from the Early Modern age to modern day, as life rhythms accelerated and the world seemed to narrow in the context of its discovery and exploration (Catégories, 34-5). Paul Ricoeur stressed a similar correspondence between (“experienced, geometric, lived-in”) space and time, which for him was equally dialectically divided in “lived time”, “cosmic time” and “historical time”, as the effort at dating mirrored a corresponding need for localization (Ricœur, La mémoire, l’histoire, l’oubli, 191).

Medieval conceptions and practices of time have always been the focus of critical attention, in historical, theological, philosophical and literary fields alike. Recent publications testify to an interest for gender-related practices of time and to an effort at tracing specifically female experience of time, for instance in childbirth rituals and daily life (E. Cox, L.H. McAvoy & R. Magnani, 2015). The reconstruction of the historical past in the medieval period (Rouse, 2005), the complex articulation of memory and the future (Critten, 2019), and conceptions of the future (Boyle, 2015) have also been scrutinized by recent criticism.

On the occasion of its anniversary issue, Études Médiévales Anglaises invites papers on the measuring of time, as well as on the marginal treatment of time in ritualized celebrations which punctuate daily life, sometimes subverting its usual hierarchies, as in the case of carnival and misrule. Papers can consider material representations of time and its measure, as well as the subtle representation of past, present and future in medieval literature: romance worlds often conflate several layers of time which coexist in the mind of the reader. (Rouse, 2019, 163). 

Études Médiévales Anglaises invites papers from all disciplinary backgrounds on time in the medieval British Isles, including:

  • Conceptualising time
    • Measuring time, technical approaches to time.
    • The ages of man.
    • Seasons and nature.
    • Academic divisions of medieval time: defining the medieval period in Anglo-saxon and French historiographies.
  • Expressing Time
    • Time-related formulas.
    • Expressing memory, scrutinising traces. Conversely, observing the ephemeral and the forgotten, and the future.
    • Narrated time.
  • Medieval practices of time
    • Contrasting practises of time in daytime and night-time, for instance in mo- nastic and urban contexts.
    • Escaping daily time through rituals and celebrations.
    • Contesting time, marginal time (carnival, disorder and misrule).
    • Time and the otherworld.

The papers, written in English or in French, must be sent before 10 January 2022 to Fanny Moghaddassi and Martine Yvernault martine.yvernault@unilim.frÉtudes Médiévales Anglaises uses double-blind peer review. The stylesheet to be used may be found on our website:


– Barron, Caroline. “Telling the time in Chaucer’s London.” “A Verray Parfit Praktisour”. Essays Presented to Carole Rawcliffe. Eds. Clark, Linda and Danbury, Elizabeth. Woodbridge, Suffolk: Boydell Press, 2017. 141-151.
– Bede and the Future. Ed. by Peter Darby and Faith Wallis, Studies in Early Medieval Britain and Ireland. Farnham: Ashgate, 2014.
– Boèce. Traité de la musique. Introduction, traduction et notes par Christian Meyer. Turnhout: Brepols, 2004.
– Boyle, Elizabeth. “Forming the future for individuals and institutions in medieval Ireland.” Mittelalterliche Zukunftsgestaltung im Angesicht des Weltendes/ Forming the Future, Facing the End of the World in the Middle Ages. Ed. Schmieder, Felicitas. Beihefte zum Archiv für Kulturgeschichte, 77. Köln: Böhlau, 2015. 17-32.
– Critten, Rory G. “Via Rome: medieval medievalisms in the Old English Ruin.” Journal of Medieval and Early Modern Studies, vol. 49, no. 2, 2019. 209-231.
– Davies, Morgan Thomas. “Warrior time.” Kings and Warriors in Early North-West Europe. Eds. Rekdal, Jan Erik and Doherty, Charles. Dublin: Four Courts Press, 2016. 237-309.
– Godden, Richard H. “Gawain and the nick of time: fame, history and the untimely in Sir Gawain and the Green Knight.” Arthuriana, vol. 26, no. 4, 2016. 152-173.
– Gourevitch, Aaron J. Les catégories de la culture médiévale. Paris : Gallimard, 1983. Chapitre I, « Les représentations spatio-temporelles », ‘Qu’est-ce que le temps ?’. 96-154.
– Harris, Jonathan Gil. Untimely Matter in the Age of Shakespeare. Philadelphia, PA: Pennsylvania University Press, 2009.
– Le Goff, Jacques. Pour un autre Moyen Age, Temps, travail et culture en Occident : 18 essais. Paris: Gallimard, nrf, Bibliothèque des histoires, 1977.
– Langeslag, Paul S. Seasons in the Literatures of the Medieval North. Cambridge: D.S. Brewer, 2015.
– Liuzza, Roy Michael. “The future is a foreign country: the legend of the Seven Sleepers and the Anglo-Saxon sense of the past.” Medieval Science Fiction. Eds. Kears, Carl and Paz, James. King’s College London Medieval Studies, 24. London: King’s College London, Centre for Late Antique and Medieval Studies, 2016. 61-78.
– Ricœur, Paul. La mémoire, l’histoire, l’oubli. Paris : Éditions du Seuil, 2000.
– Reconsidering Gender, Time and Memory in Medieval Culture, Ed. by Elizabeth Cox, Liz Herbert McAvoy and Roberta Magnani. Gender in the Middle Ages, 10. Woodbridge, Suffolk: D.S. Brewer, 2015.
Romance and History: Imagining Time from the Medieval to the Early Modern Period. Ed. Jon Whitman. Cambridge Studies in Medieval Literature 92. Cambridge: Cambridge University Press, 2015.
– Rouse, Robert Allan, The Idea of Anglo-Saxon England in Middle English Romance. Studies in Medieval Romance 3. Cambridge: D. S. Brewer, 2005.
– Rouse, Robert Allan. « ‘Riche pelure and spicerye’: Mercantile Readers and the Imagined World of Medieval Romance ». ÉMA 94, 2019. 149-170.
–  Rudd, Gillian. Greenery: Ecocritical readings of late medieval English Literature. Manchester University Press, 2007.
– Schmitt, Jean-Claude. « Le temps. ‘Impensé’ de l’histoire ou double objet de l’historien ? ». Poitiers, Cahiers de Civilisation Médiévale, 2005. 31-52.
– Time in the Medieval World. Ed. Chris Humphrey & W.M. Ormrod. University of York, Centre for Medieval Studies: Boydell & Brewer, 2001.

(posted 13 May 2021)

New Humanities 1: Perspectives on the Anthropocene
Academic Quarter, vol. 25
Deadline for abstracts: 15 January 2022

Academic Quarter presents a new call addressing new perspectives on the Anthropocene in the humanities.

Five years ago, British writer Robert Macfarlane introduced us to “Generation Anthropocene: How humans have altered the planet for ever”. The Anthropocene denotes a new epoch of geological time in which human activity has such a strong influence on the planet that it will leave a geological strata record (Macfarlane 2016). The term goes back to the year 2000 with Crutzen & Stoermer’s article “The ‘Anthropocene’”. Macfarlane presents a large number of aesthetic responses to the Anthropocene, novels and films in particular, but he also sees it as a challenge to the humanities: “The indifferent scale of the Anthropocene can induce a crushing sense of the cultural sphere’s impotence.”

In a similar, and more recent blend of pessimism and call to action, Carolyn Merchant asks, “How, for example, is the air and water pollution associated with global warming reflected in history, art, literature, religion, philosophy, ethics, and justice?” (2020, p. x) She consequently lauds the emerging multidisciplinary concept of environmental humanities as necessary, her reason being that the hu

manities have not responded adequately to relevant questions: “today there are relatively few analyses of the Anthropocene as it relates to the humanities.” The humanities must be reconceptualized “in new ways that make them compelling for the twenty-first century.” (p. xi)

It is these challenges that the issue of Academic Quarter about the Anthropocene seeks to meet. We ask for new perspectives on the Anthropocene. How can the humanities throw a new light on the Anthropocene and articulate new perspectives on it, possibly from an activist standpoint? How to create “arts of living on a damaged planet” (Tsing et al. 2017)? Articles could for instance focus on themes and approaches such as dark ecology (Morton 2018), new materialism (Sanzo 2018), object-oriented ontology (O3) (Harman 2018), rewilding – virtual and real (Lorimer 2015; Jepson & Cain 2020), swamp theory (Sutherland 2021; Urbonas et al. 2022), (eco-) feminism and queer theory (for instance Grusin 2017), and de-colonialist perspectives (for instance Stenbeck 2020).

Aesthetic responses to the Anthropocene are already manifold, and there are also scholarly treatments of it and related fields. Examples are: Elizabeth Kolbert’s The Sixth Extinction: An Unnatural History (2014) and Field Notes from a Catastrophe (2006), Naomi Klein’s This Changes Everything: Capitalism vs the Climate (2014), Gaia Vince’s Adventures in the Anthropocene (2015), Anna Lowenhaupt Tsing’s The Mushroom at the End of the World – On the Possibility of Life in Capitalist Ruins (2017). The post-apocalyptic movie and computer game genres with locations of a collapsed and potentially lethal world are represented by for instance Cormac McCarthy’s The Road (2006), the Mad Max franchise, The Walking Dead streaming series, and The Fallout computer game series. Scholarly publications on the subject include Carolyn Merchant’s The Anthropocene and the Humanities. From Climate Change to a New Age of Sustainability (2020), Nomeda Urbonas et al.’s Swamps and the New Imagination. On the Future of Cohabitation in Art, Architecture, and Philosophy (2022), Alanda Y. Chang’s Playing Nature Ecology in Video Games (2019). The Anthropocene has been reflected and debated within the art institution, for instance with various events and research initiatives at Berlin’s Haus der Kulturen der Welt since 2013, and Danish artists and artistic researchers such as Rikke Luther, Eva la Cour and Jakob Kudsk Steensen have worked with this theme, Steensen in his Berl Berl exhibition in Berlin 2021.

One challenge to the humanities is whether an activist approach may be expected from them, as contemporary environmental movements might reflect. In Underland: A Deep Time Journey, Macfarlane elaborates on the unique imaginative challenge posed by the Anthropocene and calls for “a retrospective reading of the current moment”, i.e. “a palaeontology of the present” (2019, p. 78) in which we confront ourselves from a distant future as “the sediments, strata, and ghosts” we have become, and ask ourselves the question (originally phrased by Jonas Salk, and pursued by strands of indigenous research): “Are we being good ancestors?” (p. 77) This call from Academic Quarter is the first of three serialized issues under the common theme “New humanities” from an active and committed standpoint.

This issue of Academic Quarter is dedicated to articles from the fields of:

  • literature
  • art
  • film, tv and media
  • architecture
  • computer games
  • music
  • museology and curating
  • fashion
  • experience design
  • gender
  • leadership
  • organisation research
  • history
  • human geography
  • cultural anthropology
  • religion
  • philosophy
  • indigenous research

and other pertinent approaches and critiques of the concepts of the Anthropocene itself are also welcome. We especially value new perspectives on the antropocene from the humanities in a wide and inclusive sense.

Crutzen, Paul J. & Stoermer Eugene F. 2000. “The ‘Anthropocene’”. IGBP Newsletter 41. May 2000. 17-18.
Enderby, Emma (ed.). 2021. Jakob Kudsk Steensen: Berl-Berl. Berlin:
Lass & Koenig Books.
Grusin, Richard. 2017. Anthropocene Feminism. Minneapolis: University of Minnesota Press.
Harman, Graham. 2018. Object-Oriented Ontology: A New Theory of Everything. Harmondsworth: Pelican Books.
Jepson, Paul & Blythe, Cain (2020). Rewilding: The Radical New Science of Ecological Recovery. London: Icon Books.
Lorimer, Jamie. 2015. Wildlife in the Anthropocene Conservation after Nature. Minneapolis: University of Minnesota Press.
Macfarlane, Robert. 2016. “Generation Anthropocene: How Humans have Altered the Planet for Ever”. The Guardian, April 1, 2016.
Macfarlane, Robert. 2019. Underland: A Deep Time Journey. New York: W. W. Norton & Company.
Merchant, Carolyn. 2020. The Anthropocene and the Humanities. From Climate Change to a New Age of Sustainability. New Haven: Yale University Press.
Morton, Timothy. 2018. Dark Ecology: For a Logic of Future Coexistence. New York: Columbia University Press.
Rimanoczy, Isabel. 2021. ”Anthropocene and the Call for Leaders with a New Mindset”. In: Ritz A. A., Rimanoczy I. (eds.) Sustainability Mindset and Transformative Leadership. Sustainable Development Goals Series. London: Palgrave Macmillan, Cham.
Sanzo, Kameron. 2018. “New Materialism(s).” In Critical Posthumanism. Genealogy of the Posthuman. Posted On: April 25, 2018. Available at
Stenbeck, Katarina. 2020. Forms of Entanglement. Omsorg og verdensskabelse i det antropocæne. Ph.d.-dissertation, Copenhagen University.
Sutherland, Dane. 2021. “A View from the Swamp.” In Enderby, Emma (ed.). 2021, 92- 104.
Tsing, Anna Lowenhaupt et al. 2017. The Arts of Living on a Damaged Planet. Minneapolis: University of Minnesota Press.
Urbonas, Nomeda, Urbonas, Gediminas and Sabolius, Kristupas (eds.) 2022. Swamps and the New Imagination. On the Future of Cohabitation in Art, Architecture, and Philosophy. Berlin: Sternberg Press.
Wright, Christopher, Daniel Nyberg, Lauren Rickards, and James Freund. “Organizing in the Anthropocene.” Organization 25, no. 4 (July 2018): 455–71.

Practical Information
Abstracts in English, Danish, Norwegian, and Swedish will be accepted. Abstracts and articles should be sent to Annemette Helligsø (
Please check our Submission guidelines:

Submission of abstracts: 15.1.2022
Response to authors of abstracts: 1.3.2022
Submission of articles: 1.7.2022
Reviews will be sent to authors:  1.9.2022
Final articles submitted:1.10.2022
Layout copyedit: 1.11.2022
Publication expected: 1.12.2022

Word count
Abstract: 150 words
Article: 3,000 – 3,500 words

Video essays
7–12 minutes. Detailed author guidelines and further information can be found on the journal’s website:

You are welcome to use the possibility of producing a video essay following these guidelines:

  • Video essays should be 7-12 minutes long and accompanied by an academic guiding text between 1,000-1,500 words.
  • The video essay should be of scholarly quality and may be argumentative (documentary) or symbolic (metaphorical) or a combination.
  • The guiding text should clearly explain the argument in the video essay as well as the insight that the viewer may gain from watching it. This guiding text should follow the directions in the article style sheet.
  • Video essays should be final and handed in as a separate mp4video-file. Academic Quarter supports only publication and not the technical development of video essays.
  • Video essays and the guiding text will be reviewed together. Criteria for reviewing video-essays are a// the lucidity of the argument, b the technical and stylistic execution of the video material and c/ the clarity of the guiding text.

(posted 29 November 2021)


Books and special issues of journals – Deadlines October to December 2021

Unorthodox Minds: Innovative Exchanges Between Cognitive Studies, Narrative Theory and Contemporary Fiction
An edited collection of essays
Deadline for proposals: 1 October 2021

Edited by Grzegorz Maziarczyk and Joanna Klara Teske

In recent years research on the subject of consciousness, cognition, and the human mind has been constantly gaining momentum. New theories take emotions to be information processing programs which control the work of subprograms responsible for perception, attention or conceptual frameworks (Tooby and Cosmides), construe mental states − our subjective experience − as having no causal power (Dennett), claim that we read the minds of the others by simulating their experience (Goldman), submit that instead of being rational in our actions we simply post hoc rationalize them with the help of the interpreter module, confabulating when needs be (Gazzaniga). These and similar cutting-edge conceptualisations of consciousness and cognition have already attracted attention of both novelists (Peter Watts, Ian McEwan, David Lodge, Tom McCarthy, Julian Barnes) and narrative (postclassical) theorists (Monika Fludernik, Alan Palmer, David Herman, Lisa Zunshine).

In 2016 and 2017 we edited two collections of essays on works of fiction investigating the human mind: Novelistic Inquiries into the Mind (Cambridge Scholars Publishing) and Explorations of Consciousness in Contemporary Fiction (Brill). Though the two volumes have helped to fill an important gap in the literature, they have not exhausted the subject. Contemporary fiction as well as contemporary narrative studies seem to engage more than ever in interaction with cognitive studies and philosophy of mind offering provocative ideas and/or original means of their expression.

We invite proposal submissions for a forthcoming edited collection concerning recent developments in cognitive science and philosophy of mind and their reverberations in narrative theory and contemporary English-language fiction. We are especially interested in innovative theories of mind and equally innovative works of literature, which offer unorthodox representations of the human mind.

We welcome research papers focused on any of the following issues:

  •  postclassical analyses of techniques for showing mental states/cognition in narrative fiction,
  •  literary responses to narrative theories of the mind,
  •  literary reception (in narrative studies and fiction) of phenomenological interpretations of the mindful body/ the embodied mind (rejecting the post-Cartesian dualism),
  •  the use of experimental narrative strategies to problematize mental experience (cf. works such as The Trick is to Keep Breathing by Janice Galloway, Woman’s World by Graham Rawle, The House of Leaves by Mark Z. Danielewski or The Breathing Wall by Kate Pullinger, Stefan Schemat and babel),
  •  unnatural minds of narrative texts: examination of human minds carried out within the framework of unnatural narratology,
  •  new interpretations of the role of emotions and affect in contemporary fiction and/or narrative theory,
  •  analyses of literary representations of the impact of the Internet and, more generally, contemporary digital culture on the human mind,
  •  cultural minds: “fictional” representations of cultural differences between minds,
  •  the idea of the constructedness of the self: the role of the imagination in human subjective experience as explored in postmodern (meta)fiction,
  •  notions of extended mind and intermental thinking: their use in narrative theory and/or fiction,
  •  interactivism as a radically new interpretation of cognition: its reflection in narrative theory and fiction,
  •  “fictional” discussions on artificial intelligence and what they can reveal about the nature of the mind,
  •  literary discussions on the subject of ethical consequences of recent developments in the theory of mind (ideas such as physical determinism, constructivism, epiphenomenalism),
  •  novelistic attempts to anticipate the future evolution of the human mind (posthumanity).

Proposals (250-word abstracts) should be submitted to and by October 01, 2021. Notifications of acceptance will be sent by October 30, 2021. Final papers will be expected by March 01, 2022. We hope to be able to publish the collection by the end of 2022.

We would like to ask the authors to follow the MLA stylesheet (8th edition) and use British English spelling. Please attach a brief biographical note to your abstract.

Grzegorz Maziarczyk, Associate Professor of Literary Theory
Joanna Klara Teske, Associate Professor of Literary Studies
Institute of Literary Studies
John Paul II Catholic University of Lublin, Al. Racławickie 14, 20-950 Lublin, Poland

(posted 4 May 2021)

Literature and peripheries
Polifemo no. 23, 2022
Deadline for proposals: 1 October 2021

The ‘periphery’ has long been the scene for the most pressing wagers of urban, economic and social development: in its various, often unfortunately negative aspects, the periphery constitutes a node of transition and inevitable connection between the ‘centre’ and the ‘outside’ of the city, maintaining opposing characteristics towards both, and acting as an identity-creating workshop for ‘middle-earth society’, where degradation is mixed with opportunities and is redeemed by creative energy.

The periphery is an extremely mobile place, in both time and space: it changes according to epochs and the cities where it is located, seeing that today there are ‘internal’ peripheries, characterised by situations of social marginalisation, cultural and emotional deprivation, and a lack of opportunities.

It is a mutable ‘object’ and for this reason continually eludes evaluations: if, on the one hand, it is defined by subtraction in relation to the terms of reference with which it is compared, on the other hand, it is now finding its place in the imagination as an accumulation of the multiple meanings acquired over time. The metaphorical (and re-semanticised – in an anthropological, linguistic and cultural sense) use of the term therefore makes use of different connotations, seen as values or as disvalues, depending on the diaphasic contexts and, above all, on the internal or external gaze of those who narrate the peripheries.

Nowadays, the periphery is a theme that has been so well covered by the arts (literature, the visual arts, music) and by the humanities in general (social, linguistic, anthropological and historical sciences) that it has now acquired a classic status, which must now attempt to find an interdisciplinary epistemological structure.

This thematic issue of Polifemo will welcome the work of researchers from the various disciplines – literary and other arts – who are studying the theme proposed.

Among the topics that may be developed, we can mention by way of example:

  • the role of language and literature in the formation of the concept of ‘periphery’ with reference to some specific cases;
  • the metaphor of the periphery and its connotations;
  • the peripheries of literature (the noir genre and others);
  • the literature of the peripheries;
  • the condition of young people in the peripheries.

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

To this end, the Editorial Board proposes the following deadlines: a preliminary and essential step is the sending, to, of an abstract (min.10/max.20 lines), keywords and a brief curriculum vitae of the proposer, by 1st October 2021 (absolute deadline). The Editorial Office will confirm to the authors the acceptance of the contributions by 15 October 2021. The deadline for submission of contributions is 15th February 2022.

All contributions will be subject to double blind peer review. The issue, edited by Prof. Giovanna Rocca and Prof. Marta Muscariello, will be published in June 2022.

(posted 5 May 2021)

The ‘Edge’ of Sylvia Plath Critical History: A Reappraisal of Plath’s Work 60 years after
A special issue of E-Rea: Revue électronique d’études sur le monde anglophone
Deadline for abstracts: 15 October 2021

Edited  by:

  • Nicolas-Pierre Boileau (Aix-Marseille Université, France)
  • Carmen Bonasera (University of Pisa, Italy)

Sixty years after the publication of The Bell Jar (1963), her semi-autobiographical and only novel, and, also, sixty years after her untimely death, Sylvia Plath’s poetry and prose continue to attract attention from scholars and readers worldwide, as seen in the constant re-publishing of her works in English and translation. For many decades, her trailblazing career was overshadowed by the emotional response of critics and readers alike to her suicide. This gradually resulted in constructing Plath either as an iconic martyr or as a melodramatic cliché, all of that perpetuating a distorted reception of her posthumous oeuvre, as if her works mirrored her tragic life.

The year 2023 seems the appropriate occasion to add a further tile to the mosaic of Plath criticism. Far from being exhausted, the critical interest in Plath’s life and writing has adopted various approaches. This heterogeneous critical response was not only caused by different critical trends and cultural contexts, but it was also partly due to a fragmentary publication history. While alternative readings regularly emerged in the 1990s[1], often in response to edited or newly discovered material, a decade of near silence followed the publication of the most significant critical studies (The Cambridge Introduction, 2006, and The Cambridge Companion to Sylvia Plath, 2008, both edited by Jo Gill), suggesting that the matter could have worn out.

In light of the resurfacing of previously unpublished writings, this special issue of E-Rea aims to engage with the challenging questions put forth by the latest contributions by and about Sylvia Plath: Plath’s correspondence (The Letters of Sylvia Plath, volumes 1&2, eds. Peter Steinberg and Karen Kukil, 2017-18), recent trends in Plath studies (Sylvia Plath in Context, ed. Tracy Brain, 2019), and the latest biography (Heather Clark’s Red Comet, 2020). Given the recent resurgence of interest in her life, works and legacy, we would like to attract established and emerging scholars to discuss the upcoming issues of reading Plath in the 2020s. Specific attention will be devoted to essays that delve into Plath’s construction of her persona in poetry and life writing, in order to discuss which Sylvia Plath we have been constructing these past sixty years, and to promote fresh commentaries about one of the most electric poetic voices of the 20th century.

Original textual readings and essays featuring a comparative scope are especially encouraged. Moreover, papers on topics as diverse as (but not limited to) the following are welcome:

  • Plath and life writing
  • Plath’s self narrative between poetry and prose
  • Plath and her correspondence
  • Plath’s biography: new insights
  • Plath’s The Bell Jar at 60
  • Issues of genre in The Bell Jar: autobiography or autofiction?
  • Issues of gender: Plath and feminism(s)
  • Queering Plath
  • Plath, pathography and the Medical Humanities
  • Plath and Nature: ecocritical views
  • Plath and intertextuality
  • Re-reading Plath
  • Plath studies: previous and new perspectives
  • Plath’s legacy in the 21st century
  • Plath in Europe

E-Rea accepts contributions in French and in English.

Submission guidelines

Contributors  should send a .pdf file to both and by October 15th, 2021. The proposal should include a title, an abstract in English or French (500 words max.), the author’s affiliation and brief bio. Acceptance of proposals will be notified by November 15th, 2021. Full articles will be expected by November 15th, 2022. Publication is envisioned for E-REA’s Spring issue in 2023.

[1] For major monographs about Plath published in the 1990s and early 2000s, see: Steven G. Axelrod, Sylvia Plath: The Wound and the Cure of Words, Baltimore, Johns Hopkins UP, 1990; Jacqueline Rose, The Haunting of Sylvia Plath, London, Virago, 1991; Susan R. Van Dyne, Revising Life: Sylvia Plath’s Ariel Poems, Chapel Hill, U. of North Carolina Press, 1993; Christina Britzolakis, Sylvia Plath and the Theatre of Mourning, Oxford, Clarendon Press, 1999; Tracy Brain, The Other Sylvia Plath, Harlow, Pearson Education, 2001.

(posted 28 June 2021)

A Culture of Cliches
Freeside Europe Online Academic Journal, Kodolányi János University, 2021 Issue
Deadline for abstracts : 15 October 2021

Freeside Europe Online Academic Journal is an interdisciplinary journal that was first established in 2005. Since the beginning of 2009, the journal has been given a new profile with the aim of connecting the different fields of academic studies (literature, arts, media, intercultural communication, cultural studies, history, linguistics, applied linguistics, translation, and English language teaching) by providing each issue with one particular topic. Through these specific topics we intend to create a platform for discussion that will connect the different areas of the humanities in the form of articles, reviews, interviews or even comments. We hope that by inviting and featuring various perspectives on a current theme we will be able to investigate an issue at greater length and depth. e Freeside Europe welcomes quality work that focuses on research, development, and review.

Upcoming issue

We live in an age of cliches. Their presence can be felt on various levels of our culture, including politics. Famously, the former president of the United States, Donald Trump, relied on an overly simplistic rhetoric to win support, and many argue that Brexit could not have happened without the recourse to nationalistic cliches.

In a more general sense, cliches have been gaining significance at least since the advent of postmodernism. The blurring of the lines between high and low art called for a new, creative approach to the commonplace. But are we still engaging with cliches in this postmodern way, or has our attitude changed? What are the most important cliches in a particular field, in the first place? How can we distinguish them from, say, tropes?

Freeside Europe Online Academic Journal invites submissions that explore how cliches determine, influence, or affect our culture or certain aspects of our culture. Potential topics include (but are not limited to):

  • Cliches and discoveries in literary criticism
  • Cliches and populism in contemporary and historical contexts
  • Subverting genre expectations in works of art (visual, media, film)
  • The relevance of cliches in linguistics
  • Reconsidering canonical translations of famous works
  • Cross-cultural stereotypes in literature, arts, linguistics, pragmatics, and business
  • What are cliches and what are not in international communication?

All papers will be peer-reviewed and evaluated for their originality, language perspective, and correctness, relevance of topic and presentation quality.
Articles must be 5000-7000 words and should not exceed 15 pages.
Reviews must be 1,500-2,500 words (4-6 pages).
Please send an abstract of 150-200 words by 15 October 2021 to
Submitted abstracts should be in English.
Authors will be informed of the acceptance or rejection by 15 November 2021.
Abstracts should include the following:

  • Title of contribution
  • Author’s name and surname/s
  • Institutional affiliation
  • email address
  • 150-200 word abstract

Deadline for full-text article submission: 20 December 2021.
For guidelines please refer to the website:
Publication fee: no fee
Abstracts (150-200 words), articles and any enquiries should be sent to
We look forward to your submission!
Sincerely, Krisztina Kodó, Habil. PhD (Editor-in-chief)

(published 11 September 2021)

“I want to die”: The contemporary writer and their suicide
Organizer: Josefa Ros Velasco (Complutense University of Madrid)
Deadline: 31 October 2021

Contact the Seminar Organizers

From the turn of the 20th century to the present, debates over the meaning of suicide became a privileged site for efforts to discover the reasons why people commit suicide and how to prevent this behavior. Since Émile Durkheim published his study Suicide in 1897, a reframing of suicide took place, giving rise to a flourishing group of researchers devoting their efforts to understand better the causes and prevention of suicide. A century later, we still keep on trying to reach such an understanding of suicide and its modern conceptualization to prevent suicidal behaviors.

Suicide is an act that touches all of our lives and engages with the incomprehensible and unsayable. In searching for solutions to how to make life valuable, modern neuropsychiatric research alone is not able to offer such a chance to people after all. On the contrary, self-reflection and self-analysis, as those made by contemporary writer who committed suicide, seem a good alternative. To explore the place where reasons end, in addition to traditional and clinical suicidology studies, we count on literature and the experience of authors who committed or tried to commit suicide as invaluable resources to approach this issue in modern times.

This is a seminar to analyze the social and contextual causes of suicide, the existentialphilosophical, and psychological reasons for committing suicide, and the prevention strategies we can learn from contemporary writers across the world who attempted to commit suicide or reached this goal and wrote about this topic in their biographical notes or artistic pieces. Proposals should focus on the clues the authors themselves left before committing suicide (or attempting to) both in their biographical texts and in their literary works, regardless of the literary genre, the sex of the authors or their nationality.

Such an analysis will serve the purpose of understanding better the phenomenon of suicide, its most inaccessible impulses, and provide a space to think of how their suicides might have been prevented from the examined clues found both in their biography and their masterpieces.

This workshop will be the second part of the one held in 2019 at Georgetown University (with a brief sequel at Harvard University the same year), as part of the ACLA Annual Meeting, focused on the study of suicide through the characters of contemporary fictional works. The results of these meetings will be published in September 2021 by the publisher Springer Nature ( The proceedings of this second meeting are waiting to be published in another volume with the same characteristics. NOTE: If you are interested ONLY in contributing a chapter to the collective book, please, reach me at

DEADLINE: October 31, 2021.

(posted 23 August 2021)

Theorizing Literary Animals
Special issue 2/2022 of Studia Universitatis Babeș-Bolyai Philologia
Deadline for proposals: 1 November 2021

Guest editor: Dr. Ema Vyroubalova, Trinity College Dublin

This special issue seeks essays in English that engage with as well as challenge existing work in animal studies in relation to literary texts and/or theories from across different genres, historical periods, and linguistic and national traditions. Topics for possible essays include the following:

  • relationship between animal studies and literary theory and/or history
  • theorizing human-animal hybridities and continuities in literary texts
  • alternatives to anthropocentrism and/or anthropomorphism in literary criticism and theory
  • intersectionality and animal studies
  • triangulating between animal studies, ecocriticism and literary theory/studies
  • animals and translation theory
  • impact of the animal rights movement on literature
  • pedagogical approaches to combining animal and literary studies


  • 1 November 2021 – proposal submission deadline (200-word abstract, 7 keywords, 5 theoretical references, 150-word author’s bio-note)
  • 15 November 2021 – notification about acceptance
  • 1 February 2022 – submission of full papers (Instructions for authors regarding formatting rules and style sheets can be found on the journal’s webpage:
  • 30 June 2022 – publication of the special-themed issue

Please send your abstracts and papers to both email addresses: and

(posted 22 February 2021)

Victorian and Edwardian Autobiographies
Cahiers victoriens et édouardiens n°98, Fall 2023
Deadline for proposals: 10 November 2021

A 400-word abstract and brief biography should be sent to Aude Haffen ( by November 10th, 2021. Notifications of acceptance will be sent by December 18th, 2021. Full articles (up to 7,000 words) will be due by June 10th, 2022.

This issue of Les Cahiers victoriens et édouardiens aims to shed new light on Victorian and Edwardian self-narratives and self-representations (autobiographies, letters, travelogues, diaries etc.) by focussing on their connection to the period’s mainstream as well as minor or marginal literary tropes, political ideas, ethical principles, epistemological frameworks and religious beliefs. Subaltern forms of life-writing will be of particular interest, but also literary endeavours which challenge dominant views of the subject from within their own hegemonic or canonical status. Postmodern, feminist, queer, Marxist and Foucauldian theories have fruitfully engaged with how modern subjectivities were fashioned by 19th century capitalist, patriarchal, scientific discourses and archetypal narratives like the Bildungsroman. However, the actual autobiographical practices of the time might also involve forms of self-representation and self-understanding which elude such ideological patterns and frameworks of subjectivation. From the cultural centre epitomized by John Stuart Mill’s Autobiography to less prominent and even marginal positions (those, for example, held by female, queer, working-class, radical or Black autobiographers or diarists), Victorian and Edwardian life-writing practices might indeed resist the liberal paradigm of universal male agents developing individual selfhood along a linear course leading to wholeness, self-discipline and self-knowledge.

We invite contributions from all fields of 19th and early 20th-century literature, history and cultural studies. Topics and approaches might include:

  • – Autobiography and liberalism
  • – Chartists’, socialists’, workers’ autobiographies
  • – Black British autobiographers
  • – Circulation, impact and literary influence of American ex-slave self-narratives and Black abolitionists’ lecture tours in Victorian Britain
  • – Archiving and publication history of subaltern self-narratives
  • – Women’s autobiographies; gender and sexuality
  • – Religion and faith
  • – Psychology, psychiatry and psychoanalysis
  • – Hybrid forms of self-narratives; “autobiografiction” (Max Saunders); autobiographical uses of literary paradigms, motifs and patterns
  • – Diaries, journals, letters, travelogues, poetry, biography as alternative modes of self-representation
  • – 20th and 21st-century rediscovery and reinterpretation of Victorian and Edwardian personal voices (biographies, Neo-Victorian literature, films and series)

Selective bibliography:

Amigoni, David (ed.)., Life-Writing and Victorian Culture. Ashgate, 2006.
Bensimon, Fabrice, “L’histoire ouvrière au prisme des autobiographies en Grande-Bretagne au XIXe siècle”, SFEVE conference “Popular forms and practices of reading and writing in the Victorian and Edwardian eras”, January 2021.
Buckton Selves, Oliver, Confession and Same-Sex Desire in Victorian Autobiography, University of North Carolina Press, 1998.
Foucault, Michel, Histoire de la sexualité I : La volonté de savoir, Gallimard, 1976.
Gagnier, Regenia, Subjectivities: A History of Self-Representation in Britain, 1832-1920, OUP, 1991.
Gurney, Peter, “Working‐Class Writers and the Art of Escapology in Victorian England: The Case of Thomas Frost”, Journal of British Studies, Vol. 45, No. 1 (January 2006), pp. 51-71.
Regard, Frédéric (ed.), Mapping the Self.  Space, Identity, Discourse in British Auto/Biography, Publications de l’Université de Saint-Étienne, 2003.
Roulston, Chris, “The Revolting Anne Lister: The U.K.’s First Modern Lesbian”, The Journal of Lesbian Studies, 17:1, 2013, pp. 267-278.
Saunders, Max, Life-Writing, Autobiografiction, and the Forms of Modern Literature, OUP, 2010.
Stanley, Liz, The Auto/biographical I: The Theory and Practice of Feminist Auto/biography, Manchester University Press, 1995.
Stapleton, Julia, Political Intellectuals and Public Identities in Britain since 1850, Manchester University Press, 2001.

(posted 18 May 2021)

­Re-Storying the World for Multispecies Survival
A special issue of Synthesis (15. 2022)
Deadline for abstract submissions: 15 November 2021

Synthesis: an anglophone journal of comparative literary studies

Special Issue Editor: Mayako Murai

This special issue of Synthesis aims to respond to the challenges that recent reflections on multispecies survival and coexistence pose for studies in literature, art, and critical theory today.  In the past few decades, there has been a plethora of works in various media, such as literature, film, and visual and performing arts, that thematise human-animal interactions and interspecific transformations in a way that acknowledges more positive values in more-than-human worlds than before. This rising interest in literary and artistic works focusing on reconfigurations of human-animal interactions and boundaries seems to reflect a shift away from an anthropocentric and exclusive view of nonhuman animals towards a more inclusive view that values interdependence and interconnectedness between human and nonhuman animals.

This special issue invites contributions that offer new perspectives on multispecies entanglements in literary and artistic works and theories from different disciplines, genres, historical periods, and cultural traditions. At the heart of this approach is a commitment to careful and imaginative attention to the lives and worlds of others, whether human or nonhuman, grounded in diverse academic and creative practices, including literary studies, art, critical theory, natural sciences, and Indigenous knowledges.

Possible topics include, but are not limited to, the following:

  • multispecies entanglements in literary and artistic works
  • literary and artistic imaginings of more-than-human worlds
  • theorising more-than-human aesthetics across art and science
  • critical anthropomorphism in literary and artistic works
  • post-anthropocentric critique of existing literary and aesthetic theory
  • intersectionality and multispecies studies
  • translation theory and multispecies studies
  • Indigenous studies and multispecies studies
  • the ethics of eating and multispecies entanglements

Abstracts of 250-300 words (and a brief bio note) should be submitted to Mayako Murai at and by 15 November 2021.
Notification of acceptance will be delivered by 15 December 2021.
Deadline for a manuscript (6,000-8,000 words) submission: 31 May 2022
Publication: December 2022

All enquiries regarding this issue should be sent to the guest editor, Mayako Murai (

(posted 16 September 2021)

Theorizing Literary Animals
Studia Universitatis Babeș-Bolyai Philologia Special Issue 2/2022
Deadline for proposals: 15 November 2021
Guest editor: Dr. Ema Vyroubalova, Trinity College Dublin,

Animal studies as an academic field of inquiry’s starting point is often identified with the publication of Peter Singer’s Animal Liberation in 1975. The foundations nevertheless began to be laid down long before recent scientific insights into animal cognition and communication were available. Animals have been depicted in writing for thousands of years: the Ancient Egyptian Book of the Dead, the Epic of Gilgamesh, the Aztec codices, and medieval bestiaries all teem with animals and the Bible alone mentions around 120 different animal species. In the sixteenth century, Michel de Montaigne famously mused, “When I am playing with my cat, how do I know that she is not playing with me?” and, in the late eighteenth century, Jeremy Bentham asked, “the question is not, can they reason? nor, can they talk? but, can they suffer?”

Numerous thinkers from diverse disciplines have continued along this trajectory, working to complicate, challenge, and ultimately supersede traditional anthropocentric and anthropomorphic approaches to animals by finding alternatives to the hard binary and/or implicit hierarchy through which human-animal relations have often been conceptualised. Giorgio Agamben’s Homo Sacer envisages a more fluid “indistinction” between animal and human life. Cary Wolfe in Animal Rites explores theoretical avenues for freeing discourses about continuities and differences between species from the anthropocentric tendencies of speciesism. Animacies by Mel Y. Chen seeks to break down boundaries further, not only between human and non-human animals, but also between animate and inanimate entities and organic and inorganic matter. Donna Haraway’s recent work offers bleak visions of humans and animals alike clinging to survival in the degraded worlds of the Plantationocene and Capitalocene. David Herman’s Narratology Beyond the Human repurposes the methodologies of narratology to craft a new animalcentric approach to narratives dealing with animal-human relations. Advances in animal studies have opened up new opportunities for scholars working in literary studies to apply and create theories and methodologies based on understanding the relationship between humans and non-human animals as a complex and constantly evolving
multidirectional dynamic.

This special issue seeks essays in English that engage with as well as challenge existing work in animal studies in relation to literary texts and/or theories from across different genres, historical periods, and linguistic and national traditions. Topics for possible essays include the following:
• relationship between animal studies and literary theory and/or history
• theorizing human-animal hybridities and continuities in literary texts
• alternatives to anthropocentrism and/or anthropomorphism in literary criticism and theory
• intersectionality and animal studies
• triangulating between animal studies, ecocriticism and literary theory/studies
• animals and translation theory
• impact of the animal rights movement on literature
• pedagogical approaches to combining animal and literary studies

Indicative Bibliography:
AGAMBEN, Giorgio. Homo Sacer: Sovereign Power and Bare Life. Stanford: Stanford University Press, 1998.
BAKER, Steve. Picturing the Beast: Animals, Identity, and Representation. Urbana- Champaign: University of Illinois Press, 1993.
BOEHRER, Bruce, ed. A Cultural History of Animals in the Renaissance. Oxford: Berg Publishers, 2009.
BJORKDAHL, Kristian, and PARRISH, Alex. Rhetorical Animals: Boundaries of the Human in the Study of Persuasion. Lantham: Lexington Press, 2017.
BROWN, Laura. Homeless Dogs and Melancholy Apes: Humans and Other Animals in Modern Literary Imagination. Ithaca: Cornell University Press, 2010.
DERRIDA, Jacques. The Animal That Therefore I Am. New York: Fordham University Press, 2008.
HARAWAY, Donna. Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC: Duke University Press, 2016.
HARAWAY, Donna. When Species Meet. Minneapolis: University of Minnesota Press, 2008.
NASH, Richard. Wild Enlightenment: The Borders of Human Identity in the Eighteenth Century. Charlottesville: University of Virginia Press, 2003.
RITVO, Harriet. Noble Cows and Hybrid Zebras: Essays on Animals and History. Charlottesville: University of Virginia Press, 2010.
SALISBURY, Joyce. The Beast Within: Animals in the Middle Ages. London: Routledge, 2010.
WOLFE, Cary. Zoontologies, The Question of the Animal. Minneapolis: University of Minnesota Press, 2003.
WOLFE, Cary. Animal Rites: American Culture, the Discourse of Species, and Posthumanist Theory. Chicago: University of Chicago Press, 2003.

• 15 November 2021 – proposal submission deadline (200-word abstract, 7 keywords, 5 theoretical references, 150-word author’s bio-note)
• 1 December 2021 – notification about acceptance
• 1 February 2022 – submission of full papers (Instructions for authors regarding formatting rules and style sheets can be found on the journal’s webpage:
• 30 June 2022 – publication of the special-themed issue

Please send your abstracts and papers to both email addresses: and

(posted 19 October 2021)

Tolkien as a translator: investigations on Tolkien translation studies
A collection of essays
Deadline for submissions: before December 2021

Editors: Giuseppe Scattolini and Enrico Spadaro

A call for papers from Tolkieniani Italiani

John Ronald Reuel Tolkien was first and foremost a great philologist: words and languages were his bread and butter. Languages that evolved throughout their history, languages near and far, languages that had to be translated. Because Tolkien was also a great translator: dealing with Old and Middle English, it was necessary for him to translate into modern English, according to contemporary language, those ancient texts that would inspire him so much as a future author and creator of worlds and languages. It is perhaps from the translation into modern English of the poem Beowulf that Tolkien’s great literary production started; and to this first translation work, the Professor also dedicated a study, Translating Beowulf, in which he explained and argued his choices and reflected on the difficulties of translation.

Therefore, it turns to be useful to devote a collection of essays to Tolkien as a translator: to his way of translating, to the criteria he used, to the choices that distinguished his style and that inevitably influenced his sub-creation(s). Tolkien’s interest in translation was manifold and peculiar; moreover, the quick success of The Lord of the Rings around the world soon prompted him to draw up guidelines on the nomenclature of the work itself for those who would attempt to render the novel in their own languages. Several countries may now boast of having more than one translation of the adventures of Frodo and the Ring, thus providing new elements for reflection in Tolkien translation studies. This miscellany therefore aims to cross-examine, from a comparative point of view, the translation practice of Tolkien’s work in the light of the author’s thoughts on translation itself.

Contributions are particularly requested that investigate:

  • The translation methodologies that Tolkien used in his translations and that he establishes in his non-fiction works, with particular attention to the essay Translating Beowulf;
  • The translation criteria Tolkien gave to the translators of his works, especially in the “Nomenclature” and “Appendices” of The Lord of the Rings;
  • The use of such methodologies and criteria in translating Tolkien’s works into the language of one’s own country;
  • The possibility of applying these methodologies and criteria in future translations of Tolkien’s works into the language of one’s own country.

This Call for Papers is international and open to Tolkienian scholars and fans from all over the world: the participation of linguists and translators from is requested and welcomed. Essays will be published in two languages, English and Italian, by carefully selected publishers. For those who need assistance in translating their essays from Italian into English and vice versa, please contact the editors. Anyone wishing to publish this volume in their own language is encouraged to do so by writing to the editors and making arrangements with them for this purpose.

The maximum length of contributions is about 6500 words, notes, bibliography and spaces not included in the calculation. Abstracts of no more than 300 words are requested before December 2021; essays are due in May 2022. Essays should be written according to the editorial criteria that will be indicated to the participants via e-mail. Citations should not exceed 15% of the total word/character count of the article. Copyrighted material should be avoided unless you have permission to publish.

Email addresses to which proposals should be sent:
Enrico Spadaro
Giuseppe Scattolini

(posted 18 May 2021)

World-Wide Woolf
A book to be published in 2023
Deadline for proposals: 1 December 2021

From a somewhat niche position in English modernism, Virginia Woolf istoday an icon (see Brenda Silver, Virginia Woolf Icon) recognised aroundthe world. World Wide Woolf will consider the many steps of culturalmediation that ‘produce’ the varied and varying versions (‘versionings’,Silver) of Woolf that readers and even non-readers encounter in nationaland transnational contexts. Organised in two axes, this internationalmulti-authored collection will explore the poles of production andreception as part of the complex circuits from which many differentWoolf images emerge. The chapters in the first section will explore howher works are edited, translated, and (re)produced in many languages,media, platforms and disciplines, both historically and contemporarily.The second section will focus on how ideas of Woolf are received in newmedia and on new platforms such as the world wide web, fashion, andsocial media, and how Woolf lives in the works of contemporary artistsand cultural creatives. Given the importance of academics in mediatingthis reception, the final chapters will also bring new critical perspectiveson Woolf.
We the editors are excited to invite contributions for chapters that fallinto either of the following sections:

World-Wide Woolf
Edited by:
Elisa Bolchi, Universit  degli Studi di Ferrara (Italy)
Maria Rita Drumond Viana, Universidade de Federal deSanta Catarina (Brazil)
Hala Kamal, Cairo University (Egypt)
Monica Latham, Université de Lorraine, Nancy (France)
Sayaka Okumura, Kobe University (Japan)
Mine Özyurt Kılı, Social Sciences University of Ankara(Turkey)
Helen Southworth, University of Oregon (USA)

1. Production: Editing, Translating, Publishing
This first section of World Wide Woolf will include chapters covering allsteps of cultural mediation put in place by literary agents, editors,translators, publishers and booksellers to ‘produce’ and ‘market’ Woolfaround the world. This section will be mainly concerned with bookhistory, publishing history, translation studies, censorship, sociology ofliterature, and archival studies.
The two main subsections of this section will be:
A. Woolf’s many languages: editing and translating
B. Publishing Woolf around the world: past and present challenges

2. Reception: New Media and New Critical Perspectives
This second section of World Wide Woolf will focus on the reception ofWoolf in new media (Websites, Fashion, Social Media…); on Woolf stillliving today in contemporary literature, art, dance and music, in short onWoolf’s literary and artistic legacy; and it will end with a section on newcritical perspectives both applied to Woolf or in which Woolf is usedinterdisciplinarily to discuss other subjects. Among the many subjectareas touched on in this section are ecocriticism, digital humanities,feminism and neo-feminism, sociology of literature, interdisciplinarity,transnationalism and gender studies.
The three main subsections of this section will be:
A. Multimedia Woolf / DH Woolf: the Web and Other Media
B. Thinking through Woolf: Legacy and contemporary influences
C. New Woolf, New Critical Perspectives (Woolf’s oeuvre interpretedwith new critical concepts).

Prospective contributors are invited to submit a 1,500-word chapterproposa by the 1st of December 2021
In their final versions, chapters should have a 7,000-word count.
Accepted proposals should be turned into full chapters to be sent by the 1st of July 2022 for peer review, which will be conducted on a double-blind process by external readers. The full process, including revisionsby the authors when required, should lead to the final acceptance byJanuary 2023 for the expected publication in late 2023.
The volume prospectus has been preliminarily accepted in the Edinburgh Companion to Literature and the Humanities series, with the provisiona title: The Edinburgh Companion to World Wide Woolf
For this reason allchapter submissions should be in English and appropriate for an academic readership.
Please get in touch with us if you have any questions or would like toknow more about the project. We encourage proposals from emergingscholars as much as well-established ones and are especially interestedin research conducted in the Global South, in non-Anglophone contexts,and by artists, editors, and publishers in independent presses.
All queries and chapter proposals can be sent to:

(posted 21 June 2021)

Conjugal Relationships: An Assessment of Sino / West Discourse and Aesthetics
An edited volume to be published in 2022
Deadline for abstracts: 20 December 2021

We are now inviting chapter proposals for the book volume Conjugal Relationships: An Assessment of Sino / West Discourse and Aesthetics. This book aims to review the presentation of conjugal relationships in the Sino / West context. In what way is the act of marriage represented / misrepresented in different literary genres and their adaptations? What are the gendered characteristics that affect the overall conjugal relationships in Chinese societal practices? What are the essential features that give rise to nuptial arrangements from the Chinese perspective? How do Sino and / or West mentalities differ in terms of autonomy in marriage? To what extent could marriage be in the form of transaction of female / male bodies? Under what circumstances do wedding ceremonies constitute to archetypal or counter-archetypal notions in modern / pre-modern society? The volume serves to revisit the connection between marriage and various art forms including literature, film, theatre, adaptations, etc.

We welcome submissions that include, but not limited to, the following topics in Sino / West scenarios:

  1. Marriage from ancient to present times
  2. Empire, romance and marriage
  3. The ethics of love and marriage
  4. Duty and rights in conjugal relations
  5. Marriage as ritual culture
  6. Inter-racial / Inter-cultural marriage
  7. Legitimacy in marriage and concubinage
  8. Widowhood in Confucian ideology
  9. Divorce as resistance
  10. Re-marriage and its taboo
  11. Conjugal violence
  12. Conjugal transaction

The volume will be edited by Dr. Kelly Kar Yue Chan and Dr. Chi Sum Garfield Lau. They have rich experience in the academia and connections with various publishers. Their edited book, Chinese Culture in the 21st Century and its Global Dimensions: Comparative and Interdisciplinary Perspectives (Springer Nature) was published in 2020. A forthcoming edited volume, Cross-Cultural Encounters: Global Networks, Mediation, and Intertextuality in Modern and Premodern China (Springer Nature), will soon be released in late 2021 / early 2022.

Interested authors should send an abstract (no more than 250 words) and a short biography (no more than 150 words) to the editorial team ( and by 20 December 2021.

Authors will be notified of the decision made by the editorial team by 31 January 2022. Only papers that have not been submitted to any other publishers before will be considered for acceptance.

For details and enquiries, please write to and

Full Paper Submission Guideline The submission should be between 6,000 and 8,000 words (excluding references) and it should follow the attached full paper style guide.
Submission Channels: Please send your full paper prepared in APA style to and by 25 April 2022. All received abstracts and papers will go through the process of internal review and language editing before they are included in the proposal to potential publishers.

Important Dates:
20 December 2021 (Mon) Deadline of abstract submission
31 January 2022 (Mon) Notification of acceptance
25 April 2022 (Mon) Deadline of full paper submission

(posted 25 October 2021)

Fantasies of the Subject: Affecting Selves in Contemporary American Literature
Call for chapters for an edited volume
Deadline for abstract submission: 30 December 2021

The volume is edited by Paula Barba Guerrero & Laura de la Parra Fernández

If what we need to dream, to move our spirits most deeply and directly towards and through promise, is discounted as a luxury, then we give up the core —the fountain— of our power […] we give up the future of our worlds.
—Audre Lorde, “Poetry Is Not a Luxury”

“Nations provoke fantasy”, contends Lauren Berlant (1997, 1). In The Queen of America Goes to Washington City (1997), Berlant argues that citizenship has become privatized in neoliberal America, and political discourses have turned to the private sphere and the appeal of the emotions. This way, what being an American citizen represents has become closely linked to the individual subject, their life choices, and their feelings and emotions. In short, certain choices, feelings or even identities, as Donald Pease claims, can be considered “un-American” (1994, 11). At the same time, the tendency toward the privatization of feeling and politics has developed along with neoliberalism. If, according to Foucault, neoliberalism can be understood as organisation of subjectivity (2008), the subject can then be managed by market rationality, whereby identity is turned into a series of rational consumer choices, risk-management and governmentality. The individual can thus be marketed and capitalised through emotions.

Following Benedict Anderson’s claim that nations are “imagined communities” (2006, 22), Timothy Brennan affirms that nations “are imaginary constructs that depend for their existence on an apparatus of cultural fictions in which imaginative fiction plays a decisive role” (1990, 49). In this sense, the idea of national fantasy may be propelled forward by means of cultural artifacts that sustain it, and which put forth the “correct” performance of subjectivity. Amongst them, fiction is a powerful tool to create what Lauren Berlant has called “intimate publics”, which are a group of readers and consumers who “already share a worldview and emotional knowledge that they have derived from a broadly common historical experience” (2008, ix). These productions, especially those traversed by sentimentality and addressed to an intimate public, allow, on the one hand, to voice complaints and express discomfort or disappointments at the failed expectations of the “good life” (Berlant 2011), while on the other hand they reify and uphold these normative narratives.

This volume seeks contributions that deal with representations of emotional selfhood from a variety of perspectives. Suggested topics include, but are not limited to:

  • “Biofiction” and the female self
  • Bodies and/in nations
  • Re/productive future(s)
  • National post-memories, mobility, and the American dream
  • Radical hope narratives and emotional (after)lives
  • Emotional fantasies and cultures: the self and/as the Other
  • Environmental fiction and the anthropocene
  • Visual and digital cultures
  • Political emotion and intimate publics
  • Pleasure narratives, affect-centered writing
  • Posthuman subjectivities and the emotions of the future
  • Literature, emotion, and activism

Prospective contributors are expected to submit 300 to 400-word abstract proposals, including full name, affiliation, and email address to and by December 30th, 2021. Please indicate “Fantasies of the Subject Proposal” in the email’s subject.

Selected, peer-reviewed contributions will be published in 2023 by a top-tier academic press.


Ahmed, Sara. Living a Feminist Life. Durham: Duke University Press, 2017.
—. Cultural Politics of Emotion. Edinburgh: Edinburgh University Press, 2004.
—. On Being Included: Racism and Diversity in Institutional Life. Durham: Duke University Press, 2012.
—. Willful Subjects. Durham: Duke University Press, 2014.
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso, [1983] 2006.
Berlant, Lauren. Cruel Optimism. Durham: Duke University Press, 2011.
—. The Female Complaint: The Unfinished Business of Sentimentality in American Culture. Durham; London: Duke University Press, 2008.
—. The Queen of America Goes to Washington City: Essays on Sex and Citizenship. Durham; London: Duke University Press, 1997.
—. The Anatomy of National Fantasy: Hawthorne, Utopia, and Everyday Life. Chicago; London: The University of Chicago Press, 1991.
Brennan, Timothy. “The National Longing for Form.” Nation and Narration, edited by Homi Bhabha. New York: Routledge, 1990, pp. 44–70.
Butler, Judith. The Force of Non-Violence. London: Verso, 2020.
—, Zeynep Gambetti, and Leticia Sabsay, eds. Vulnerability in Resistance. Durham: Duke University Press, 2016.
Foucault, Michel. The birth of Biopolitics: Lectures at the Collège de France, 1978–1979. London: Palgrave Macmillan, 2008.
Gilmore, Leigh. The Limits of Autobiography: Trauma and Testimony. Ithaca: Cornell University Press, 2001.
Hirsch, Marianne. The Generation of Postmemory. New York: Columbia University Press, 2012.
Illouz, Eva. Cold Intimacies: The Making of Emotional Capitalism. London: Polity, 2007.
Khair, Tabish. The New Xenophobia. Oxford: Oxford University Press, 2016.
Lorde, Audre. “Poetry Is Not a Luxury.” Your Silence Will Not Protect You. London: Silver Press, [1977] 2017, pp. 7-12..
Pease, Donald E. “National Identities, Postmodern Artifacts, and Postnational Narratives.” National Identities and Post-Americanist Narratives, edited by Donald E. Pease. Durham: Duke University Press, 1994, pp. 1–13.


  • Deadline for abstract submission: December 30th, 2021
  • Confirmation of acceptance: January 30th, 2022
  • Book chapters due: June 30th, 2022

Contact information:

Dr. Paula Barba Guerrero, University of Salamanca

Dr. Laura de la Parra Fernández, University of Salamanca

(posted 16 September 2021)

Representations of Happiness
Journal of Philology and Intercultural Communication Vol. 6 No. 1, February 2022
Deadline for contributions: 31 December 2021

In times of pandemic and world-wide socio-economic crisis, we evoke the example provided by Giorgio Boccaccio’s characters in the Decameron and invite contributors to conceive papers on the concept of ‘happiness’, its various representations as well as its dark counterpart, the ‘unhappiness’. We welcome submissions from different fields of expertise, including literature, visual arts, cultural studies, gender and identity studies, philosophy, religion, anthropology, psychology, linguistics, among many others and propose topics such as:

  • Theoretical approaches of (un)happiness;
  • Types of happiness;
  • The eternal quest for happiness
  • Ways of achieving happiness
  • Collective vs individual happiness
  • Social happiness: utopia vs dystopia
  • Happiness in empires and colonies
  • Mythological representations of happiness
  • God / Divinity and the expression of supreme happiness
  • Materialism / Consumerism / Social status and happiness
  • Mass media and the projection of happiness
  • Human ages and the stages of happiness
  • Family and its old / new ways of expressing happiness
  • The connection between happiness, love and passion
  • Passions and addictions as forms of happiness
  • Happiness and mental or physical sickness, disability
  • Finding happiness in extreme conditions: wartime and pandemic  Happiness in seclusion: extermination camps, prison, hospital, monastery

Please note that the above topics are not exclusive and all contributions on the proposed theme are warmly welcomed. Likewise, the journal section titled Miscellaneous may include papers that are not related to the present theme.

Contributions should be sent by December 31st 2021 to:
Adela Catana: (English and Romanian)
Andreea Preda: (French and Romanian)

We invite our collaborators to submit original articles that have not been published, under
review or accepted elsewhere. It is the responsibility of the authors to ensure the originality,
authorship, accuracy, complete references, coherent organization and legible appearance of their

  • Languages: English, French, Romanian
  • The page-limit for articles: no more than 12 pages, works cited included
  • The margins: left – 25 mm, right – 25 mm, top – 25 mm, bottom – 25 mm, header and footer –15 mm
  • Paper setup: A4, 1,15 space between lines, 20 mm margins, justified
  • Title of the article: Caps, Times New Roman 14 Bold, Centred, at 50 mm above the text
  • Author’s name, scientific title and academic affiliation: Times New Roman 12 Bold, under the title, at 2 lines distance
  • Abstract: Approximately 250 words in English, Times New Roman 11, italics, two lines below the author’s name, in English
  • Five Keywords under the abstract, in English (TNR 11)
  • Text of the article: one line below the keywords, in English, Times New Roman, 12, justified
  • No endnotes (footnotes only): font size 10, numbering: continuous; No Page Breaks in the document; All graphic elements set in line with the text
  • Bibliography/ Works Cited: at 2 lines distance from the end of the paper; single column format, Times New Roman 12, italics, under the bibliography. Sources must be quoted according to the latest edition of the MLA Handbook for Writers of Research Papers
  • Biodata: 2 lines distance from the end of the Bibliography; Times New Roman 12; justified
  • All papers will be submitted electronically in Microsoft Word format

Submitted papers are subject to PEER REVIEW and will be evaluated according to their significance, originality, technical content, style, clarity, and relevance to the journal issue’s theme.
For more information, feel free to check our website

(posted 10 September 2021)

Books and special issues of journals – Deadlines July to September 2021

Intercultural Communication and Ubiquitous Learning in Multimodal English Language Education
Call for chapters for an edited volume
Proposals Submission Deadline: 15 July 2021
  • Soraya García-Sánchez, Universidad de Las Palmas de Gran Canaria, Spain
  • Richard Clouet, Universidad de Las Palmas de Gran Canaria, Spain

Today’s society demands empirical findings towards English Language Education (ELE) for greater multimodal intercultural communication that responds to ubiquitous learners’ context and competences. Learning English is not limited to face-to-face or distant classroom programs, but it implies reaching successful communication and communicative mediation with different spaces and cultures transforming foreign language learning into an intercultural and collaborative experience. Moreover, English Language Education is ubiquitous since it happens inside and outside the classroom and it is often supported by Computer/Mobile Assisted Language Learning (CALL/MALL). This ubiquity necessarily links with online multimodal communication that allows ELE learners to engage in different types of interactions using different mediums (written, spoken, visual, audiovisual, …). Under the constant transformations in the fields of Applied Linguistics and, in particular, in English Language Education, there exists a need for an edited collection of the latest original research in this area.

This Call for Chapters (CFC) calls for submissions to the edited book Intercultural Communication and Ubiquitous Learning in Multimodal English Language Education. The main subject area of this book is Applied Linguistics, a research discipline covering real-world language situations. This book will aim to report current empirical research methods and review relevant theoretical advances in English language learning, linked to applied technologies and action research for experiential situations in English as a Foreign Language (EFL), English as a Lingua Franca (ELF) and English for Specific Purposes (ESP). It will deal with the most innovative approaches to English Language Education from an intercultural and communicative perspective that would cover key concepts such as collaborative ubiquitous learning and multimodal communication. Qualitative and quantitative studies are welcome.

The target audience of this book will be composed of academics, researchers, and educators working in the fields of Applied Linguistics, English Language Education (ubiquitous learning, collaborative learning, mediation and engagement as interactive communicative strategies), intercultural communication and CALL/MALL. Likewise, the book will provide insightful pedagogical advances for successful English Language Education, knowledge acquisition and communication skills concerning experiential learning environments for English as a Foreign Language (EFL), English as a Lingua Franca (ELF), English for Specific Purposes (ESP).

The proposed articles should be written in English and focused on, but not limited to: – (Technology and Pedagogical) Advances in CALL/MALL for English Language Communication – Multimodal Communication in EFL/ELF/ESP – Multimodal English Language Education – English Language Ecosystems set in a (Telle-)Collaborative Ubiquitous Learning Approach – English as a Lingua Franca and Intercultural Communication – Strategies towards Intercultural Communication – Intercultural Communicative Competence: Experiential Learning Approaches – CEFR Mediation and Intercultural Communication – CEFR Approaches towards Communicative Mediation in English Language Learning

Researchers and practitioners are invited to submit on or before July 15, 2021, 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 July 29, 2021 about the status of their proposals and sent chapter guidelines.Full chapters are expected to be submitted by January 20, 2022, 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, Intercultural Communication and Ubiquitous Learning in Multimodal English Language Education. All manuscripts are accepted based on a double-blind peer review editorial process.

All proposals should be submitted through the eEditorial Discovery® online submission manager.

This book is scheduled to be published by IGI Global (formerly Idea Group Inc.), an international academic publisher of the “Information Science Reference” (formerly Idea Group Reference), “Medical Information Science Reference,” “Business Science Reference,” and “Engineering Science Reference” imprints. IGI Global specializes in publishing reference books, scholarly journals, and electronic databases featuring academic research on a variety of innovative topic areas including, but not limited to, education, social science, medicine and healthcare, business and management, information science and technology, engineering, public administration, library and information science, media and communication studies, and environmental science. For additional information regarding the publisher, please visit This publication is anticipated to be released in 2022.

Important Dates

  • July 15, 2021: Proposal Submission Deadline
  • July 29, 2021: Notification of Acceptance
  • January 20, 2022: Full Chapter Submission
  • March 10, 2022: Review Results Returned
  • April 30, 2022: Final Acceptance Notification
  • May 15, 2022: Final Chapter Submission


Soraya García-Sánchez, Universidad de Las Palmas de Gran Canaria:

Richard Clouet, Universidad de Las Palmas de Gran Canaria:

The full call for chapters can be found at

(posted 8 April 2021)

Beyond the White House: The First Lady in Film, Fiction, and Culture.
An edited collection of essays
Deadline for proposals: 16 July 2021

This edited collection seeks to explore the representation of the First Lady in a range of different texts and media. The collection aims to examine the President’s wife in a purely cultural context by investigating the ways in which she has been represented, embodied, characterised and commemorated in film, fiction, memoir, photography and portraiture, television, theatre, education, museum studies, fashion, and social media.

Beyond the White House is an original work that makes use of cultural interpretation to reconfigure the figure of the First Lady as a culturally authoritative individual possessing the ability to sway, change, inspire, and manipulate public attention and opinion. Moving away from biographies and histories, this is the first volume of its kind to consider the representation of the First Lady figure through the prism of popular culture – and therefore consider her impact upon ‘cultural politics’ – and the first to regard her as a strategically important socio-cultural figure.

Removed from the patriarchal hierarchy of White House politics and expectations, the First Lady emerges as a force of her own; she subtly carves out cultural agency and gender identity despite her (in)visibility in the public eye. Simply by being the ‘First Lady of the United States’ she possesses what MaryAnne Borrelli has labelled the “performance of descriptive representation” (Women and the White House: 229). The relationship between the woman and the office is paramount; the existence of the title ‘First Lady’ permits popular culture to tolerate or reject not only political and cultural manoeuvring, but also issues of gender, race, self, location, fashion, identity, satire, memory, authority, and even pedagogy. The office of the First Lady is what the woman makes it, and in Beyond the White House she has become a commanding cultural icon.

Possible topics might include (but are not limited to):

  • The First Lady in film and on television (both fictional First Ladies and representations of real First Ladies, such as in the new First Ladies series from Showtime)
  • First Ladies in fiction (this might be retellings of the stories of real First Ladies, or new fictional First Ladies)
  • First Ladies and self-representation, life-writing and memoir (i.e. Becoming by Michelle Obama, Hard Choices by Hilary Clinton)
  • First Ladies in education; how the role of FLOTUS is represented and taught in classrooms
  • The First Lady on display; exhibitions, curatorship and portraiture of FLOTUS
  • Photography and portraiture of the First Ladies (in magazines, photoshoots and journalism as well as official portraiture)
  • First Ladies on stage and in theatre
  • Fashion and the First Ladies (from inaugural gowns to Melania’s ‘I really don’t care’ jacket)
  • Self-representation and social media; FLOTUS on Twitter and Instagram.

Please send 300-500 word abstracts, a short bio to Dr Anne-Marie Evans ( and Dr Sarah Trott ( ) by 16th July 2021

(posted 17 June 2021)

Alexis Wright’s Carpentaria
A special issue of Cycnos
Deadline for proposals: 20 July 2021

It is our pleasure to launch a call for papers for a special issue of Cycnos entirely dedicated to Alexis Wright’s Carpentaria. The volume is mainly meant for the students and teachers of the Agrégation in France consequently, the papers may bear upon the whole novel and analyse its thematic, generic, historic, political, ethical, rhetorical or structural aspects and in this case the articles may be written in French or in English; or the papers may bear upon a specific excerpt and take the form of a close reading and in that case the articles will have to be written in English.

We expect the proposals for the 20th of July 2021. Our response will be given by the 1st of August and the completed papers will have to reach us by the 1st of October for a publication at the beginning of November 2021 – so that all the Agrégation students may have access to the volume before the written exams.

Thank you for sending a title and an abstract (around 300 words) as well as a short résumé (around 200 words) to Vanessa Guignery and Christian Gutleben :

(posted 20 April 2021)

Hunger and Waste
Literature and Medicine, Volume 40, Number 1, Spring 2022
Deadline for proposals: 1 August 2021

Issue Editor: Isabelle Meuret

This issue of Literature and Medicine will interrogate expressions of hunger and waste in both literary and biomedical contexts. Hunger is a physiological disposition, a daily preoccupation, and a metaphor for desire. On another scale, global hunger—leading to malnutrition and starvation—affects hundreds of millions living in poverty. As for waste, the dearth, careless use, or squandering of resources, together with climate change and other environmental challenges, have raised new concerns about food supplies and unequal access.

Literary variations on the theme of hunger and waste span from the stories of hard-line strikers to those of hunger artists or modern anorexics. Famine fiction is a genre in itself. Memoirs by eating-disordered patients have replaced fasting saints’ hagiographies. Likewise, doctors and caregivers are confronted with the complications of bodies wasting away: subjects may be affected by severe pathologies, suffer dietary restrictions, endure invasive treatments, or resist nutritional intervention or rehabilitation. But while inanition can be lethal, fasting also proves therapeutic. Severe calorie restriction endangers the functions of the organism, induces alterations in energy metabolism, results in nutrient deficiencies and dehydration—yet abstaining from food may cause health benefits in terms of weight loss, blood pressure, and cholesterol levels.

Both literature and biomedicine grapple with issues pertaining to hunger and waste in terms ofrepresentations (How, by whom, to what ends are stories of starvation told? How do the mechanisms of hunger and waste work? What are the effects of malnutrition on mind and body?); significations (What are the social, political, religious meanings of hunger? Is anorexia a response to trauma?); aggravations (What are the consequences of famine on vulnerable populations? How does emaciation interpellate the other?); counteractions (Which clinical, ethical, and humanitarian responses best address food deprivation? What are the challenges of (re-)feeding individuals and entire nations?)

These questions show the many avenues for problematizing hunger and waste in fields such as the health and medical humanities, cognitive literary criticism, fat and hunger studies, and narrative medicine. They invite interdisciplinary dialogue with sociology, philosophy, history, psychology, anthropology, media and cultural studies, and performing and visual arts. They also encourage and welcome intersectional methodologies, for instance in connection with disability and lgbtq+ studies, or critical race theory. In any instance, proposals should consider literature or biomedicine, or both, in their broadest sense, as points of reference, and will ideally fit in one of these topical categories:

  • Food insecurity; malnutrition in times of poverty, famines, wars, exiles, and epidemics.
  • Food waste; including protest against consumerism, or environmental impact thereof.
  • Hunger strikes; political and/or subversive resistance to coercion and oppression.
  • Fasting vs feasting; asceticism, relative to spiritual or religious taboos and rituals.
  • Anorexia; pathologization, medicalization, and treatment of self-starvation.
  • Hunger and anger; expression of rage, of ravenous appetites and insatiable desires.

Strong submissions that do not quite fit into the theme issue as it takes shape will also be considered for inclusion in general issues of the journal.

Deadline for submission: August 1, 2021.  Address inquiries to

Call for Papers and Guidelines for Contributors

Literature and Medicine is a peer-reviewed journal publishing scholarship that explores representational and cultural practices concerning health care and the body. Areas of interest include disease, illness, and health; the cultures of biomedical science and technology and of the clinic; disability; and violence, trauma, and power relations as these are represented and interpreted in broadly defined archives of verbal, visual, and material texts. Literature and Medicinefeatures one thematic and one general issue each year. Past theme issues have explored identity and difference; contagion and infection; cancer pathography; the representations of genomics; and the narration of pain.

Literature and Medicine is published semiannually. Literature and Medicine editors will consider essay clusters devoted to a particular topic or written on a specific occasion. Submissions on any aspect of literature and medicine will be considered, but the journal rarely publishes short notes, personal essays, or creative writing. Authors are advised to look carefully at past issues of the journal (available on the journal website) before submitting their work. Manuscripts should be between 5,000 and 9,000 words in length. Please include an abstract of 100–150 words, and 3–5 keywords.  All submissions should have text, end notes, and bibliography double-spaced and prepared according to guidelines in The Chicago Manual of Style, current edition. Authors will be responsible for securing permission to include visual images, figures, or verbal quotations that exceed fair use.

Literature and Medicine is a peer-reviewed journal. Authors’ names should appear only on a cover sheet, and any identifiers in the text should be masked so manuscripts can be reviewed anonymously. Literature and Medicine reviews only unpublished manuscripts that are not simultaneously under review for publication elsewhere.

Manuscripts must be submitted in digital form (.doc, .docx, or .rtf) through our website:

Correspondence should be sent

(posted 16 June 2021)

‘Bondian Drama’ and Young Audience
An edited book published by Vernon Press
Deadline for proposals: 15 August 2021
Editor: Uğur ADA, PhD (Tokat Gaziosmanpaşa University, Turkey)
Edward Bond is one of the most controversial and prolific playwrights of British theatre. Throughout his writing career; the playwright has challenged the conservative standpoint of theatre and education institutions which, he believes, alienate human beings ‒ especially children ‒ from their inner self. He reveals the cultural, psychological, social and individual conflicts of human beings between their inner self and outer world by exploring the effects of violent acts in his plays some of which were staged at more than 60 countries all over the world.
Against the degradation of the dignity and sociality in the modern world, the playwright has developed a creative collaboration with theatre in education companies, local or regional theater groups since the end of 1980s. This collaboration has bought out theatre plays for young audience and also theoretical works which have enabled artistic/educational benefits for all the stakeholders of the art of theatre.
This book seeks works from established and emerging scholars on topics including but not limited to:
  • Edward Bond and ‘Bondian Drama’
  • Theatrical and Pedagogical Background of ‘Bondian Drama’
  • ‘Bondian Drama’ and Theatre for Young Audience
  • ‘Bondian Drama’ and ‘Dramatic Child’
  • ‘Bondian Drama’ and Theatre in Education (TiE)
  • Edward Bond’s Plays for Young Audience (Big Brum Plays, etc.)
  • Future Implications of ‘Bondian Drama’ on Theatre for Young Audience
  • Abstract/Chapter Due: 15 August 2021
  • Notification of Acceptance: 1 September 2021
  • Full Drafts of Chapters: 1 November 2021
  • Finalized Full Drafts of Chapters: 15 December 2021
Proposals should be between 500-700 words and should clearly describe the author’s thesis and provide an overview of the proposed chapter’s structure. Completed chapters (7000 – 10000 words) are also welcome. All proposals/chapters should be prepared for blind review, removing any reference to the author. As a separate document, authors should provide a short CV containing contact information and relevant publications and presentations.
Please note, submitted proposals/chapters should not have been previously published nor currently be under consideration for publication elsewhere. Proposals/Chapters should follow APA style. There are no any submission or acceptance fees for manuscripts submitted to this book publication.
Please email questions and submissions to the editor Dr. Uğur ADA,
This book is proposed to be published by Vernon Press (an imprint of Vernon Art and Science Inc., USA), an international academic publisher of bilingual scholarly books in the humanities and social sciences. Please visit for more details regarding Vernon Press and this publication.

(posted 13 May 2021)

J.R.R. Tolkien in Central Europe
Edited Volume/Collective Monograph
Deadline for abstracts: 15 September 2021

Due in part to the success of the film adaptations, Tolkien, and by extension, fantasy has recently been rediscovered as a trending genre paradigm in Western literary and media scholarship. It is perceived as a conduit for underlying cultural ideas about world-building and historical nostalgia, transmediality, fandom and participatory culture as well as media convergence. Tolkien and the fantasy genre have seen an upsurge in post-socialist Central Europe as well, yet while the fandom is increasing, the scholarly study of Tolkien’s Central European legacy has lagged behind, with fantasy still being considered a niche genre situated on the popular end of the literary scale. This monograph proposes to correct this oversight, re-contextualize concepts and discourses about Tolkien’s reception in the post-socialist Central-European context, and examine the impact of his legacy on the re-positioning of fantasy in Czech, Slovak, Hungarian, and Polish popular culture.

This study would be both a historical investigation of the development of fantasy through national literatures of Central Europe, and a methodological reflection on the metamorphoses that ensure the survival and dissemination of Tolkien’s work.

Successful proposals will address (but are not limited to) the following:

  • the reception of Tolkien’s work in Slovakia, Czech Republic, Hungary, and Poland (both pre- and post- 1989, but with an emphasis on the contemporary situation)
  • the ways Tolkien’s work has been perceived, disseminated, studied, and most recently, taught at universities in Central Europe
  • translations of Tolkien’s work in Slovakia, Czech Republic, Hungary, and Poland
  • what the shifting focus of literary scholarship towards popular genres reveals about forms of cultural import from Anglophone contexts between and across media / between and across literary fiction and screen media
  • how fantasy’s world-building helps circulate ideas about racial, political and geographic otherness, domination and equity, and finally, mythological conceptions of good vs. evil, from communist times to the present
  • what is the relationship between discourses of Tolkien’s work and the political, economic and cultural anxieties in post-socialist Central Europe, and what they reveal about the ways we negotiate local cultural legacies in relation to global ones
  • the reflections of Tolkien’s legacy in contemporary Czech, Slovak, Hungarian and Polish fantasy writing (across literary fiction and screen media)
  • how manifestations of historical nostalgia, transmediality, fandom and participatory culture as well as media convergence mobilize Tolkien’s legacy in a Central-European context

Abstracts of 500 words with a brief author bio note (100 words) with ”Tolkien in Central Europe” in the subject line should be sent to the editors: Janka Kascakova at and David Levente Palatinus at The deadline for abstract submission is September 15, 2021. If accepted, the authors will be invited to present their preliminary findings and first versions of their papers at an online/hybrid conference to be held at the Catholic University in Ruzomberok, Slovakia in March 2022. The final chapters will be due on 31 May 2022. Please, note, the original papers/proposals can be written in one of the Central European languages (Czech, Slovak, Hungarian, Polish) but will have to be translated into English for the monograph. However, we prefer papers in English. The book proposal will be submitted to an established international publishing house. Do get in touch with us if you have any questions.

Important Dates:
Submission of 500-word abstract: 15 September 2021
Decision to authors (abstract): 30 September 2021
Submission of first draft: 15 February 2022 (6000-8000 words)

Online/hybrid conference: mid-March 2022
First review: 30 April 2022
Submission of final papers: 31 May 2022

(posted 15 June 2021)

Journal of Ecohumanism
Journal of Ecohumanism invites contributors to the inaugural issue
Submission Deadline: 30 September 2021
Journal of Ecohumanism aims to open up new possibilities in reconfiguring the multidimensional internship among humans and the more-than-human world by focusing on the structure, mechanics, functionalities, and representations of this internship manifested across ecohumanist and civil contexts. Since Environmental Humanities ample research has looked at variable aspects of ecological citizenship, we have to focus on globalization’s temporality in the rise of Citizen Humanities. In this sense, we are in the midst of constant transformations and evolutionary processes, contributing to the world defining, even perceiving new planetary narrations. In response, the Journal of Ecohumanism develops conversations to consider how challenging conditions shape the concept of citizenship as form, structure, identity, representation and insight, as well as how ecohumanism affects our civil experience of space and time.
Moreover, Journal of Ecohumanism features original research articles, discussion papers and book reviews in a great range of topics covered by critical ecohumanism and citizenship, including but not limited to works informed by cross-cultural and transnational approaches in their intersections with literary theory, cultural studies, cultural criticism, comparative literature, media studies, social studies, religious studies, medical humanities, continental philosophy, and environmental ethics. Τhe journal welcomes research in environmental humanities, ecopoetics,  ecofeminism, ecopsychology, eco-/bio-art, eco-linguistics, matters of Anthropocene or Capitalocene, symbiosis and the era of Symbiocene, citizen humanities and art, semiotics of space and place, urban ecology, smart cities, resilience and sustainability, biopolitics, bioterrorism, pandemic literature and art, posthumanism and related topics about eco-citizenship and the future of Humanities.
All the aforementioned disciplines and research fields change how we understand citizenship by interpreting and translating the complexities of the world that we live in alongside the interplays among humans and the more-than-human world. In conclusion, the Journal of Ecohumanism is open to contributions from around the globe by enriching and promoting the interdisciplinary dialogue between academics, practitioners, policymakers, and students working on different disciplines and encouraging the ecohumanist and citizen narratives in both theory and praxis.
Currently, submissions in English and French, are considered. For all articles, an abstract in English is required. For submissions in French, another abstract in the original language is required.
The Journal follows a strict double-blind review policy embedded in our general publishing ethics and supported by rigorous academic scrutiny of papers published. We invite papers, commentaries, discussion papers and book reviews investigating the ecohumanist and civil narratives in Environmental Humanities, Citizen Humanities, Literary Theory and Cultural Criticism, enabling short research accounts, debates, study cases, book reviews in this interdisciplinary field of Humanities. The Journal seeks to explore issues beyond the “ecocentric-anthropocentric” binary and to examine the changing status of subjectivity, agency, and citizenship today through the complex relations between nature and techno-culture while encouraging a philosophical rethinking of citizenship in a more-than-human world.
Possible topics include but are not limited to:
Ecocriticism and the Εcological Culture
Environmental Ethics
Eco-/Bio Art
Ecohumanism and Continental Philosophy
Ecohumanism and Posthumanism
Ecohumanism and Citizenship and/in Postcolonial Studies
Ecohumanism and Citizenship and/in Animal Studies
Ecohumanism and Citizenship and/in Media Studies
Ecohumanism and Citizenship and/in Religious Studies
Ecohumanism and Citizenship and/in Disability Studies
Ecohumanism and Citizenship and/in Medical Humanities
Ecohumanism and Citizenship and/in Gender Studies
Ecohumanism and Citizenship and/in Narrative Studies
Citizen Humanities
Citizen Art
Pandemic Literature
Pandemic Art
Semiotics of Space and Place
Urban ecology, Smart cities, Sustainability, Resilience
Anthropocene or Capitalocene
Matters of Symbiosis and the era of Symbiocene
Eco-citizenship and the future of Humanities
All submissions should follow the latest guidelines of APA style referencing. You are welcome to submit full-length papers and discussion papers (5000-6000 words), commentaries and book reviews (1000-2000 words).

Please direct any queries about the journal to (

(posted 15 June 2021)

Words and Music – Rock and Roll Writing
A Book Project
Deadline for proposals: 30 September 2021

Frank Zappa (if indeed it was he— words of music have a notorious life of their own) once said that writing about music is ‘like dancing about architecture.’ This infamous quip sounds clever, but how true is it, how valid? Whatever else it does, music also makes us say— or write— things.

This book project aims to embrace all forms of writing which are inspired by rock and roll, and seeks especially to attract discussions of decentred and untypical forms of writing where rock and roll is the focus. While seeking to be inclusive, the editors will especially welcome proposals on the following topics:

  • the rock novel as genre, whether written by novelists or rockers
  • obituaries of rock musicians
  • gender and rock writing
  • rock writing as ‘an action medium that best came to life when the writer was right in the thick of that action.’ (Nick Kent 2010: 149-150)
  • ethnicity in/and rock writing
  • autobiographies and memoirs by musicians, roadies, publicists
  • musicological writing about rock
  • rock writing in the margins/in the run-out grooves
  • oral stories of rock
  • digital writing/social media and rock
  • films, for instance Blinded by the Light which uses rock as a peg to hang the
    story on; spoofs (Spinal Tap, Rutles), rockumentaries (Oasis’s Supernova), fictions (Yesterday): how the image ‘writes’ the music

Scholars, researchers and writers wishing to offer a contribution should provide a title and a brief synopsis (250 words) of their proposed essay, along with a biobiblio (100 words).

Please send submissions by 30 September 2021 to the editors:

Adrian Grafe:
Andrew McKeown:

(posted 3 July 2021)

The essay as a genre
A monographic issue of Odradek
Deadline for proposals: 30 September 2021
One of the features that anyone embarking on the description of the essay as a genre unquestionably has to face is the indeterminacy that is germane to its essence (Obaldia 1995), which is reflected in a desultory and fragmentary style, made up of anecdotes, illuminations, criticisms and suggestions for further reflection (Berardinelli 2008). Ever since its 17th-century origins, the essay has represented a site where it is possible to engage in vehement public oration – often simply unrequired or explicitly opposed – in the manner of the famous “soapbox orators” in Hyde Park (Sanders 1989).
Following T. W. Adorno’s 1958 definition of the essay as a “heretical genre”, we might indeed be tempted to postulate that the essayist’s voice is bestowed on his/her readers at full strength when it engages in a process of systemic critique and current demystifying of dogmas pertaining either to a specific intellectual paradigm or to a historical period at large. Embodied from time to time by medieval Scholasticism, or 18th-century Enlightenment, Victorian moralism, up to 20th-century Totalitarian ideologies, these dogmas sanctioned, by means of their inflexibility, the victory of single memorable essays that have remained, despite their original context of production, aesthetical testimonies capable of resisting the decay of the material situation they originally commented upon (Ozick 1997).
A fierce, free, heretical voice is what allows the essayist to embark on a diffused, polemical questioning of the received doxa, of the conventional idée reçue, of ideological conformity, and it also allows a retrospective recognition of the essay as the prime literary form suitable for criticism, intended as a campaign against banality deriving its strength from an epideictic liveliness embodied by the logic of the vox clamantis in deserto.
Starting from these general considerations, we solicit proposals for contributions we solicit proposals for contributions to a monographic issue of Odradek: Studies in Philosophy of Literature, Aesthetics, and New Media Theories proposing general reflections on the form, single-essay analyses, or panoramic views of essayists whose body of work illuminated this ability of voicing the heresy. Among the possible lines of research we wish to underpin:
  • the essay as a vehicle for the critique of  religious dogma;
  • the essay as an instrument for an engaged resistance to Totalitarian regimes;
  • the essay as a tool for novel or irreverent literary criticism;
  • the essay as the scourge of aesthetical and artistic conformism:
  • the essay as criticism of social mores of a specific epoch.
Adorno, T. W. «Il saggio come forma» [1958], Note per la letteratura (Einaudi, 2012).
Atkins, Douglas G., Tracing the Essay: From Experience to Truth (University of Georgia Press, 2005).
Beradinelli, Alfonso, La forma del saggio (Marsilio, 2008).
Cantarutti, Giulia (et al., a cura di), Il saggio. Forme e funzioni di un genere letterario (il Mulino, 2008).
Gallerani, Guido, Pseudo-saggi: (ri)scritture tra critica e letteratura (Morellini, 2019).
Glaudes, Pierre (ed.), L’essai: métamorphoses d’un genre (Presses Universitaires du Mirail, 2004).
Good, Graham, The Observing Self : Rediscovering the Essay (Routledge, 1988).
Karshan, Thomas, Murphy, Katryn, (eds.), On Essays: Montaigne to the Present (Oxford University Press, 2020).
Klaus, Carl, The Made-Up Self: Impersonation in the Personal Essay, (University of Iowa Press, 2010).
Id. (ed.), Essayists on the Essay: Montaigne to Our Time (University of Iowa Press, 2012).
Milnes, Tim, The Testimony of Sense: Empiricism and the Essay from Hume to Hazlitt (Oxford University Press, 2019).
Obaldia, Claire de, The Essayistic Spirit: Literature, Modern Criticism and the Essay (Clarendon Press, 1996).
Ozick, Cynthia, “SHE: Portrait of the Essay as a Warm Body”, in The Atlantic, September 1998,
Sanders, Scott Russel, “The First Singular Person”, in Alexander Butrym (ed.), Essays on the Essay: Redefining the Genre, (University of Georgia Press, 1989).
Important Dates
  • 30 September, 2021: Proposal Submission Deadline
  • 15 October, 2021: Notification of Acceptance
  • 30 May, 2022: Full Chapter Submission
  • December, 2022: Journal publication.

Paolo Bugliani

(posted 31 July 2021)

Calls for papers – Conferences taking place in October 2022

Rogues and Pícaros in Medieval and Early Modern Spain and England: Politics and Poetics
Poitiers, France, 13-14 October 2022
Deadline for proposals: late August 2021

Conference Organizers

  • Pierre Darnis (University of Bordeaux 3, AMERIBER – EA 3656)
  • Pascale Drouet (University of Poitiers, CESCM – UMR 7302)


  • University of Poitiers, Centre for Advanced Studies in Medieval Civilisation – UMR 7302 (Hôtel Berthelot, 24 rue de la Chaîne, Poitiers, France –


Within Western literature, the picaresque was quickly perceived as a “historically and geographically delimited tradition”[1] specific to Spain during the Golden Age, a genre apart from the rest, almost without precedent. Going against this common misconception, recent studies have reminded us of the importance of the Apuleian and Lucian origins of this ‘new’ narrative formula. The wily beggar thus seems the prodigal son of the Ancients. Shouldn’t we therefore extend the reflection and, at the very least, reconsider the scientific cliché that sees in this character the perfect (dissident) example of the Renaissance hero? Didn’t the Middle Ages also contribute to the creation of the cunning rogue?

Moreover, on the Iberian peninsula, where Lazarillo was born on the banks of the Tormès River, it would not be surprising to find some precursors of this early modern antihero. What about the influential character of the insubordinate, who, whether against the monarch or his various institutional arms, found an interesting echo? The Cid Campeador, on whom Corneille drew inspiration in France, is certainly one of the most striking figures of the South European Middle Ages, in the continuity of Achilles against Agamemnon and, closer to him, of Renaud de Montauban against Charlemagne.

In England, the academic debate invites us to question the plurality of picaresque metamorphoses. At the turn of the sixteenth and seventeenth centuries, Robert Greene’s conny-catching pamphlets, which detailed the fraudulent activities of cozeners, were a great success. Thomas Nashe’s The Unfortunate Traveller was considered as a picaresque novel. With the characters of Falstaff in King Henry IV and Autolycus in The Winter’s Tale, Shakespeare portrayed a number of endearing rogues whose notion of honour was reminiscent of the paradoxical ethos of the pícaro, “the exemplary embodiment of anti-honour”. [2] Many of these fictional figures are heirs to the Greek mètis, to the ruses of the Baron de Maupertuis, translated by William Caxton in 1481 as The History of Reynard the Fox, and to early Spanish picaresque novels. The question is how the picaresque novel “grafted itself in England on the national tradition (that of the beggar books and Thomas Nashe’s Jack Wilton), which it inflected in the direction of anathema against vice”. [3]

The marginal characters known respectively as rogues and pícaros have already been the subjects of various academic studies, yet separately.[4] The perspective envisaged here proposes to compare them and place them in dialogue, in order to question the creation, circulation and evolution of literary models from one period to another (Middle Ages and Renaissance) and from one country to another (Spain and England). One may thus wonder what these fictional representations tell us about the society in which they acted, about its socio-political choices on the one hand, and about the expectations and answers of readers and spectators on the other. One may wonder whether (and/or how) rogues find their places in society or how they stand out from it, and where the author stand especially in a socio-political context in which conformism and utopianism often intersect.

When do these specific terms, ‘rogues’ and ‘pícaros’, appear and why precisely at this point? According to the Oxford English Dictionary, the first occurrence of ‘rogue’ dates back to 1489, meaning “idle vagrant, vagabond”, but the meaning changes in 1568, when it begins to designate “a dishonest, unprincipled person; a rascal, a scoundrel”[5]; the English language appropriated the term ‘pícaro’ in 1622, as a synonym of ‘rogue, scoundrel”. [6] However, these two terms, which are not exactly synonymous, do not cover a similar reality. Do borrowings exist from one country to another, thus preserving the specificity of each term? When were the various works (popular pamphlets, prose ballads, stories, plays) that represent them translated from English to Spanish or from Spanish to English? What did these translations target? For example, why is there a gap of about twenty-four years between the publication of Mateo Alemán’s Guzmán de Alfarache and its translation by James Mabbe? How did the representation of the notion of anti-honour evolve? Why did Richard Head take up the picaresque vein at the time of the Restoration with The English Rogue and not earlier? These are some of the questions this conference aims at answering.

Scientific Committee: William C. Carroll (Boston University, USA), Michel Cavillac (University of Bordeaux Montaigne), Pierre Darnis (University of Bordeaux Montaigne), Pascale Drouet (University of Poitiers), Gordon McMullan (King’s College London, England), Valentín Núñez Rivera (Université de Huelva, Espagne), Fabrice Quero (University of Paul-Valéry Montpellier 3)

Proposals (300 words maximum for the abstract + a written bio-biblio of 200 words maximum + please specify if you are interested in having your paper published) should be sent before late August 2021 to and
Proposals may be submitted (and papers given) in 3 languages: French, English and Spanish.

[1] Gérard Genette, Des genres et des œuvres, Paris, Seuil, 2012, p. 131.
[2] Maurice Molho & Jean-François Reille (éd.), « Introduction à la pensée picaresque », Romans picaresques espagnols, Paris, Gallimard, “Bibliothèque de la Pléiade”, 1968, p. cv.
[3] Marcel Bataillon, Le Roman picaresque, Paris, La Renaissance du livre, 1931, p. cxxx.
[4] See, for example, Craig Dionne and Steve Mentz (eds), Rogues in Early Modern English Culture, Ann Arbor, University of Michigan Press, 2006 ; Pascale Drouet, De la filouterie dans l’Angleterre de Shakespeare : Études sur Shakespeare et ses contemporains, Toulouse, Presses Universitaires du Mirail, 2013.
[5] Oxford English Dictionary, “rogue, n. and adj.”, A.n.1, puis 2.a.
[6] Ibid., “picaro”.

(posted 19 May 2021)

Political Polarization in 21st Century Societies: What It Is and Why It Matters
University of Rouen, France. ERIAC research centre,  20th-21st October 2022
Deadline for proposals: 1 March 2022

The term “polarization”, which has its origins in physics and mathematics is used in many countries nowadays to refer to political phenomena. Depending on the context, it may refer to a process or to a resulting situation; it may describe a state of affairs or express a desire to return to consensus and cooperation. It can be used both in an everyday sense meaning the same as “division” and in an academic sense, linked, for instance, to the dysfunctions of an institution; it can be used in a party-political sense, or in a wider sense concerning politics and society. This semantic flexibility no doubt helps explain the popularity of the term, but it means that we must carefully map the movements from one meaning of “polarization” to another and the importance of such movements in different national or other contexts.

In the United States, while the media use the term as a synonym for “division”, some political scientists speak of “asymmetric polarization” to help explain the dysfunctions of political institutions. In the US, the debate around polarization brings up a number of questions. Political scientists attempt to establish whether citizens are actually more divided than previously, or whether it is more that the two main parties have each become more ideologically coherent. Other questions debated include the extent to which the two parties are affected by polarization in an identical manner, whether polarization originates within political elites or among voters, as well as the role played by old and new media in the rise of polarization.

In Latin America, a continent marked historically by the strength of presidentialism and by high levels of inequality, two factors which reinforce political conflict, the term “polarization” has long been used. The massive waves of protest of recent years have meant that the term is increasingly present in the media, referring to the exacerbation of tension and the radicalization of people’s attitudes. There is a risk that it become a quick-fix label of superficial analysis.

In Europe, there is no shortage of examples of political polarization. In Spain the economic crisis has led to the entire post-dictatorship social and political settlement being put into question. The upheavals around the United Kingdom’s decision to leave the European Union, or the “Yellow Vests” crisis in France constitute further indications, as does the rise of a series of “anti-system” movements, or movements for independence, across the continent.

A process of polarization has also been noted concerning specific political questions or spaces, and the weakness of the “centre ground” has often been remarked upon. The impressive political distance separating the two successive leaders of the British Labour Party (Jeremy Corbyn and Keir Starmer) is a key example, but one could also mention the division among British feminists concerning trans rights, or the sharply contrasting positions on the French Left concerning the recent demonstrations against government policy on the pandemic. In addition, groups advocating direct disruptive action (such as Extinction Rebellion in Britain or the Yellow Vests in France) can muster public support unthinkable thirty years ago.

This conference will allow us to question, collectively, the concept of polarization and to produce a critical analysis of the use of the term, and of its links with other political phenomena such as consensus or political violence, in the context of the democratic structures of different countries. Is polarization in itself a problem? Does the term polarization help forge a crucial prism through which one can grasp and analyse social and political reality today, or on the contrary does the idea lead to an oversimplification of complex processes? What aspects does the term help understand and what aspects does it leave to one side? How far is it useful to shed light on present political situations? How much political space remains for nuance, diversity, and difference so central to Western democracies?

In approaching these debates, one might look both at real phenomena of polarization, and at academic uses of the term (asymmetrical polarization, affective polarization, polarization on social networks). Topics might include the genealogy of this concept in political science, party-political polarization, polarization in connection with social struggles and the link between political polarization, the media, and social networks.

Proposals for papers

Proposals should be no longer than 500 words in length and should be accompanied by a short biographical note. Papers will be in English or in French and will be limited to thirty minutes (followed by ten minutes of discussion). They should be sent to and to before the 1st March 2022.

(posted 19 November 2021)



Calls for papers – Conferences taking place in November 2022

Trans*America: American Studies Association of Turkey (ASAT) 41st International Conference
Hacettepe University, Ankara, Turkey, 16-18 November 2022
Deadline for submissions: 30 April 2022
In Trans*: A Quick and Quirky Account of Gender Variability (2018), Jack Halberstam provides a broad conceptualization of trans*, defining it as an open term that resists and interrupts “certainty through the act of naming.” The asterisk, Halberstam notes, “modifies the meaning of transitivity by refusing to situate transition in relation to a destination, a final form, a specific shape, or an established configuration of desire and identity.”
As such, trans* is a dynamic space of agency, self-definition and hybridity. Also embedded in trans* is transformation and a sense of flexibility and change that defies categorization and constructed binaries. As Halberstam expresses, trans* is thus a powerfully liberating epistemology, one that challenges, decenters and “stands at odds with…concise definitions, sure medical pronouncements, and fierce exclusions.” Always “under construction” or in the process of becoming, it defies and subverts domination by regulatory regimes while exposing the interstices and lacunae of being.
The American Studies Association of Turkey invites the submission of individual abstracts, panels, workshop and roundtable proposals that explore all aspects of trans* with respect to the United States. Possible subthemes include, but are not limited to:
  • Trans* geographies and spaces
  • Transnational; transcontinental; transatlantic; transpacific; transoceanic
  • Transgender/LGBTQIA+ issues; trans* phobia
  • Trans* bodies, identities, genders and sexualities
  • Transing; transitioning; transitivity; trans* lives
  • Trans* embodiment; trans* theory; trans* visibility
  • Trans* action and activism; trans* politics; trans* networks
  • Trans* performance and performers; trans* fandom
  • Transhumanism; trans* as a site of futurity
  • Transecology; trans* histories
  • Information and technology transfer; transparency
  • Change and transformation
  • Translation; transcription; transliteration
  • Transcendence, transcendentalism
  • Transience; transmigration; transborder
  • Transportation, movement and mobility
  • Cultural transfer; transculturation
  • Trans* in American culture, literature, film, sports and media
  • Transdisciplinary studies of the United States

Proposals should be sent to the American Studies Association of Turkey ( and should consist of a 250–300 word abstract, five keywords, and a short (200 word) biography for each participant. The time allowance for presentations is 20 minutes. An additional 10 minutes will be provided for discussion.
We expect all participants to attend the entire conference out of professional courtesy. Please keep this in mind while submitting an abstract.
Submission deadline: April 30, 2022
Selected papers will be included in a special issue of the Journal of American Studies of Turkey (JAST) based on the conference theme.

More information will be posted on our website as it becomes available:

American Studies Association of Turkey

(posted 19 October 2021)

British Identities Medialised: Annual Conference of the Society for the Study of British Cultures
University of Salzburg, Austria, 17-19 November 2022
Deadline for proposals: 1 March 2022

With publications like Jeremy Paxman’s The English (2000), Kate Fox’s Watching the English (2004), or Mark Easton’s Britain, etc. (2012), the last decades have seen a conspicuous number of texts attempting to define and re-define Britishness in a changing world. This trend has been seen as indicative of a contemporary crisis of Britishness, of the need to re-define it in view of its changing status in the world brought about by the end of Empire. The process of devolution and the potential end of the United Kingdom in particular through Scottish independence or a potential Irish unification; continued economic difficulties which became particularly apparent with the 2008 financial crisis; new forms of immigration, which once more have changed the makeup of those living in the British Isles, all these developments have challenged ideas of national identities in the British Isles.

The Brexit referendum, which has been seen by many as being just as much about Britishness as about Europe (see e.g. Geoffrey Wheatcroft 21 June 2016, The Guardian), is another sign that identities in the British Isles continue to be a controversial topic. Thus, it is unsurprising that the years of the Brexit negotiations have seen another wave of books on Britishness including Robert Ford’s and Maria Sobolewska’s Brexitland (2020); or Peter Mitchell’s Imperial Nostalgia (2021). While Brexit was certainly of particular significance for renegotiating Britishness of late, other significant trends that challenge and redefine Britishness within an international and national context include the ‘Black Lives Matter’-movement, and the ‘Rhodes Must Fall’-initiative, revealing yet again the importance of individuals and their (hi-)stories for the definition of cultures (see Bingham 2010).

In this conference, then, we will examine how media shape the nation and construct different versions of national identities in the British Isles. While there will be a focus on present-day examples, we also welcome historic examples from a variety of media, such as statues, museums, history books, or memorial plaques.

Topics may include, but are not limited to a discussion of:

  • portrayals of British personalities and Britishness in film, television, stand-up comedy shows and on streaming platforms, etc.
  • Youtube clips that reflect on or intend to teach and inform about how to be British / Scottish / Welsh / Northern Irish or English
  • social media posts and broadcasts by and about famous Brits or about cultural icons
  • museum spaces that focus on individual lives to portray historical periods or movements
  • statues, ceremonies and monuments (past and present)
  • recent attempts by politicians to redefine Britishness (for instance in the Museum of Brexit or the One Britain One Nation-Initiative)
  • music, national songs and radio broadcasts
  • schoolbooks and children’s books propagating versions of Britishness (historic and contemporary)
  • websites and advertising campaigns fostering alternative national or regional identities

Our Keynote Speakers

  • Professor Corinne Fowler (Professor of Postcolonial Literature, University of Leicester)
  • Professor Maria Pramaggiore (Professor of Media Studies and Dean of Graduate Studies at Maynooth University)

We are looking forward to receiving proposals for 20-minute papers by 1st March 2022. Proposals should consist of a title and short abstract (no more than 300 words) and a short bio (no more than 150 words, please). Please email these to

We are hoping for a face-to-face conference, which will take place in Unipark Nonntal, an easy-access building right on the edge of Salzburg’s Old Town.

For more information on the Society for the Study of British Cultures (Britcult) please visit

Conference Organisers

  • Dorothea Flothow, Sarah Herbe, Markus Oppolzer and Elisabeth Schober
  • Department of English and American Studies, University of Salzburg, Erzabt-Klotz-Str. 1, A-5020 Salzburg,
(posted 23 November 2021)

Calls for papers – Conferences taking place in September 2022

9th BICLCE: Biennial International Conference on the Linguistics of Contemporary English 2022
University of Ljubljana, Slovenia, 15-17 September 2022
Deadline for proposals: 31 December 2021

We are pleased to announce that the 9th Biennial International Conference on the Linguistics of Contemporary English (BICLCE) will be held from 15 to 17 September 2022 in Slovenia, at the University of Ljubljana. An in-person conference is currently envisaged, with the possibility of moving the event online in case travel proves difficult.

Over the last two decades, the BICLCE conference has become a platform for various theoretical and methodological approaches to the study of English and its varieties. As such, it has also become a point of reference for interdisciplinary cross-pollination. With a focus on the holistic presentation of current linguistic research, the BICLCE conference traditionally accommodates papers, presentations and workshops on the syntax, morphology, phonology, sociolinguistics, semantics and pragmatics of contemporary English.

In keeping with this tradition, we invite abstracts addressing every aspect of contemporary English, and especially encourage proposals that engage with variation in English, second language acquisition and development, learner corpora, discourse analysis and metadiscourse, constructions, metaphor, politeness, formulaic language, academic writing, language contact, corpus-based studies and statistical models.

Please note that any proposals on historical and contrastive topics should be related to the study of present-day English.

Invited Speakers

We are delighted to announce the following plenary speakers:

  • Paul Baker
  • Susan Conrad
  • Gaëtanelle Gilquin
  • Manfred Krug

Abstract Submission

At this stage, abstract submissions for individual papers and poster presentations are invited but proposals for thematic workshops featuring up to 6 individual papers are still accepted.

Please submit your proposals via by 31 December 2021. Please specify the type of submission and make sure that the abstracts do not exceed 300 words and contain no names of the authors. All enquiries about the conference should be sent to 9biclce @


The conference will include a number of workshops/panels centred around topical issues in English linguistics. Some workshops are open (potential contributors should contact the convenors before submitting their abstract), while others are already full but individual papers on related topics can be scheduled in a follow-up session.

This workshop is full

This workshop is full

This workshop is open – please contact the convenors Sofia Rüdiger (, Jakob Leimgruber ( and Sven Leuckert (

This workshop is open – please contact the convenors Andrej Stopar ( and Ivo Fabijanić (

We look forward to welcoming you in Ljubljana!

9th BICLCE organizing team

(posted 1st October 2021)

Calls for papers – Conferences taking place in August 2022

16th ESSE Conference Mainz 2022
Johannes Gutenberg University, Mainz, Germany, 29 August – 2 September
Deadlines : see the detail in this post

Department of English and Linguistics, Faculty of Philosophy and Philology, Johannes Gutenberg University, Mainz, Germany
and Deutscher Anglistenverband (German Society for the Study of English)
look forward to welcoming you to the 16th ESSE Conference in Mainz, Germany, Monday


  • Submission of proposals for Parallel Lectures (nomination by national associations): 31 May 2021
  • Submission of proposals for Seminars and Round Tables (proposals from prospective convenors): 31 May 2021
  • Submission of individual papers for Seminars and the Doctoral Symposium, as well as proposals for Round Tables and Posters: 31 January 2022
  • Registration will begin on 1 March 2022


ESSE members are invited to submit proposals for seminars and round tables on topics related to our fields of study: English Language (including Applied Linguistics and Translation Studies), Literatures in English, and Cultural and Area Studies. Proposals for seminars and round tables should be submitted directly to the Academic Programme Committee (APC) at National Associations are invited to nominate potential lecturers. Suggestions for lecturers should be sent to the presidents or representatives of the national associations, who will send the nominations to the APC. PROGRAMME FORMAT SEMINARS – Proposals for seminars on topics within the three fields mentioned above should be submitted jointly by two ESSE members from two different national associations. The degree of international appeal will be one of the selection criteria used by the APC. In exceptional cases, the APC may permit one of the two convenors not to be an ESSE member (e.g. because they come from outside Europe), if it is argued that their presence is especially important for the seminar. Seminar proposals must include the names, affiliations and e-mail addresses of the convenors and a 100-word description of the topic. Unlike round tables, seminars are not preconstituted events and will therefore be included within the APC’s future call for papers, although convenors may take an active role in approaching potential participants. The seminar format is intended to encourage lively participation on the part of both speakers and members of the audience. For this reason, papers should be orally presented rather than read. Further directions will follow in the call for papers.

ROUND TABLES – The aim of round tables is to present topics and problems currently seen as shaping the nature of the discipline. At a round table a pre-constituted panel discusses issues of fairly general scholarly or professional interest in front of (and subsequently with) an audience. In
other words, round tables are not sequences of papers, but debate sessions. Proposals should include a 100-word description of the topic and the names and affiliations of at least three participants (including the convenor), who must be drawn from more than one national association. The maximum number of speakers will be five.

PLENARY LECTURES – A number of distinguished keynote speakers, including at least one representing each of the three main fields covered by ESSE (English Language, Literatures in English, and Cultural and Area Studies), will give plenary lectures by direct invitation of the organizers.

PARALLEL LECTURES – In addition to the plenary lectures, there will be approximately 12 parallel lectures given by ESSE members nominated by their national associations. These parallel lectures are expected to have wide appeal and to reflect recent developments in scholarship in one of the three areas mentioned above. They will be fifty minutes in length. National associations should forward a description of their nominee’s proposed topic together with a brief summary of his or her CV. Each national association can propose up to three lecturers, each of them in one of the three main fields mentioned above, so that the APC can have a wide range of options
for the final selection. Please note that ESSE will not finance the parallel lecturers’ costs of attending the conference, but that their conference fees will be waived.

POSTERS – Posters will be devoted to research-in-progress and project presentations. The aim is to provide additional opportunities for feedback
and personal contacts. Further details will appear on the ESSE Messenger website; the deadline for posters will be 31 January 2022.

DOCTORAL SYMPOSIUM – Young scholars who are writing their PhD theses in English studies may apply to make a brief presentation of their work-in-progress at one of three workshops in the fields of English Language, Literatures in English, and Cultural and Area Studies respectively. These presentations should deal with the issues/hypotheses addressed in the thesis, the results so far obtained and above all the methodology applied, with the purpose of getting feedback from peers and
established scholars in the field. Each workshop will be coordinated by two international experts, who will select from the applications and convene the corresponding sessions. Enquiries about this feature should be addressed to Emeritus Professor J. Lachlan Mackenzie (VU University Amsterdam,
NL): Further details will appear on th ESSE Messenger website; the deadline for the submission of applications
will be 31 January 2022.


Professor Anita Auer (University of Lausanne, Switzerland)
Professor Işıl Baş (Istanbul Kultur University, Turkey)
Professor Rainer Emig (Johannes Gutenberg University, Mainz, Germany)
Professor Anja Müller-Wood (Johannes Gutenberg University, Mainz,
Professor Vincent Renner (University of Lyon, France)
Professor Titela Vîlceanu (University of Craiova, Romania)
Professor Susanne Wagner (Johannes Gutenberg University, Mainz,



Call for Posters
Please send your proposals for Posters to
Deadline: 31 January 2022

Call for Seminar Papers
The Call for Seminar Papers will open in September 2021 when the seminars have been chosen.
Scholars wishing to present their paper at the ESSE 2022 Conference in Mainz are invited to submit 200-word abstracts of their proposed presentations directly to the convenors of the respective seminars.
Deadline for abstracts: 31 January 2022
In most seminar sessions, the presentations will be limited to 20 minutes including discussion.

Doctoral Symposium
One of the features of the 16th ESSE Conference is the Doctoral Symposium, which continues an ESSE tradition dating from 2012 and is designed to provide a platform for young scholars to present and receive feedback on their work. The Symposium is open to PhD students who are writing their theses in English Studies and are at least in the second year of work on their doctorate at the time of the Symposium. To be eligible, either their supervisor or they themselves must be known to the Treasurer of
ESSE as a member of an ESSE-affiliated Association (or, in relevant countries, of a Department that belongs to an ESSE-affiliated Association)
at the moment of application.
Participants will have an opportunity to make a brief presentation of their work in progress in one of three strands: English Language & Linguistics, Literatures in English, and Cultural & Area Studies. Their presentation should deal with the issues addressed or hypotheses tested in their doctoral research, the results so far obtained, and above all the methodology applied, with the purpose of gaining feedback from established scholars in the field and from their peers. Each presentation will last no longer than 10 minutes, followed by 15 minutes’ discussion. Participants are expected to attend all the presentations in their own strand and to take part in the discussions. There will also be extensive opportunities for informal contact with other participants and with the academics present at the conference. The Symposium will be opened by the President of ESSE.
Note that each PhD student can submit an application to only one strand of the Doctoral Symposium and should specify in the application which strand they wish to be placed in. Applications must include a letter from the student’s PhD supervisor giving the (provisional) title of the dissertation and confirming that the student is working under his/her supervision and has completed at least his/her first year of PhD studies. The Treasurer of ESSE will check the eligibility of all applicants and their supervisors. Participants in the Doctoral Symposium can participate fully in the ESSE Conference and can, if they so wish and their abstract is accepted, present a paper in one of the seminars.
The application should take the form of a summary of the project of no more than 300 words, indicating:
• The main topic and issues, including the thesis proposed/hypothesis
• The methodology (theoretical tools and standpoints);
• Where relevant, the corpus under consideration;
• The results obtained so far.
Each strand of the Symposium will be coordinated by two experts (to be known as Convenors). They will make a selection from the applications received, chair the discussions and respond to the presentations.
Applying to participate
Applications (including the letter from the applicant’s supervisor) should be sent, no later than 31 January 2022, to the Coordinator of the ESSE Doctoral Symposium, Professor J. Lachlan Mackenzie (VU Amsterdam, Netherlands) at, to whom general enquiries can also be addressed. The eligibility check and the selection of submissions by the Convenors will be completed and announced by 15 February 2022.

Applying for financial support
Those applicants who have been selected for participation can apply to ESSE between 15 and 28 February 2022 for financial support, to a maximum of €500 per applicant. Eligible expenses are airfares, ground transportation costs and accommodation. Applicants for financial support must themselves be members of their national associations affiliated to ESSE, except for those whose associations do not consider PhD students eligible as members; in this case, their supervisors or the department to
which they are affiliated must be members of an association affiliated to ESSE. Applications for financial support will be considered during March by a Committee consisting of the Coordinator of the ESSE Doctoral Symposium and the three Convenors from the ESSE Board; the Committee’s definitive decision will be communicated to all applicants by 30 March 2022.
Applications for financial support should be sent, no later than 28 February 2022, to the Coordinator of the ESSE Doctoral Symposium, Professor J. Lachlan Mackenzie (VU University Amsterdam, Netherlands) at Each application for financial support should include three documents (in attachment to the e-mail of application):
• the applicant’s CV;
• a letter detailing the applicant’s eligibility clearly and fully explaining the need for financial support, including a provisional budget for travel costs and/or accommodation expenses;
• a signed statement from the applicant’s supervisor, including a declaration that it is impossible for the applicant to draw on private means or any other sources of funding, including funding earmarked for the ongoing doctoral project, for the purpose of participating in the ESSE Doctoral Symposium.
Please note that ESSE’s decisions about selection for participation and about financial support are final and not subject to appeal.

(posted 10 April 2021)


Calls for papers – Conferences taking place in July 2022

Common Threads: Black and Asian British Women’s Writing
University of Brighton, UK, 21st-23rd July 2022
Deadline for Submission: 31st January 2022

Confirmed Keynote Speaker: Bernardine Evaristo

Following the inaugural conference of the Black British Women’s Writing Network (BBWWN) at the University of Brighton in 2014, we are  pleased to announce the second international conference on Black and Asian British Women’s Writing. This conference celebrates the fact that so many Black and Asian women writers have emerged in the last two decades and acknowledges the significant impact their writing has made on publishing and the media since 2015. Black and Asian women’s writing has transformed Britain’s cultural landscape and provoked urgent conversations about nation and identity, home and belonging. Their work challenges the control white, British canonical writers have asserted over what qualifies as literary, where meaning is located in literary culture, and whose voices are privileged. The last couple of years have been particularly exciting for Black and Asian British women writers with Bernardine Evaristo winning the Booker Prize in 2019, the first Black British woman to do so, and several debut authors such as Reni Eddo-Lodge topping the UK’s fiction and nonfiction paperback charts in 2020-21, and receiving substantial attention and recognition. The recent publication of The Cambridge Companion to Black British and Asian Writing (edited by Deirdre Osborne), and The Cambridge History of Black and Asian British Writing (edited by Susheila Nasta and Mark Stein) bring together over 400 years of Black and Asian British writing. 2022 also marks the 21st anniversary of the landmark ‘Write Black, Write British’ conference at the Barbican (organised by Kadija George), and of the publication of the anthology Bittersweet: Contemporary Black Women’s Poetry. Common Threads aims to celebrate this rich cultural heritage while at the same time exploring how Black and Asian British Women’s Writing enables us to re-imagine the nation otherwise in the context of the unsettling, hostile environment of post-Brexit Britain.

The organisers welcome submissions from academics, postgraduate and early career researchers, teachers, publishers and literary activists. We welcome individual papers and panel proposals on any genre and topic related to writing by Black and Asian British women and queer people of colour. Suggested topics include, but are not limited to, the following:

• Intersections and Common Threads: Black and Asian British Women’s Writing in the era of Black Lives Matter and post-Brexit Britain
• Teaching Transformation: Black and Asian British Women’s Writing and Decolonising the Curriculum
• Black and Asian British Women’s Life Writing, Screenwriting, Journalism, Popular fiction, Radio drama, Short fiction/flash fiction, Non-fiction
• Black and Asian British Women’s Poetry and Spoken Word Performances
• Speculative Fiction
• Drama and Performance
• Critically neglected writers/new writers
• Black and Asian Women’s Writing and the School Curriculum
• Black and Asian British Children’s Literature and storytelling
• Black and Asian British Queer Writing
• The 2018 Windrush Scandal
• The matter of bodies, politics, place and diaspora
• Making Space/Reconfiguring space: real and imaginary spaces, online, publishing and other spaces, worlds turned upside down
• Regional and rural writing

Please send an abstract of 300 words maximum and brief bio by 31st January 2022 to The notification of acceptance will be sent by March 1, 2022. Online presentations/panels welcome. More details will be provided once notifications have been sent. Common Threads is an in-person event, but a limited number of online presentations can be accommodated.

The conference organizers will be working toward the publication of presented papers in a journal Special Issue in 2023.

Organisers: Professor Suzanne Scafe (Brighton), Dr. Sarah Lawson-Welsh (York St. John), Kadija George Sesay (Brighton), Dr Vedrana Velickovic (Brighton) and Amanda Holiday (Brighton).

Supported by The Centre for Spatial, Environmental and Cultural Politics (SECP) and Humanities and Social Science Research and Knowledge Exchange Funding.

(posted 12 November 2021)

Calls for papers – Conferences taking place in June 2022

“‘Game Over!’: U.S. Drama and Theater and the End(s) of an American Idea(l)” – 6th International Conference on American Drama and Theater
Universidad Autónoma de Madrid, Spain, 1-3 June 2022
Deadline for abstracts: 15 October 2021

Conference website:

The Universidad Autónoma de Madrid, co-sponsored by the Spanish universities of Cádiz and Sevilla and the University of Lorraine in France, and working in partnership with the American Theater and Drama Society (ATDS), the International Susan Glaspell Society, the Arthur Miller Society, the Eugene O’Neill Society, and RADAC (Recherches sur les arts dramatiques anglophones contemporains), is announcing a call for papers for the conference “‘Game Over!’: U.S. Drama and Theater and the End(s) of an American Idea(l) to be held from 1 to 3 June 2022 at La Cristalera, located in the accessible northern mountains of Madrid.

This 6th International Conference on American Drama and Theater will be dedicated to the study of ends and new beginnings, games and gaming, players and playing, especially during, but not limited to, the current coronavirus pandemic. The five previous conferences were held in Málaga, 2000; Málaga, 2004; Cádiz, 2009; Sevilla, 2012; and Nancy (France), 2018; topics included violence, plays and players, politics, romance and migrations in and of the theater.

The following keynote speakers have accepted to join us:

  • Linda Ben-Zvi (Professor Emeritae, Colorado State University and Tel-Aviv University)
  • Christopher Bigsby (Emeritus Professor, University of East Anglia)
  • Lauren Gunderson (Playwright and screenwriter)
  • Stephen Scott-Bottoms (Professor, University of Manchester)
  • Harvey Young (Professor, Boston University)

Those of a certain age will no doubt remember the video games back in the 1970s and 80s, or even those today, which purveyed hours of fun and excitement, whether at a local arcade (Space Invaders, Asteroids, Pac-Man) or on a console in the family den (Atari, Nintendo, Intellivison, Gameboy, and more recently Xbox and PlayStation). Every time the screen displayed the legend “Game Over!,” feelings of frustration and exhilaration conjoined: another quarter inserted, another reset button hit, and the promise of a new game and recording the highest score quickly erased all anxieties and fostered hope that, this time, the outcome would be better.

Repeated endings and renewed beginnings is a trope that lies at the heart of American optimism and, to a certain extent, U.S. drama and theater. The nation is universally known for finding ways to spin a loss into a potential new victory. Over the centuries, just the simple grafting of the word “new” onto appropriated lands (New World, New England, New York, New Mexico) or exhausted ideologies (New Deal, New Journalism, New Left, New Right, New Green Deal) reinjected the promise of a different tomorrow. Reinvention is almost a Constitutional right in America, and the U.S. stage over the years has been a privileged site on which to explore, exhibit and exercise the limits of that presumed right.

In recent years, though, cracks in American optimism have extended, and the United States in once again confronting that nihilist legend, in bold type and in glaring letters, burdened, as it were, with the task of inserting another quarter (of a trillion dollars) into the economy or again hitting reset on a (Presidential and Congressional) political agenda to right past wrongs, jibe from a deviated course, or blaze a new trail. In 2020 alone, not since the Civil War has the nation of E pluribus unum had to reckon with the reality of its more truthful motto, E pluribus duo. Lacking a coherent response to the coronavirus pandemic, watching its streets implode time and time again during the Black Lives Matter movement, tugging ceaselessly at the gossamer threads of an unraveling national fabric, the Disunited States of America – and, by extension, its drama and theater – has found itself at yet another crossroads, wondering once again if the game, this time, is really over.

But which game, and who are the players? On one level, eschatology has underwritten the American narrative since the nation’s founding, and evangelical devotion has been proffered as the sole panacea to (re)save the nation from itself. On another level, several visionaries, from Royal Tyler in The Contrast to Lin-Manuel Miranda in Hamilton, have warned against the inevitable solvency of warring political ideologies. Regardless of which position is most tenable over time, our conference title points to the fact that as soon as one “game” ends, another one begins. Games are, by definition, won and lost, played in solitaire or with/against another person. Can America keep resetting itself and start the game anew at each crossroads it encounters? And what role does/should art play in recording those conflicts or in influencing policy? Are the players themselves – playwrights, producers, actors, audiences alike – willing or even capable of continuing to play by the same rules? How have American playwrights reacted or risen to these challenges, today and in the past? Are they still optimistic, or is the fun over, a ghost of adolescent nostalgia?

The idea of a game also suggests play (in all of it semantic variants) and, as such, experimenting, discovering, trying out new things. How, exactly, is U.S. theater and drama renewing itself, especially at a time when theater culture has been put on hold due to the pandemic, and theaters and companies from Broadway to Main Street are struggling just to survive? Video games have evolved from the telos of Pong to the multiple endings of online games, where technological advances are only partly responsible for the renewed interest from one generation of players to the next. Is innovation a thing of the past on the U.S. stage, despite its avant-gardist fascination with multimedia? Is the present pandemic forcing theater in America – from Zoomed stage readings, through plays written online in collaboration, to holding masterclasses in playwriting and acting online – to reinvent itself, to become more immersive or at least participatory in something different from improv? Could the fourth wall definitively fall?

Historically, American playwrights have taught us the enduring nature of theater and drama, especially at times when the nation has hit the “pause” button. But can the game simply resume where we had left it suspended? The shuttered English theater surely survived its bouts with the plague, popish plots, and a civil war, but what emerged onstage afterwards had little in common with the drama that preceded it. Must the U.S. theater explore new avenues, or should it rely on past modes of expression to insure its longevity? Is the fragile artistic market welcoming of new adventures and willing to give new playwrights and theater artists the space wherein to truly play? Did it ever in the past, or is nostalgia for a golden age merely revisionist in nature? All of these questions are closely linked to the idea(l) that America has somehow been endowed with many “ends,” but are they limited in number and, if so, how many “lives” in the proverbial video game has the nation already used up, and how many still remain?

Answers to these and other questions await us in Miraflores de la Sierra, Madrid, in June 2022. Individual papers or collective panels are invited to respond directly to them, or to suggest other avenues of discussion and debate linked to the study of games and gaming, players and playing, ends and new beginnings in U.S. drama and theater from any watershed period in the nation’s history.

To submit a paper, a roundtable discussion, or an already organized panel, please send abstracts of 300 words and a brief CV to by 15 October 2021.

Please check the conference website for updated information on conference venue, accommodation, travel and registration (

Organizing committee
John S. Bak, Université de Lorraine
Alfonso Ceballos Muñoz, Universidad de Cádiz
Ramón Espejo Romero, Universidad de Sevilla
Josefa Fernández Martin, Universidad de Sevilla
Noelia Hernando Real, Universidad Autónoma de Madrid

(posted 10 April 2021)

What’s in a Name? (Ab)Use of Anglo-Saxon in English-speaking cultures and elsewhere
Padova, Italy, 6-7 June 2022
Deadline for abstracts: 20 December 2021

Since the seventeenth century, the use of the term Anglo-Saxon has been characterised by a strong identity and ideological acceptation. The nationalistic sentiment grown after British imperialism obtained legitimation in the appropriation and re- modelling of Britain’s own past, conferring on Anglo-Saxon meanings that were increasingly connected with national and racial identity (Horsman 1976, 1981; Greenberg 1982).

This fictitious idea of ancestry has exerted a special fascination on collective imagery also thanks to the cultural movement known as ‘medievalism’, a recurrent theme in British and American art which also characterises the contemporary political debate in those countries. In America, far-right (pseudo-)political groups make large use of medievalism, and, in particular, of their alleged ‘Anglo-Saxon’ origins in the attempt to back their xenophobic and racist claims, based on white supremacy.

A connection between Anglo-Saxon and whiteness has also emerged within Medieval Studies and this gave birth to firm and, sometimes, drastic reactions. In recent years, a movement formed of women researchers of non-Western origins voiced vibrant protests against the treatment they have been suffering in this academic field, which they consider racist, sexist and xenophobic. In this regard, they have identified the terms Anglo-Saxon and Anglo-Saxonist as the most obvious expressions of this attitude.

This debate concerns the specifically ideological and extremist uses of Anglo-Saxon, but little attention has been devoted to the use of this term in all forms of communication and the semantic values it has received in history, not only in English, but also in other languages and cultures. Beyond the ideological dimension that seems to prevail in some contexts, how and to what purposes has Anglo-Saxon been employed? And to what extent does this term eventually designate an exclusive and superior racial or cultural origin?

The purpose of this conference is to investigate this phenomenon across time, languages, and media. The topics include (but are not limited to) the use of Anglo-Saxon (and its corresponding forms in other languages) in:

  • Literature
  • Journalism
  • Political discourse
  • Performative arts (theatre, cinema, TV and web series, )
  • Gaming

Please send an abstract (roughly 500 words) and a short curriculum by 20 December to Omar Khalaf

(posted 8 November 2021)

INTERFACES: Representing Human and Environmental Vulnerability in the Fourth Industrial Revolution
University of Granada, Spain, 9-10 June 2022
Deadline for proposals: 20 December 2021

Since the 9/11 attacks on the World Trade Center somberly inaugurated the new millennium, critical discourses on trauma, grieving and vulnerability have gained relevance in the academic sphere. The global dimension of these events was however based on their mediatic repercussion worldwide, rather than on the actual physical impact that they had on the world population. Throughout the following two decades of the twenty-first century, intersecting environmental, economic and technological developments into globalization are revealing a heightened awareness of a similarly global vulnerability that visibilize embodied forms of ongoing trauma, public grieving and structural oppression of precarious life forms and environmental conditions. These stand against the backdrop of the Fourth Industrial Revolution (4th IR), which is ambiguously put forward as either the origin or solution of this situation. The last two years of SARS-CoV-2 global pandemic have intensified the interdependence of virtual connection and social alienation/exclusion relating techno-digital hyperconnectedness and embodied forms of existence, giving a new sense to the concept of “risk society” developed at the turn of the century (Beck 1992; Giddens 1998).

In this conference, we aim to identify and critically explore the forms of human and environmental vulnerabilities that are generated in the context of the 4th IR, including vulnerable forms of human and non-human intersubjectivity as online embodied (onlife) interfaces or “inforgs” (Maynard 2015), precarious life and working conditions resulting from the global dimension of the 4th IR, environmental forms of vulnerability in the 4th IR, the role of the pandemic in raising awareness about global vulnerability, or the hierarchical naturecultures (Haraway 2003) emerging from transhumanist ethics. This conference will focus on literary and filmic discourses that represent human and environmental vulnerabilities as the object of aesthetic spectacularization (Garland-Thomson 1997, 2017) in an information-saturated trade market, with special incidence on forms of human vulnerability based on economic and environmental precariousness (Butler 2004; 2009; Butler et al. 2016; Butler 2020) as well as disability. It will also explore the instrumentalization as a narrative prosthesis (Mitchell and Snyder 2000) of human and ecological vulnerability as in the construction of the transhumanist ideologies underlying most of 4th IR from a posthumanist critical perspective.

Suggested topics for papers might include but are not restricted to:
• COVID19: Grieving through The Great Reset
• Onlife Vulnerable Economies and Vulnerable Embodiments
• Narrative and Digital Prosthesis
• Glitch as vulnerability in Digital Compositions
• Vulnerable Naturecultures
• Online Exposure and Spectacular Vulnerabilities
• Global Economies and Environmental Precarity
• Neoliberal Economies and Digital Precarity
• Online Transparency as a form of political and subjective vulnerability
• Liquidity and Vulnerability
• New Human and Environmental Ontologies (bioart, biotechnologies, bioethics)
• Consumerist ethics: global food and information markets
• Gendered Inforgs
• Singularity and Difference
• New risk societies: threats to democracy, threats to intimacy
• Animal vulnerability

There will be two different participation modalities:
• On-site participation at the university of Granada with a 20-minute paper plus 10-minute discussion.
• Online participation: delegates will record their presentations and upload them to the conference website, where they will be available during the celebration of the conference.

Scholars interested can submit their proposals to the email address, specifying in the email subject: Interfaces Conference. Proposals in pdf format must include the following information: 1) tentative title, 2) abstract (400-500 words including works cited), 3) the participation modality (onsite or online), and 4) a bionote (maximum 200 words, including contact details, institutional affiliation, research interests and most relevant/recent publications). This document must be entitled with the scholar’s surname and name. Example: Beck_Ulrick.pdf

• Abstract Submission: Dec 20, 2021
• Notification of Acceptance: Jan 31, 2022

Registration fees:
• Onsite: 100€
• Online 75€

This conference is organized by the Research Group GRACO: Studies in Literature, Criticism and Culture (HUM676) and funded by the European Union and the Andalusian Government under Research Project “INTERFACES” (P20_00008)

(posted 21 July 2021)

Virginia Woolf and Ethics: 31st Annual International Conference on Virginia Woolf
Lamar University (Beaumont, TX, USA), June 9-12, 2022
Deadline for papers and panels: 31 January 2022

The 31st annual International Conference on Virginia Woolf takes as its theme “Virginia Woolf and Ethics,” and aims to promote conversation about the topic across disciplinary boundaries. We hope to explore Woolf’s engagement with specific ethical issues in her writing. These may include, but are not limited to, war and pacifism, human rights, human-animal relations, environmental ethics, bioethics, fascism, empire, patriarchy, racism, and bigotry.

The theme also suggests a reconsideration of Woolf in relation to various ethical approaches. For instance, participants may wish to read Woolf’s thought in conversation with care ethics, narrative ethics, moral psychology, moral imagination, moral luck, virtue ethics, deontology, utilitarianism, communitarianism, liberalism, religious or spiritual ethics (Christian, Quaker, Jewish, Buddhist, Indigenous, etc.), or other moral theories or concepts. Papers might address the moral philosophy of Woolf’s milieu, including the thought of Russell, Moore, or Leslie Stephen. Participants may wish to consider Woolf’s thought with continental theorists such as Levinas, Derrida, Foucault, Irigaray, Kristeva, Badiou and others who address ethical concerns.

We invite participants to consider Woolf in relation to broader ethical considerations, such as the relation of ethics to reading practices (or to literature); ethics of teaching, scholarly community, and academic life; secularism, religion, and/or mysticism in Woolf’s thinking; and reading Woolf as an ethical (or social or political) theorist.

What might a Woolfian ethic look like? How might we read Woolf’s aesthetic practices in ethical terms (eg. narrative indeterminacy and the cultivation of certain forms of attention, moral imagination, or empathy)? How does Woolf navigate competing demands of justice, individual liberty and rights, and collectivity and social responsibility, in her fiction and non-fiction?

Papers on members of the Bloomsbury Group and other associates of Virginia Woolf in relation to the conference theme are also appropriate. We welcome proposals for papers, panels, roundtables, and workshops from scholars, students, artists, and common readers from all backgrounds and fields.

Abstracts of maximum 250 words for single papers and 500 words for panels, as well as questions, should be sent to by January 31, 2022.

The conference welcomes proposals for presentations in languages other than English to foster a more open exchange at this international conference. A few caveats: the organizers ask that all abstracts and proposals be submitted in English. Also, to ensure a more effective exchange among all participants, we ask that non-English presentations be accompanied by a handout of main points in English as well as (if possible) a PowerPoint presentation in English. Note that Q&A sessions will be conducted in English as well.

Possible topics and approaches may include:

  • Ethics and reading, ethics of reading
  • Ethical scholarly community and academic life
  • Woolf as ethical/social/political theorist
  • Human-animal relations, the natural world
  • Racism, patriarchy, and bigotry
  • The ethics of biography and life writing
  • Woolfian teaching, ethics in teaching
  • War, pacifism, fascism, empire, human rights
  • Narrative practices, reading experiences
  • Empathy, regard, attention
  • Individuality and collectivity
  • Knowledge, reason, objectivity, and certainty
  • Secularism, religion, and spirituality
  • A range of moral philosophies and concepts (listed above and extending further)

(posted 10 September 2021)

The Seventh International Conference on Languages, Linguistics, Translation and Literature (virtually)
Ahwaz, Iran, 11-12 June 2022

The Conference Secretariat,
Ahwaz 61335-4619 Iran

(+98) 61-32931199
(+98) 61-32931198
(+98) 916-5088772 (Watts App Number)

Website: WWW.LLLD.IR


The Seventh International Conference on Languages, Linguistics, Translation and Literature (virtually) is organized by different universities and research centers and will be conducted virtually.

The conference will be dedicated to current issues of linguistics, languages, dialects, literature and translation.

Academics and university lecturers are cordially invited to present their research regarding current issues of linguistics, languages, dialects, literature and translation in English, Arabic or Persian.

The full papers of the conference will be published as the book of conference (provided with International Standard Book Number (ISBN) and according to the Governmental Approval (The Ministry), and also will be indexed in CIVILICA (however, the book of abstracts will be published too).

(posted 17 November 2022)

Shakespeare, Austen and audiovisual translation: the classics translated on screen
Roma, Italy, 30 June – 2 July 2022
Deadline for abstracts: 31 January 2022

Jane Austen and Shakespeare are twin icons whose afterlives have been declined in strikingly similar ways, something particularly evident in the proliferation of film and television adaptations of their novels and plays (Wifall 2010), which have allowed us to explore fruitfully the ‘‘intersecting cultural legacies’’  of this “unique duo” (Wells 2010).

If the scope, diversity and originality of Shakespearean adaptations is one of a kind, virtually creating a distinct sub-topic within film studies (Keyishian 2000), the generally more ‘direct’ (with notable exceptions) transpositions from Jane Austen and other multifariously adapted classic authors, especially from the nineteenth century (from Dickens to Tolstoy, from Hardy to Maupassant), arguably equal the bard’s in filmic popularity and have also spawned a plethora of academic research in the field of adaptation studies.  Jane Austen’s characters, for example, have been appropriated in every medium, from cinema, to TV, to graphic novels and video games so that “at this point in the twenty-first century [they] have exceeded the boundaries of her novels and have become modern types or ideals, and her titles, phrases, and haunts have become part of the public sphere” (Garber 2003: 208).

While adaptation and intersemiotic studies about the classics on screen have been flourishing (see for example several essays in Leitch 2017), audiovisual translation (AVT) has comparatively neglected adapted classics, arguably preferring to focus on contemporary TV series, video games and films of all times not necessarily referred to an illustrious hypotext.

AVT incursions into adapted literature, however, include studies on popular TV series such as Sherlock (Rodríguez Domínguez & Silvia Martínez Martínez 2015), Detective Montalbano (Bruti&Ranzato 2019, Dore 2017, Taffarel 2012) and The Game of Thrones (Hayes 2021, Iberg 2017, Rivera Trigueros & del Mar Sanchez 2019); the subtitling and/or dubbing of adaptations from the novels by Jane Austen (Bianchi 2016, Sandrelli 2019), Emily Brontë (Almeida et at. 2019), Miguel de Cervantes (Ariza 2018), Charles Dickens (LIang 2020), Henryk Sienkiewicz (Woźniak 2017); from the plays by William Shakespeare (Anselmi 1999, Díaz Cintas 1995, Dwi Hastuti 2015, Ranzato 2011, Sellent Arús 1997, Soncini 2002 and 2008) and their rewritings, commentaries or children’s adaptations (Bruti & Vignozzi 2016, Minutella 2016); and from contemporary classics from The Great Gatsby (Gilic 2020, Vula 2018) to For Whom the Bell Tolls (Zanotti 2019), Little Women (Bruti & Vignozzi 2021) and Harry Potter (Dewi 2016, Liang 2018).

This conference aims at populating this specific area of studies by attracting contributions which analyse, from the point of view of AVT, the audiovisual texts that relate to the words, the language and the characterisations that inspired them, those penned by the most adapted authors such as Shakespeare and Austen, and those featured in the classics of all times and cultures.

We thus encourage AVT analyses of films/TV/video games:

  • based on the plays by William Shakespeare;
  • based on the novels by Jane Austen;
  • based on the novels and short stories which have attracted the attention of directors and writers over the years, including but not limited to: Louisa M. Alcott, Charlotte Brontë, Emily Brontë, Lewis Carroll, Agatha Christie, Arthur Conan-Doyle, Joseph Conrad, Charles Dickens, Thomas Hardy, Ernest Hemingway, M. Forster, Henry James, John le Carré, C.S, Lewis, Ian McEwan, Herman Melville, Edgar Allan Poe, J.K. Rowling, Mary Shelley, John Steinbeck, Robert Louis Stevenson, Bram Stoker, William Makepeace Thackeray, J.R.R. Tolkien, H.G. Wells, Edith Wharton, to mention just a few of those authors whose individual works have benefited from multiple readings;
  • based on the plays by popular playwrights, including but not limited to: Alan Ayckbourn, J.M. Barrie, Noël Coward, David Mamet, Arthur Miller, John Osborne, Harold Pinter, Terence Rattigan, George Bernard Shaw, Tom Stoppard, Oscar Wilde, Tennessee Williams, to mention just a few English-speaking authors who are both widely adapted and some of them adapters for the cinema;
  • based on the works by classic and contemporary classic authors from all over the world as adapted in their respective languages and into English, including but not limited to: Isabel Allende, Honoré de Balzac, Georges Bernanos, Michail Bulgàkov, Andrea Camilleri, Anton Čechov, Miguel de Cervantes, Fëdor Dostoevskij, Alexandre Dumas, Elena Ferrante, Gustave Flaubert, Gabriel García Márquez, Johann Wolfgang von Goethe, Guanzhong, Sadegh Hedayat, Victor Hugo, Franz Kafka, Thomas Mann, Alessandro Manzoni, Guy de Maupassant, Houshang Moradi Kermani, Haruki Murakami, Alberto Savinio, Arthur Schnitzler, Leonardo Sciascia, Henryk Sienkiewicz, Georges Simenon, Stendhal, Lev Tolstòj, Giuseppe Tomasi di Lampedusa, Wu Cheng’en, Émile Zola, to mention just some of the most cinematographically popular authors.

We welcome proposals from the following areas of study:

  • subtitling
  • dubbing
  • voiceover
  • subtitling for the deaf and hard-of-hearing (SDH);
  • audio description;
  • accessibility and new technologies in AVT;
  • censorship and ideological manipulation in AVT;
  • AVT as a pedagogical tool for language teaching and learning;
  • gender studies in AVT;
  • reception and perception studies in AVT;
  • historical and genetic studies in AVT;
  • all linguistic approaches to AVT with special relevance to the analysis of standard and nonstandard language varieties.


Almeida, Paula Ramalho, Sara Cerqueira Pascoal, and Suzana Noronha Cunha. 2019. “Wuthering Heights on the Screen: Exploring the Relations Between Film Adapatation and Subtitling.” POLISSEMA – Revista De Letras Do ISCAP 11: 215–243.
Anselmi, Michela. 1999. “Metamorfosi di un Testo: Transposizione e Doppiaggio di Much ado about nothing nel film di Kenneth Branagh.” In Quaderni di Doppiagio 2, edited by Bruno Paolo Astori, 15-52. Finale Ligure: Voci nell’ Ombra.
Ariza, Mercedes. 2018. “Donkey Xote Cabalga Distinto en España y en Italia: Reflexiones Sobre la Intertextualidad Audiovisual.” Journal of Literary Education 1: 58-78. DOI:
Bianchi, Francesca. 2016. “Subtitling Jane Austen: Pride & Prejudice by Joe Wright.” In Pride and Prejudice: A Bicentennial Bricolage, edited by Caterina Colomba. Udine: Forum.
Bruti, Silvia, and Gianmarco Vignozzi. 2016. “Voices from the Anglo-Saxon World: Accents and Dialects Across Film Genres.” Status Quaestionis 11. North and South: British Dialects in Fictional Dialogue, edited by Irene Ranzato, 42-74.
Bruti, Silvia, and Irene Ranzato. 2019. “Italian Dialetti in Audiovisual Translation: Perspectives on Three Quality TV Series.” In Ragusa e Montalbano: Voci del territorio in traduzione audiovisiva, edited by Massimo Sturiale, Giuseppe Traina, and Maurizio Zignale, 341-364. Ragusa: Fondazione Cesare e Doris Zipelli-Euno Edizioni.
Bruti, Silvia, and Gianmarco Vignozzi. 2021. “The Representation of Spoken Discourse in Little Women: A Journey through its Original and Dubbed Adaptations.” Textus 34 (1): 23-46.
Dewi, Indry Caesarria. 2016. “Audiovisual Translation of English Idioms in Harry Potter and The Deathly Hallows Movie: An Analysis of English to Indonesian Subtitles.” Passage 4 (1): 56-69.
Díaz Cintas, Jorge. 1995. “El subtitulado de Hamlet al castellano.” Sendebar 6: 147-158.
Dore, Margherita. 2017. “Subtitling Catarella: Camilleri’s Humour Travels to the UK and the USA.” In Translation Studies and Translation Practice: Proceedings of the second international Translata Conference, 2014, edited by Stauder Zybatow and Michael Ustaszewski, 43-51. Peter Lang.
Dwi Hastuti, Endang. 2015. “An Analysis on Subtitling of Romeo and Juliet Movie.” Register 8 (1): 57-80.
Garber, Marjorie. 2003. The Jane Austen Syndrome. London/ New York: Routledge.
Gilic, Refika Zuhal. 2020. A Descriptive Study of AVT Under Skopos Theory: The Film Adaptation of Great Gatsby (2013 version) and Its Cultural Reflections in Translations From English to Turkish. Ankara: Gece Publishing.
Hayes, Lydia. 2021. “Bastard of the North or Kingg uv th’ Nohrth? /ˈbɑː.stəd/ /frɒm/ /də/ /nɔːθ/ or /kɪŋg/ /ɪn/ /də/ /nɒːθ/.” In The Dialects of British English in Fictional Texts, edited by Donatella Montini and Irene Ranzato. London/ New York: Routledge.
Iberg, Sofia. 2018. “A Game of Languages: The Use of Subtitles for Invented Languages in Game of Thrones.” In Linguistic and Cultural Representation in Audiovisual Translation, edited by Irene Ranzato and Serenella Zanotti, 184-200. London/ New York: Routledge.
Keyishian, Harry. 2000. “Shakespeare and Movie Genre: the Case of Hamlet.” In The Cambridge Companion to Shakespeare on Film, edited by Russell Jackson, 72–81. Cambridge: Cambridge University Press.
Leitch, Thomas. 2017. The Oxford Handbook of Adaptation Studies. Oxford: Oxford University Press.
Liang, Lisi. 2018. “Subtitling Harry Potter’s Fantastic World: Linguistic and Cultural Transfer from Britain to China in a Subtitled Children’s Film.” Transletters. International Journal of Translation and Interpreting 2: 89-113.
Liang, Lisi. 2020. “Reshaping History: Cultural and Temporal Transfer in a Heritage Film Oliver Twist (2005).” Journal of Audiovisual Translation 3 (1): 26-49.
Minutella, Vincenza. 2016. “British Dialects in Animated Films: The Case of Gnomeo & Juliet and its Creative Italian Dubbing.” Status Quaestionis 11. North and South: British Dialects in Fictional Dialogue, edited by Irene Ranzato, 222-259.
Ranzato, Irene. 2011. “Manipulating the Classics: Film Dubbing as an Extreme Form of Rewriting.” In Challenges for the 21st Century: Dilemmas, Ambiguities, Directions, edited by Richard Ambrosini, Stefania Nuccorini, and Franca Ruggieri, 573-581. Roma: Edizioni Q.
Rivera Trigueros, Irene, and María del Mar Sánchez-Pérez. 2019. “Conquering the Iron Throne: Using Classcraft to Forster Students’ Motivation in the EFL Classroom.” Teaching English with Technology 20 (2): 3-22.
Rodríguez Domínguez, Ana, and Silvia Martínez Martínez. 2015. “Irony in Sherlock (BBC, 2010): From Literary to Audiovisual Translation.” In Bestseller – Yesterday and Today: A Look from the Margin to the Center of Literary Studies, edited by Albrecht Classen and Eva Parra-Membrives, 159-171. Tübingen: Narr Francke Attempto.
Sandrelli, Annalisa. 2019. “Conversational routines in Jane Austen’s film and TV adaptations: A challenge for Italian dubbing.” In Worlds of Words: Complexity, Creativity, and Conventionality in English Language, Literature and Culture, volume I on Language, edited by Veronica Bonsignori, Gloria Cappelli, and Elisa Mattiello, 175-186. Pisa: Pisa University Press.
Sellent Arús, Joan. 1997. “Shakespeare Doblat: Molt Soroll per Res, de Kenneth Branagh.” Congrés Intemacional sobre Traducció, Bellaterra, UAB. Vol. 2, 267-279. Barcelona: Universitat Autònoma de Barcelona.
Soncini, Sara. 2002. “Shakespeare and Its Dubble: Cultural Negotiations in Italian Audio-visual Transfers of Henry V.” Textus English Studies in Italy 15 (1): 163–86.
Soncini, Sara. 2008. “Re-locating Shakespeare: Cultural Negotiations in Italian Dubbed Versions of Romeo and Juliet.” In Performing National Identity: Anglo-Italian Cultural Transactions, edited by Manfred Pfister and Ralf Hertel, 235-248. Amsterdam: Rodopi.
Taffarel, Margherita. 2012. “Un’analisi Descrittiva della Traduzione dei Dialoghi dei Personaggi di Andrea Camilleri in Castigliano.” inTRAlinea. Special Issue: The Translation of Dialects in Multimedia II, edited by Giovanni Nadiani and Chris Rundle.
Vula, Elsa. 2018. “The Implementation of Textual Coherence on the Albanian Subtitles of Great Gatsby Film.” European Journal of Multidisciplinary Studies 3 (4): 131-144.
Wells, Juliette. 2010. “From Schlockspeare to Austenpop.” Shakespeare 6 (4): 446-462.
Witfal, Rachel. 2010. “Introduction: Jane Austen and William Shakespeare –Twin icons?” Shakespeare 6 (4): 403-409.
Woźniak, Monika. 2017. “Lingua Latina su Labbra Americane: Il Dialogo Cinematografico di Quo Vadis Hollywoodiano.” In Quo Vadis la Prima Opera Transmediale. Atti del convegno 14-15 novembre 2016, edited by Elisabetta Gagetti and Monika Woźniak, 177-191. Rome: Accademia Polacca delle Scienze.
Zanotti, Serenella. 2018. “Archival Resources and Uncertainties in Film Retranslation Research.” Status Quaestionis 15. Exploring Audiovisual Retranslation, edited by Margherita Dore, 60-85.

  • Deadline for abstracts (300/400 words + short biosketch): 31 January 2022
  • Notification of acceptance: 28 February 2022
  • Steering committee: Irene Ranzato & Luca Valleriani
  • Scientific Committee: Francesca Bianchi, Jorge Díaz Cintas, Eva Espasa Borrás, Agata Hołobut, Vincenza Minutella, Donatella Montini, Monika Woźniak, Serenella Zanotti
  • Organising Committee: Margherita Dore, Davide Passa, Giovanni Raffa, Irene Ranzato, Luca Valleriani
  • Contact:
  • Website:

(posted 25 October 2021)