Books and special issues of journals – Deadlines April to June 2020

The short fiction of A. S. Byatt
A special issue of Journal of the Short Story in English/ JSSE 78 (Spring 2022)
Deadline for abstract submissions: 1 June 2020

Although mostly renowned for her lengthy realist novels, A. S. Byatt has had a sustained practice of short fiction writing which materialized into five collections of short stories and two novellas published as Angels and Insects. In addition, she regularly publishes short stories in the press: among her most recent ones, “Sea Story” was published in the Guardian on 15 March 2013. She has frequently been solicited to appear on the judging panels of short story prizes like the Sunday Times short story award or the BBC national short story award. However, apart from Celia M. Wallhead’s 2007 A. S. Byatt: Essays on the Short Fiction, Byatt’s short stories have not been studied per se. Thus a special issue devoted entirely to her work with the short form was called for.

In a conversation with Cees Noteboom from 2011, Byatt said that “writing a short story is closer to writing a poem than to writing a novel” because “if you get a word or a sentence wrong in a short story, you somehow destroy the whole fabric”. Finding the right word is consistent with Byatt’s overall preoccupation with precision, especially in her descriptive art, while the notion of the text as a fabric relates to her conception of writing as weaving, as exemplified in the story “Arachne”. In the same conversation, she has said that she hated the word “epiphany” which points to the modernist legacy in the apprehension of the short form as a psychological sketch. Instead Byatt likes to multiply twists and pursue various lines of ideas in one and the same story. Even when they revisit the (fairy) tale, her stories often convey a sense of the ordinary as transformed by craft. This is the case in such stories as “Art Work” (The Matisse Stories), “Raw Material”, or “Body Art” (Little Black Book of Stories). Stories also give her the opportunity to engage with her favourite ekphrastic and taxonomic activities. Narrating how art transforms the everyday, Byatt furthermore indulges in fantastic writing, something the realist novel does not allow, except when embedding short forms within its frame. In the short stories, her exploration turns ontological when she depicts outlandish female beings like a “Stone Woman”, a Lamia, a Fetch, a jinx … Is there a Byattan short story? How much are her stories motivated by narrative drive and representative of what she herself has termed “self-conscious realism”? These are some of the general questions that this special issue aims to explore.

Contributors are invited to deliberate the critical and poetic engagement of Byatt with short fiction. The focus can be on specific stories, a single collection or on her whole work. Suggestions below are not restrictive:

  • Taxonomy and description
  •  Intertextuality and intermediality
  • New female ontologies
  • The everyday
  • The sensory and corporeality
  • Appropriation of the short story form
  • (True or metaphorical) metamorphosis

Proposals of 400 to 500 words should be sent by 1 June 2020 along with a bibliography, and a short bio-bibliography. Completed articles will be due by 30 January 2021.

Please send all queries and proposals to the guest editors:

(posted 2 August 2019)

Books and special issues of Journals – Deadlines January to March 2020

The Sound of the Past
A special issue of The Journal of Historical Fictions
Deadline for completed articles: 1 Januay 2020

What is the role of sound in historical fictions? How can we try to replicate  what the world sounded like in the past? What is the role of music in period dramas?  Why are contemporary musicals with historical settings so popular?  How can sound be described in historical novels?

The Journal of Historical Fictions is looking for papers on any aspect of “sound”, broadly defined  (music, mechanical sounds, songs that tell a historical narrative, voices, etc.) for a special issue  on sound in historical fictions, ‘The Sound of the Past’.

Please send completed articles of 6,000-8,000 words to by 1 January 2020
(see our submission guidelines here:

We also have a rolling deadline for articles that relate directly to research and teaching questions on  historical fictions of any kind, from all scholarly disciplines, and we welcome spontaneous submissions.

(posted 21 Septembe 2019)

Tradition(s) in the American South – Changing or Adamant?
The Hungarian Journal of English and American Studies (HJEAS)
Deadline for proposals: 13 January 2020

The Hungarian Journal of English and American Studies (HJEAS), published by the Institute of English and American Studies, University of Debrecen, Hungary is soliciting essays for a thematic bloc on contemporary Southern literature and film. As the only undisrupted periodical sequence devoted exclusively to English and American Studies in Hungary from 1963 on, HJEAS is indexed on the MLA Bibliography and has a worldwide readership due to its availability on JSTOR and ProQuest.

The Tradition(s) in the American South – Changing or Adamant? thematic bloc is looking for 6-8 essays of 6-8,000 words, which focus on post-1980 works that explicitly engage with the remembrance and/or renewal of Southern traditions in the broadest sense. In order to do justice to the variety of Southern cultures, HJEAS would be very pleased to offer a selection of essays that reflect the region’s diversity both in socio-cultural and artistic terms.

To express interest and to give HJEAS the chance to compile a selection of various topics and approaches, please send 300-350-word proposals by 13 January 2020 to the editor of the thematic bloc, Imola Bülgözdi at and the Editor-in-Chief, Professor Donald E. Morse at

The thematic bloc is scheduled for publication in the 2021 Spring issue of HJEAS, therefore finished essays (MLA 7th edition) will be expected by September 2020.

For potential contributors in Central and Eastern Europe

While scholarship on notable twentieth-century literary figures of the American South is well-established in the region, the Southern literature and cinema of the past forty years have received less academic attention than they deserve. Since most post-socialist states in Central and Eastern Europe are still coming to terms with the historical traumas and violence of the previous century, which affect not only traditions as preserved in cultural memory but also the ongoing construction of new traditions, insight into how the literary and cinematic output of the region engages with Southern traditions could also shed light on the processes that have led to radical conservative views in this part of the world as well.

(posted 7 Novembe 2019)

Translation, Rewriting and Adaptation
A special issue of the Hungarian Journal of English and American Studies (HJEAS)
Deadline for proposals: 15 January 2020

The international journal, Hungarian Journal of English and American Studies (HJEAS) solicits papers on “Translation, Rewriting and Adaptation” for a special issue in 2021. HJEAS is available world-wide on ProQuest and archived on JSTOR. Scholarly essays are welcome on a wide range of related topics, such as novels adapted to film, drama productions based on films, free translations of classic drama for the Anglophone stages, continuation of novels or novels rewritten for a new kind of readership (e. g., Foe by Coetzee, The Jane Austen Book Club by Karen Joy Fowler, etc.) poetry and poetry sequences adapted for stage or performance.

Essays should be 7-10,000 words, double spaced with parenthetical citations using Works Cited following the MLA Handbook 7th edition.  A Style Sheet is available at the HJEAS website. Proposals of 300-400 words are due on or before 15 January 2020 with complete essays submitted on or before 4 September 2020. Send proposals and/or queries to Prof. Donald E Morse, Editor in Chief, Hungarian Journal of English and American Studies,

(posted 7 November 2019)

“Marine Feet and Vesuvian Eyes”: The Volcanic Aesthetics of Maria Orsini Natale
An edited volume
Deadline for proposals: 31 January 2020

“The secret for harvesting from existence the greatest fruitfulness and the greatest enjoyment is: to live dangerously! Build your cities on the slopes of Vesuvius!” ~ Nietzsche

“I have marine feet and Vesuvian eyes, and this belonging to a universe that is land, sea, and lava, my allegiance to a world, not only is a poetic inclination but, in its instinct,
a resonant and overwhelming force” ~ Maria Orsini Natale

This volume intends to fill a gap in the critical reception of a remarkable Southern Italian woman writer. A journalist, a poet and a writer, Maria Orsini Natale (1928-2010) lived and worked at the foot of Vesuvius, and began writing at age 69, receiving several literary recognitions. Her novel, initially written as Ottocento Vesuviano, then entitled Francesca and Nunziata, and published for the first time in 1995, was also made into a 2001 film directed by Lina Wertmüller, starring Sophia Loren and Giancarlo Giannini. The book earned her a semifinalist’s place in the Strega Prize, the most prestigious Italian literary award, and features a family from Amalfi, dedicated for generations to the white art of pasta making. More than fiction, it illustrates what in Neapolitan is called a ‘cunto’, part historical account and part allegorical tale, derived from a reservoir of collective as well as personal memories. Among other aims, the writer wishes to reveal the sacrifice that was silently paid by hard-working individuals in the thriving industrial and rural worlds of the South when Italy was in the process of unification. The passion for memories, the act of remembering and reconstructing the past, characterizes Orsini Natale’s urge to write. Her Proustian literary technique is immediately apparent in works such as La Bambina Dietro la Porta, or Il Terrazzo della Villa Rosa, where a colorful crowd of characters in a tightly-woven community are portrayed while loving and living under the shadow of Vesuvius—“’a muntagna” as the locals call it. Indefatigably devoted to celebrate and preserve cherished and ancient traditions, Orsini Natale also pays homage to the age-old heritage and multifaceted knowledge of food-making, with its related rituals (Don Alfonso 1890. Una storia che sa di favola). She particularly treasures the togetherness of breaking bread. In C’era una Notte and Cieli di Carta, as well as in other works, the sense of community, family ties, and religious feelings, heightened by the deep-seated tradition of the presepe (the Nativity scene), draw a distinctive scenario, even while echoing the Neapolitan classic by Edoardo De Filippo, Natale in Casa Cupiello. Throughout her oeuvre, Maria Orsini Natale honors the unrecognized work of many women who worked against the grain and under the weight of an oppressive patriarchal culture. The determination and willpower of such women in the Meridione of Italy serve as a mirror for the ‘volcanic’ splinter of a world that emerges in Orsini Natale’s writing, with all its intelligence and passion, its aspirations and energies, its thirst for redemption from the deadlock of history, its resilience, its creativity and strength. By engaging with different aspects of her literary production, this volume seeks to formulate a vision that characterizes authors as bound not only to a region but to a specific territory and community. Orsini Natale’s chosen self-definition as a “Vesuvian,” rather than Neapolitan author challenges the assumption that contemporary writing is a literary mode of the city, showing how the province, or the margins, and the countryside are fundamental to the development of a very distinctive and rich aesthetic.

Contributors are invited to send proposals relating to one or several of the following themes in Maria Orsini Natale’s oeuvre (but not limited to them):

  • Explorations of Vesuvian identity/volcanic aesthetics
  • Seascapes and cultural frameworks of the Mediterranean Sea
  • Texts and contexts: writing from the Neapolitan province (either as an individual author or in comparison with Michele Prisco and others)
  • Comparisons/contrasts with Elena Ferrante or other women writers from Naples/the Neapolitan province
  • Auto/biographical writing and the role of memory
  • The North-South relationship
  • Historical, political, and economic contexts
  • Writing about local traditions and religious practices and rituals (presepe, patron saint festivals/processions, funerals, washing laundry, pasta making, embroidering, etc.)
  • The pleasure of storytelling: the ‘cunto’, allegories, and metaphors
  • Etymology, culture, and meaning
  • The uses of fairy tales and fables (either as an individual author or with Sabatino Scia, La Favola del Cavallo, Favole a Due Voci)
  • Food practices, with their history and culture
  • War and/or anti-fascist sentiments
  • Emigration, genius loci, nostalgia, and/or loss
  • The literature and cultural history of ‘Il Miglio d’Oro’ (the Golden Mile)
  • Film adaptation of Francesca and Nunziata
  • Intersections between history and allegory
  • Men/ fathers and women/mothers
  • Poetic expression
  • On rhetorics and the language of the writer (uses of Neapolitan and Latin)
  • Any critical analysis from the perspective of animal studies, gender studies, or other disciplines

Please send a short bio and a 250 to 500 word abstract by January 31st, 2020 to:

(posted 16 September 2019)

Shakespeare, Screen and Texts: French Theory and Critical Reception
Issue nr 15 of Shakespeare en devenir
Deadline for proposals: 31 January 2019


  • Anne-Marie Costantini-Cornède (PRISMES – Paris 3 Sorbonne-Nouvelle)
  • Pascale Drouet (University of Poitiers, CESCM)

This issue aims to explore the impact of French cinema criticism on texts and screen Shakespeare studies, applying two complementary perspectives: theory and critical reception.

The first perspective will consider the impact of the work of famous French theorists such as André Bazin, Christian Metz (Film Language: A Semiotics of Cinema; The Imaginary Signifier), Jacques Aumont, Alain Bergala, Michel Marie, Marc Vernet (Aesthetics of Film), or Gilles Deleuze (The Movement-Image; The Time-Image), whose writings are increasingly translated and resorted to in international Shakespeare studies, along with those of French philosophers like Derrida and Foucault. With regard to the textual analysis of film, there cannot be a single approach. Each filmmaker attempts to construct a personal diegetic universe according to his/her own interpretations of the model’s original themes, and each film deploys its own internal systems, which are also related to specific genres (tragedy, history, comedy, romance). The critic then has to explore such varied domains as history, philosophy, the history of ideas, sociology, psychoanalysis and aesthetics. What can such ‘tough’ theorists bring to the study of Shakespeare films in terms of critical approaches to adaptation, new readings of the plays or visions of Renaissance worlds? Is such theoretical criticism always relevant, and if so, for which kind of adaptations? The question might be considered of how these concepts are useful for understanding the ideological and aesthetic variables at play in the models, as well as for exploring new fields and issues arising from the hybrid product and the process of recreation.

The issue proposes to address the question of realism and the ‘plausible’, or ‘verisimilitude’, as linked with the notion of a ‘cinema of transparency’ (Bazin, What is Cinema, or Aumont et al.), the issues of cinema, narration and identification (Metz, also taken up by Aumont et al., Gauldreault and Jost, Vanoye), the impact of borrowings from Hollywood codes (Deleuze and the Movement-Image), and pictorial techniques (Pascal Bonitzer), as well as such figures of abstraction or ‘dream-images’ (Deleuze and the Time-Image, ‘deterritorialized’ spaces blurring of limits between the real and the imaginary) such as are prone to define a metaphysical, conceptual cinema. Is such criticism better adapted to specific genres — on the assumption that generic classification itself is regarded as relevant for films?

As regards French theory (the first perspective), one might choose to examine how these concepts operate in texts and in ‘based-on’ Shakespeare films. One could draw examples from textual micro-analyses, adopt a comparative approach or take examples directly from films: ‘classics’ (Olivier, Welles, Kozintsev), foreign or period films (Abela, Kaurismäki, Kurosawa), basically narrative-based versions, but also those which borrow from Hollywood codes (Radford, Parker, Branagh, Nunn), modernisations (Luhrmann, Loncraine, Brozel) or avant-garde and ‘essay’ films (Jarman, Greenaway, Almereyda, Pasolini, Godard). This perspective, then, will reveal personal, mixed approaches, as well as global trends, ranging from fairly ‘straightforward’ narrative or transparent cinema to more symbolical conceptual forms.

As regards critical reception (the second perspective) — but the two perspectives do not have to be ridgidly separated — authors may want to focus on the specifically French critical reception of Shakespearean films (Branagh’s or Stoppard/Madden’s Shakespeare in Love, for instance) by specialised, but widely read, journals like Positif, Cahiers du cinéma or Les Inrockuptibles, and the stances — sometimes very critical indeed — adopted in these. Are such critics ‘tough’ purists, even more demanding in their expectations than Shakespeare scholars themselves, and could this precisely relate to a form of French theoretical heritage? This second perspective will also accomodate directors’ or actors’ points of view and/or personal experience, with regard to both production and critical reception.

Papers may discuss, among other questions:

  1. Aesthetic issues or features as linked to the process of re-mediation and adaptation from page or stage to screen
  2. Critical coincidences: Jack Jorgens’ concept of a ‘realistic’ mode of representation and Bazin’s question about what ‘realism’ is in Shakespeare films? Possible links betweene Jorgens’ ‘filmic-poetic’ mode and Deleuze’s ‘thought-image’?
  3. (Logical) borrowings between comedy, romance and Hollywood conventions, such as the slapstick and screwball comedy (Branagh, Nunn): attempts at and / or limits of such transfers?
  4. (Logical) mirror effects, inter-texts and inter-media: from the meta-theatrical to the meta-cinematic (Tempest versions)?
  5. Does a Shakespeare play need a minimal story and minimal narrative fluidity? Does a post-modern, systematic deconstructive or ‘de-narratized’ stance enhance or weaken the ‘Shakespearean’ dimension? (Jean-Luc Godard’s King Lear)?
  6. Are statements such as ‘This is Shakespeare!’ or ‘This is Shakespearean!’ relevant as applied to films? Does there exist a ‘Shakespearean’ genre in films? Can there exist such a thing as a phenomenology of the Shakespeare film?
  7. Filmmakers’ and actors’ experiences and points of view. How do filmmakers, scriptwriters and actors react to critics?


Contributors are requested to send a title, an abstract and a biographical notice by late January 2020, to Anne-Marie Costantini-Cornède (PRISMES EA 4398 – Paris 3 Sorbonne-Nouvelle) and Pascale Drouet (University of Poitiers, CECSM UMR 7304):,,

Completed papers, in English or in French, should be sent by late June 2020 along with an abstract both in English and French, a biographical notice and a list of 5 or 6 keywords, to Anne-Marie Costantini-Cornède (PRISMES EA 4398 – Paris 3 Sorbonne-Nouvelle) and Pascale Drouet (University of Poitiers, CECSM UMR 7304):,,

(posted 15 October 2019)

Age and Performance: Expanding Intersectionality
A special issue of Theatre Research in Canada/ Recherches théâtrales au Canada
Deadine for abstracts: 1 February 2020

Guest Editors: Benjamin Gillespie (Graduate Center, CUNY), Julia Henderson (University of British Columbia), Núria Casado-Gual (University of Lleida, Catalonia, Spain)

As aging populations continue to expand rapidly, generating what Robert N. Butler has called the “longevity revolution,” cultural awareness is growing about the systemic cultural inequities restricting and repressing older people. The expanding field of humanities-based age studies has begun to explore how normative cultural expectations surrounding age (frequently translated into assumptions about how to “act one’s age”) not only pose limits on older people, but also condition perceptions (and prejudices) about all ages across the life course. In comparison to other aspects of identity such as gender, sexuality, race, or ability, age often remains ignored. In the words of age studies pioneer Margaret Morganroth Gullette, age is “entrenched in implicit systems of discrimination without adequate movements of resistance to oppose them” (15). Elinor Fuchs, one of the first scholars to explicitly incorporate an age-studies perspective in theatre research, contends that “the dividing line between youth and age is constantly elusive,” precisely because age, contrary to other markers of identity, is an overtly dynamic category based on two contradictory principles: change and continuity (70).

Scholars working within cultural age studies have started to address age as a point of intersection across many disciplines. However, as Valerie Barnes Lipscomb affirms, “theatre has lagged behind, focusing more on theatre projects with older people than on theorizing age” (193). This special issue seeks to understand theatre’s role in, and potential for, reinforcing and resisting ageism as well as the so-called narrative of decline that favours a negative view of old age (Gullette 2004) . Expanding theatre and performance research to incorporate age-studies perspectives will illuminate the constructedness of age and increase our understanding of the diverse phenomenon of aging and its performative qualities. As Michael Mangan demonstrates in his monograph Staging Ageing: Theatre, Performance and the Narrative of Decline, many of the concerns shared by theatre scholars and artists, including issues of empathy or subjectivity in drama and performance, are inherently involved in perceiving age identity (though such perceptions often remain unconscious).

Foregrounding the intersections of theatre, performance, and cultural age studies, this will be the first journal special issue to focus specifically on the role of age in Canadian theatre and performance. The issue will explore age identities across the life course and investigate ageism and its resistance through questions of temporality, aesthetics, embodiment, difference, language, performance, and performativity.

Article submissions may engage with some of the following questions:

  • Following the work of Kathleen Woodward and Anne Davis Basting, how do perfomative renderings of aging and theatrical casting practices help us read the aging      body on and off stage?
  • How do performances of gender, sexuality, race, and ability intersect with age performance and performativity?
  • In what ways do live theatre and performance challenge us to spectate age differently in relation to other cultural forms such as film?
  • How are stereotypical representations of aging overcome by the work of contemporary playwrights, theatre companies, directors, or actors?
  • What new understandings of age and across life course emerge out of theatre and performance practices?

Submissions of 300-word abstracts should be sent by February 1st 2020, by email to:, copied to the TRiC editorial office at TRIC/RTAC is a bilingual journal, and we welcome submissions in both English and French. For detailed submission guidelines see: The issue is scheduled to appear in November 2021.

(posted 4 December 2019)

Speaking Margins, Talking Mainstream: Strategies of Inclusivity in Popular Culture
Kultura popularna
Deadline for proposals: 28 February 2020

“There has been an awakening. Have you felt it?” Supreme Leader Snoke

The opening lines of the 2014 teaser for Star Wars: The Force Awakens were followed by the first unmasking of a black stormtrooper which became a subject of immediate controversy for a certain group of fans, some of whom also voiced objections against a strong female lead in the sequel trilogy. And yet with the success of Captain Marvel, Steve Rogers passing his shield to Sam Wilson, Natalie Portman soon to portray Thor (not a “female Thor” – Thor) and with the inclusion of LGBTQI characters in major narratives across all media, a change can definitely be felt.

Kultura popularna seeks articles critically addressing what could arguably be termed as the inclusive turn taking place in the 21st century mass and popular culture, and the various forms of backlash against the shift. We invite discussions of particular textual and discursive formulations as well as analyses of broader cultural practices. Contributors are encouraged to examine intra- and cross-cultural dynamics, and while the focus of the issue remains on the recent developments, historical perspectives tracing back specific current tensions are also welcome. The issue is open to inter- and transdisciplinary investigations addressing, but not limited to the topics below:

  • emergence and role of non-normative protagonists in popular/superhero narratives
  • manifestations of the fourth wave feminisms and the #metoo movement
  • theorizing intersectionality in the 21st century
  • new racial discourses and popular culture
  • inclusivity in/and culture industries
  • market value of inclusivity
  • repetition with a difference: reboots, returns and adaptations
  • rejects and abjects as the agents of change
  • posthuman narratives and territories
  • technology as a vehicle of inclusion
  • non-normative voices and embodiments in the mainstream
  • new strategies of normative violence
  • backlash against demarginalization
  • sex and the mainstream

Deadline for sending articles: 28 February 2020.

Reviews of recent academic works relevant to the scope of the CfP will also be considered for publication.

Texts should be sent to Submissions (25 000 – 30 000 characters for articles, 2000-4000 characters for reviews) should be accompanied by a short biography of the author (3-4 sentences). Article submissions should additionally include an abstract (ca 200 words) and 5-7 keywords. Please limit the footnotes to a minimum and, if necessary, use endnotes instead. Otherwise, follow the 8th ed. MLA stylesheet. Submitted articles should not have been published previously, nor be under consideration for publication elsewhere. Selected articles will be published in the 4/2019 issue of the journal.

Kultura popularna [Popular Culture] is a peer reviewed quarterly published since 2002 by the SWPS University in Warsaw. Since 2012 all articles have been available in open access.

(posted 28 October 2019)

Books and special issues of journals – Deadlines October-December 2019

Using Literature to Teach English as a Second Language
Call for Chapters
Proposals Submission Deadline: 2 October 2019

Full Chapters Due: November 15, 2019
Submission Date: February 23, 2020
Nowadays, in the era of communication, technology and globalisation, English, rather than a complementary subject has become in the last decades a key determinant towards success present in all curricula, studied by learners and people of all ages all around the world. With the passage of time, teachers’ position as simple and arbitrary dispensers of knowledge of a second language – in this case English – has changed, and with this, also the methodologies applied to transmit suitable and valuable pieces of information in the classroom. Innovation has replaced stereotypical and old methods as an attempt to make English language teaching and learning appealing, effective and simple.
O’Sullivan claims that “the teaching of literature has recently been resurrected as a vital component of English language teaching” (2017: 1). Teaching a second language through literature might be a paramount tool to consolidate not only students’ lexical and grammatical competences, but also for the development of their cultural awareness and broadening of their knowledge through interaction and collaboration that foster collective learning. Besides, reading ignites students’ imagination and their critical thinking due to the interpretation, discussion and expression of their opinions on universal themes which might relate to their personal ones.
But precisely these strengths, according to the experts on the field, are transformed into serious difficulties that make the method totter. Language pedagogy using authentic literary texts is definitely not an innovative instrument as it counts with years of tradition; Spack (1985) talked about “bridging the gaps” between the use of literature and the teaching of reading and writing. Already in the 1970s, the methodology of teaching English through literature was displaced and substituted by the so called task-based and content-based approaches. Among the reasons alleged for this exclusion is, on the one hand, the long-standing disassociation of the fields of language teaching and learning to literature and, on the other, the possible frustration caused by literary corpus. The text might present a complex range of vocabulary that might be unknown to the learner, with parts scattered with metaphors and charged with symbolism and motifs which might hinder and obscure the comprehension of the text.
Nonetheless, all seems a problem of focus on the method and on the teaching/schema. According to Sanju Choudhary “literature plays a vital role in teaching the four basic skills of reading, writing, listening, and speaking” (2016), and oral and written abilities must be taught and learnt as being complementary to each other and not isolated units whichever might be the education level or the stage in the learning process. The progression in the acquisition of a foreign language must be perceived as an ensemble, rather than a four-part separate project, but also the adaptation of authentic texts to learners’ educational level. Several have been the studies which tackle the link between teaching methodology and literature, employing not only fiction (Sage, 1987; Collie and Slater, 1990; Stern, 1991; Custodio and Sutton, 1998), but also drama (Lenore, 1993) and poetry (Hiller, 1983; Çubukçu, 2001). In spite of the extensive scholarship on the literary approach to teach English as a second language, the influx of innovative methodologies strongly favour ground-breaking orientations regarding new technologies, gamification, flipped classroom, design thinking, to name a few.


Objective”>The overall goal of this book is to give a comprehensive picture of the current landscape of learning English across different educational settings, from kindergarten to higher education, placing special emphasis on the latter . In view of the above, then, the main purpose of this book is to expose the current state of this methodological approach nowadays, and to observe its reverberations, usefulness, strengths and weaknesses when used in a classroom where English is taught as a second language. In this way, this book will provide updated tools to explore another way of teaching and learning through the most creative and enriching manifestations of one language, literature. This is how literature’s position in relation to language teaching is revindicated and revalued.

Target Audience

Books such as this one are especially important for compiling high-quality, up-to-date, scholarly cases that can support and enhance the effective design of online courses incorporating current and emerging digital tools to meet the evolving needs of diverse learners in a variety of sectors. The cases will be valuable for teachers, higher education faculty and teacher educators as well as educational designers in educational settings.

Thus, this book is intended for:

  • ESL teachers, instructors, university professors
  • Educational designers and developers
  • Instructional technology faculty
  • Distance learning instructional designers and faculty

Recommended Topics

Recommended Topics include but are not limited to the following:

  • Theoretical review of the use of literature for ESL. The state of the art.
  • New technologies and literature in ESL.
  • Distance learning / Online learning and literature in ESL.
  • Flipped classroom and literature in ESL.
  • What is thematically acceptable? Adapted materials, how to know that a material is suitable to the class’s level? The selection of texts. Should these texts be culturally universal?
  • Creative thinking in ESL classroom.
  • Are all the literary genres (poetry, science fiction, drama, and novel) suitable for teaching English? The benefits of using each genre, pursuing different objectives according to the age of the learner.
  • Possible problems and/or challenges of this approach, among them the preparation of the teacher or professor in the area of literature – do teachers need a solid background in literature in order to use the method? – , the importance of tested-designed materials, the need to establish clear-cut objectives etc.
  • When, why or how literature should be incorporated during the learning process? The importance of pre-reading. The steps to be followed when this method is used.

Submission Procedure

Researchers and practitioners are invited to submit on or before October, 2, 2019, 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 October 7, 2019 about the status of their proposals and sent chapter guidelines. Full chapters are expected to be submitted by November 15, 2019, and all interested authors must consult the guidelines for manuscript submissions at prior to submission. All submitted chapters will be reviewed on a double-blind review basis. Contributors may also be requested to serve as reviewers for this project.

Note: There are no submission or acceptance fees for manuscripts submitted to this book publication, Trust in Knowledge Management and Systems in Organizations. All manuscripts are accepted based on a double-blind peer review editorial process.

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


This book is scheduled to be published by IGI Global (formerly Idea Group Inc.), publisher of the “Information Science Reference” (formerly Idea Group Reference), “Medical Information Science Reference,” “Business Science Reference,” and “Engineering Science Reference” imprints. For additional information regarding the publisher, please visit This publication is anticipated to be released in 2020.

Important Dates

September 2, 2019: 1st Proposal Submission Deadline
September 6, 2019: Notification of Acceptance
October 2, 2019: 2nd Proposal Submission Deadline
October 7, 2019: Notification of Acceptance
November 15, 2019: Full Chapter Submission
December 29, 2019: Review Results Returned
February 9, 2020: Final Acceptance Notification
February 23, 2020: Final Chapter Submission

(posted 7 Septembe 2019)

Urban spaces in films
A special issue of Chalchitra Darpan
Deadline for proposals: 14 October 2019

About Chalchitra Darpan
Chalchitra Darpan is an upcoming film journal by Celluloid, the Film Club of Miranda House, University of Delhi. The journal is a medium to bridge the gap between film academia and undergraduate research. It aims at encouraging film and media enthusiasts towards analysing the ever-changing field of films.
Editors-in-chief: Giitanjali and Oli Chatterjee

About the theme
Urbanisation and urbanity have brought with them new cultures, artistic avenues and opportunities. The cultural perceptions of a city, its conception, its morality and its decline have become an arena for discussions of modernity, technology, crime, theology, nostalgia and much more.
Cities have been explored in cinema in a myriad manifestations: as a character, as a fetish, as a historical document, as a cultural monument of religiosity, as a symbol of liberalism, sexuality and decay. The politics and juxtaposition of interior/exterior, public/private, political/civil, urban/rural are themes which deserve more ink to be shed on.
A paucity in urban cinema research and a panel discussion on the city of Kolkata made us evaluate the nature of the urban spaces and the themes it can span to, making us understand the need for such a research.
While we would largely want to focus on South Asian cinema, we do look forward to explorations of the theme beyond what we’ve already talked about. We also highly encourage studies on the vicissitudes of the city vis-a-vis ecology, imperialism, history and capitalism and hope that papers will not be limited to narrative cinema and would also explore the aesthetic and politics of documentary and experimental form. Empirical studies on urban film culture would also contribute substantially of the discourse we’re trying to garner. Issues of film historiography would also require an immensely critical-reading of texts and would be a great addition to the Journal. Of course, these are but a few limited themes and we expect scholars to play around with the subject!

Research Paper Submission
In the light of new developments in film studies and a lack of structured discourse on the same by undergraduates, we urge everyone to send in their papers and examine the theme from various perspectives.
Chalchitra Darpan accepts written pieces for submission. Written pieces can be either essays for our ‘Features’ section, which should be between 5,000-7,000 words (including footnotes, excluding bibliography) or shorter articles of approximately 1,000-3,000 words (including footnotes, excluding bibliography). Book reviews are typically 1,000 words.
While this is largely an undergraduate journal, we do encourage some expert comments or articles from researchers working in field.
All submissions should not be under consideration elsewhere, and should be original and previously unpublished.
Submissions can be in Hindi and English.

Abstract Submission
Proposal abstracts should be of no more than 250 words and must be accompanied by an indicative bibliography. A brief biography of the author of approx. 150 words should be provided along with the abstract. Abstracts should be sent through as Word Documents and titled “For consideration: Author First name Author Surname”
Please submit your proposal on

Abstract Submission Deadline: 14th of October, 2019
Abstract Decision Announcement: 25th October, 2019
Final Draft Deadline: 30th December, 2019
Final Draft with Corrections: 5th January, 2020

Please feel free to contact us for further queries.

(posted 21 September 2019)

Dynamics of collapse in fantasy, the fantastic and SF
Issue 63 of Caliban, June 2020
Deadline for proposals: 15 October 2019

Apocalyptic patterns have fuelled SF, fantasy, horror and the fantastic for a long time. The central argument of many classics within these genres is the annihilation of the world or that of civilisation. In this respect, the example of R. Mathesons novel I Am Legend (1954) is typical, with its pandemic turning people into the living-dead. The story spawned multiple movie adaptations,[1] eventually giving birth to the zombie apocalypsesub-genre, via G. Romeros Night of the Living Dead (1968). Along this legacy, another post-apocalyptic piece was a fruitful inspiration to dystopian anticipation, albeit in a perspective closer to action films or motorised western movies: G. Millers Mad Max2: The Road Warrior (1981). Here, it is the depletion of oil resources which brings about the end of civilisation. Thus, the pattern is similar to the evolution the world has actually known since the release of the movie, as the world oil production peaked in 2006, according to the International Energy Agency.[2]

Closer to home, some recent works have been presented and/or interpreted by ecocritics as metaphors for climate change and the catastrophes it triggers: J. VanderMeers Annihilation (2014) and its movie adaptation by Alex Garland, in which air alteration around a growing area causes mutations in the fauna and the flora; or P. Bacigalupi and T.S. Buckells fantasy novels The Tangled Lands (2018), in which excessive use of magic unhinges the environment.[3]

Meanwhile, within the scientific community, more and more speak up to take stock of an undergoing collapse rather than to prevent a remote apocalypse. Among these authors, are the French astrophysicist J. Blamont and his Introduction au siècle des menaces[4], the American historian and geographer J. Diamonds now classic Collapse(2005), in which he analyses the collapse of past societies to understand contemporary threats[5], or, of course, the regular reports of the Intergovernmental Panel on Climate Change (IPCC). These issues were already outlined in The Limits to Growth (1972), akaMeadows report, the seminal essay written for the Club of Rome, but these predictions were not taken seriously at the time.

The most comprehensive synthesis of all those works must be Comment tout peut s’effondrer[6] (2015), written by the engineer in agronomics and ethologist P. Servigne and the independent scholar and eco-advisor R. Stevens, in which they study the implications of signs foreshadowing a global [] economic and probably socio-politicalcollapse leading, potentially, to « the end of thermo-industrial civilisation »[7] and which « might trigger a collapse of the human species or even of all but a few living species ».[8] For the authors, the concept of collapse combines two complementary meanings. They borrow their technical definition from J. Diamond, a drastic decrease in human population size and/or political/economic/social complexity, over a considerable area, for an extended time,[9] and combine it with a more pragmatic perspective borrowing from Y. Cochet : at the end of the process which we will call collapse, the basic needs (water, food, housing, clothing, energy, etc.) are no longer provided to most of the population by services which are regulated by the law[10]. As for collapsology, a science the authors meant tocreate and which has since been developed successfully, it isthe transdisciplinary study of the collapse of our industrial civilisation and of what might come next, based on two cognitive modes, which are reason and intuition, and on scientific works of standing[11]. On this basis and in a perspective both technical and anthropological, collapsologists mean to explore a world in whichglobal warming is already causing longer and stronger heat waves as well as extreme eventsand in whichwe already witness water shortages in highly populated areas, economic losses, social unrest and political instability, as well as the propagation of contagious diseases, the proliferation of pests, the extinction of many living species [], the melting of polar ice caps and glaciers, and the diminution of agricultural productivity.[12]

Caliban #63, entitled Dynamics of Collapse in fantasy, the fantastic and SF, intends to start a reflection on the more or lesscollapsologicalperspectives that our new context can bring to the creation or the reading of apocalyptic and post-apocalyptic works. Those may belong to the fantastic genre, in the classical sense of a supernatural intrusion in a realistic background or in the Todorovian acceptation of a sustained doubt as to the reality of the supernatural occurence. They may also pertain to fantasy (Todorovs marvellous), in the classical sense of a universe in which supernatural events are either normal or beyond ontological doubt. Last but not least, they may belong to science fiction, in a broad acceptation in which the causes of collapse, whether realistic or not, are presented with Suvinian cognitive rigour.[13] Thus, Stephen Kings The Stand (1978) pertains both to the fantastic in the classical sense and to SF, since the apocalypse is caused both by a pandemic (SF) and by the eldritch action of evil supernatural forces (fantastic). The whole spectrum of what can be called more or less loosely science fiction is thus relevant from post-apocalyptic space opera such as the TV series Battlestar Galactica (2004-2009) to various uchronia, dystopia, and works of anticipation which may focus more on sociopolitical evolutions and collapse rather than on technological evolutions and collapse.

The works under study may be literary or cinematographic, of course, but essays on comics, boardgames, role playing games or video games are more than welcome.

The main approaches to these issues are the study of recent works that may have been influenced by the context of undergoing collapse, or the re-reading of older works from the standpoint of our new context and/or of reflections developed by collapsologic-minded scholars. Those works may also be used as starting points to question the concept of collapse, to ponder the ways they illustrate different kinds of collapse (such as collapse of climate, energy ressources, infrastructures, finance, politics, biodiversity) and their interactions, since each type may trigger collapses of a different kind, just as the proposed solutions to each may also trigger other kinds of collapse.[14] Here is a non exhaustive list of relevant works with suggestions of potential thematic perspectives :

Imagining the aftermath:The Walking Dead (comic book series and adaptations), Jack Kirbys Kamandi, Cormac McCarthys The Road, Russel Hobans Riddley Walker,Paolo Bacigalupis The Windup Girl, John Crowleys Engine Summer, Mick Jacksons Threads, Walter Murchs Return to Oz, Franklin J. Schaffners The Planet of the Apes and its sequels. Any post-apocalyptic dystopia or dystopia about an undergoing collapse: George Orwells 1984, Suzanne Collinss The Hunger Games,Margaret Atwoods The Handmaid’s Tale,Alfonso Cuarons Children of Men, Richard Fleischers Soylent Green; the boardgames Outlive or Pandemic Legacy Season 2, the video games Forsaken, Falloutand Wasteland,the role playing game Polaris.

How it all goes crashing down:

with a bang (Isaac Asimovs Nightfall, Max Brookss World War Z, H.G. Wellss The War of the Worlds, Ursula K. Le Guins The Word for World is Forest, Philip K. Dicks Ubik, Stephen Kings The Stand, Dan Simmonss Ilium and Olympos,China Miéville’s Embassytown; the movies Deep Impact, Blindness, Contagion, Perfect Sense, The NeverEnding Story; the boardgame Pandemic;Mark Rein-Hagens role playing game Vampire: The Masquerade)

vs with a whimper (Asimovs Foundation, J.R.R. Tolkiens The Lord of the Rings and The Silmarillion, CrowleysLittle, Big, Le Guins The Farthest Shore; Mike Judges film Idiocracy; Francesco Nepitellos role playing game The One Ring – especially its campaign The Darkening of Mirkwood).

inescapable (Le Guins « Paradises Lost »,  Orson Scott Cards The Call of Earth, Asimovs « The Last Question », C.S. Lewiss The Magicians Nephew andThe Last Battle, Joss Whedons TV series Dollhouse; the board games Small World, Vinci, War of the Ring and the role playing game The One Ring)

vs. preventable  (Deep Impact, Armageddon, The Lord of the Rings, The Farthest Shore, Pullmans His Dark Materials, the board games Pandemic and Arkham Horror or the role playing game The Call ofCthulhu).

individual responsibility (Le Guins Lathe of Heaven, Drew Goddards film Cabin in the Woods, Terry Gilliams12 Monkeys, Rupert Wyatts Rise of the Planet of the Apes, Val Guests The Day the Earth Caught Fire; the video game Plague, Inc.: Evolved; the episode trilogy « Weirdocalypse » concluding the animated series Gravity Falls),

vs collective responsibility (the TV series Dollhouse and Black Mirror, the board game Anacrony, Clifford Simaks novel City, the movies The Day After Tomorrow and Idiocracy and more generally political dystopia),

vs third party responsibility (the series of novels and movies Left Behind or the video game Judgment: Apocalypse Survival Simulation, Seth Rogen and Evan Goldbergs film This is the End)

orintermingled responsibilities (Phillip Pullmans His Dark Materials or David Wongs This Book is Full of Spiders: Seriously, Dude, Dont Touch It)

Submitted articles will be double-blind peer-reviewed. They can be written either in English or French and will not exceed 30,000 signs (including spaces, footnotes and bibliography). They must be sent by 15th Oct, 2019 to both these email addresses: /


[1] In 1964, starring Vincent Price; in 1971, starring Charlton Heston; in 2007, starring Will Smith.

[2] “In the New Policies Scenario, production in total does not peak before 2035 […] never attaining its all-time peak of 70 mb/d in 2006”. Nabuo Tanaka, dir. “World Energy Outlook 2010”, International Energy Agency, 2010, p. 125.

[3] cf. Maddie Stone, “The Monsters of Climate Change”, Earther, 2018,

[4] « Introduction to the Age of Hazards ». J. Blamont, Introduction au siècle des menaces (2004), available in French only.

[5] Jared Diamond, Collapse: How Societies Choose to Fail or Succeed, 2005, Londres: Penguin Books, 2011, p. 6-10.

[6] « How Everything Might Collapse : A Collapsology Handbook », Pablo Servigne and Raphaël Stevens, Comment tout peut s’effondrer : petit manuel de collapsologie à l’usage des générations présentes, Paris : Editions du Seuil, 2015.  Available in French only.

[7] Servigne and Stevens, op. cit., p. 25-26.

[8] Ibid., p. 129.

[9] Diamond, op.cit., p. 3. Quoted in Servigne and Stevens, op. cit., p. 178.

[10] In the original: “le processus à l’issue duquel les besoins de base (eau, alimentation, logement, habillement, énergie, etc.) ne sont plus fournis à une majorité de la population par des services encadrés par la loi ». Yves Cochet, « L’effondrement, catabolique ou catastrophique ?”, convention, 27th May, 2011, Institut Momentum,’effondrement-catabolique-ou-catastrophique/. Quoted in Servigne and Stevens, op. cit., p. 15.

[11] In the original: “exercice transdisciplinaire d’étude de l’effondrement de notre civilisation industrielle, et de ce qui pourrait lui succéder, en s’appuyant sur les deux modes cognitifs que sont la raison et l’intuition, et sur des travaux scientifiques reconnus” Servigne and Stevens, op. cit., p. 253.

[12] In the original: “le réchauffement provoque déjà des vagues de chaleur plus longues et plus intenses et des événements extrêmes [et l’on] constate déjà des pénuries d’eau dans les parties densément peuplées, des pertes économiques, des troubles sociaux et de l’instabilité politique, la propagation de maladies contagieuses, l’expansion de ravageurs et de nuisibles, l’extinction de nombreuses espèces vivantes […], la fonte des glaces polaires et des glaciers, ainsi que des diminutions de rendements agricoles”. Servigne and Stevens, op. cit., p. 67-68.

[13] See Darko Suvin, Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre, 1976 p. 7-8.

[14] Servigne and Stevens, op.cit., p. 124-125.

Imagineering violence: the spectacle of violence in the early modern period
A special issue of the Journal of the Northern Renaissance
Deadline for propsals: 30 October 2019

Guest editors: Karel Vanhaesebrouck (Université Libre de Bruxelles) & Kornee Van der Haven (Ghent University)The early modern period witnessed an explosion of the representation and performance of violence. In European cities, renaissance and baroque theatre staged gruesome and passionate plays, while in the streets, during religious festivals and public entries of sovereigns, state and church conjured up violent images of subjection and suffering.The book market added to this spectacle of violence, as the early modern period saw the development of an advanced material infrastructure for the production, distribution, consumption, and appropriation of such imagery.

A fast-growing body of texts and prints registered violent episodes of the past and the present. On a daily basis, the public could study in detail the techniques used in battle, to torture martyrs, or to execute criminals. How can we explain this apparent fascination for violence? What effects and affects did these scenes aim to arouse? What relationships were evoked or enforced between the audience and the depicted or enacted scenes? What groups were depicted as violent, and with what specific violent practices and qualities were they associated?

This special issue aims to analyze early modern techniques of representing violence and their transformations over time. We invite proposals from all relevant fields of studies, including, but not limited to, history, theatre studies, art history and visual culture studies, literature, book history, emotion and sensory studies, the history of ideas, and cultural studies. We specifically invite articles that cover the technical and performative aspects of the depiction of violence, whether in print or painting, on stage, in the anatomical theater, the scaffold, or elsewhere. What regimes of representing and staging violence can we trace?

We assume that by zooming in on the concept of violence, we are forced to rethink traditional boundaries, between secular and religious realms, between East and West, between baroque and classical styles, between theatricality and spectacle, and between the public and the private sphere. Violence engages audiences in complex ways: it provides strong embodied experiences, can fascinate or repulse, exploit the curiosity and the desires of the public of consumers, install a breach with daily life, or turn reality into a stage.

Papers could explore how the development of an advanced market for violent imagery could drive spectators into new realms, getting caught in new technical loops by advanced visual means, and rethinking their own position towards the institutions in power. Authors may also exploit the cultural (social/gendered/religious) distinctions enforced by these visual regimes: which groups were depicted as violent, and how were these distinctions made into embodied experiences?

Submitted articles should be around 6,000 – 8,000 words, including all references and bibliographical material, and should be sent to If you plan to submit a significantly shorter or longer paper, please contact the editors beforehand. We welcome informal inquiries from authors considering submitting work: these should be addressed to and

The deadline for submissions is 30 October 2019.

All essays should be double-spaced, in 12 point Times New Roman, and have paragraphs clearly numbered. When using images, pictures, or sound files, it is the responsibility of the author to secure copyright permission from the relevant copyright holder. Each image or sound file should be accompanied by a caption. JNR follows the Style Guide of the Modern Humanities Research Association (MHRA). For any further information please refer to

(posted 2 August 2019)

Brexit and Academia
A special issue of Volume 25 of EJES (2020)
Deadline for proposals: 31 October 2019

The outcome of the 2016 referendum and the consequences the United Kingdom and Europe are currently facing in its aftermath will have a deep effect on various sectors within academia. It will not only affect research funding, the recruitment of talents and cross-border collaborations between academics on the continent and in the United Kingdom, but also have an impact on student and staff exchanges. Above all, however, Brexit and the debates surrounding the referendum posit new challenges to the role of academics in a renationalising Europe: the Vote Leave campaign was driven by an anti-establishment, anti-supranational, and anti-European rhetoric that did not stop short of academia.

The short- and long-term implications of Brexit on academia and the relationship between British and EU universities are hard to predict, but need to be addressed. While some universities have already reacted to the looming Brexit by founding research networks to support the exchange with researchers from the UK (such as the BritInn-network at the University of Innsbruck) or by establishing strategic partnerships with research institutions in the UK, more initiatives are needed to further support long-term collaboration post-Brexit.

This special issue on Brexit and Academia aims at scrutinizing the consequences of Brexit for the European research landscape, future collaborations between colleagues from Europe and Britain, and academia as a whole from a wide range of different (trans-)disciplinary perspectives.

Papers might address, but are not limited to,

  • analysis of the referendum campaigns, the subsequent Brexit-negotiations, or the future relationship between the UK and the EU;
  • the specific challenges faced by researchers involved in cross-border projects;
  • the impact of Brexit on the arts, humanities, and sciences and possible solutions;
  • the consequences, challenges, and possible solutions for higher education institutions;
  • the impact on different areas within politics, the economy, culture, and society that will have a lasting effect on academia;
  • the role of academia for maintaining collaboration and exchange in post-Brexit Europe
  • possible solutions for universities and research institutions to further support collaboration between researchers from Europe and the UK

Detailed proposals (up to 1,000 words) for full essays (7,500 words), as well as a short biography (max. 100 words) should be sent to and by 31 October 2019.

Main Editors:
Univ.-Prof. Dr. Sibylle Baumbach, Department of English, University of Stuttgart
Univ.-Prof. Dr. Andreas Maurer, Department of Political Science, University of Innsbruck

The EJES website:

(posted 20 May 2019)

The book-to-film debate in the age of visual commodities
Winter 2019 issue of The ESSE Messenger
Deadline for proposals:: 1 November 2019

‘An adaptation is a derivation that is not derivative – a work that is second without being secondary. It is its own palimpsestic thing.’ (Linda Hutcheon)

‘Did you read the novel?’ – ‘No, but I saw the film.’ This is a dialogue that often takes place today. Besides being common, this short conversation is also very revealing about the relation between the printed text and its visual representation as a film or TV series. And, obviously, it couldn’t be otherwise in a world dominated by TV sets, computers, tablets and smart phones with video facilities incorporated, and by video games, rock videos, home cinema, and many other appliances that reproduce images. More than that, the new commercialism could not but take advantage of such a reality and turn everything into commodities and try to extract profit from them. Novels about Harry Potter or Games of Thrones would probably not have achieved such rocketing success if they hadn’t subsequently had their visual adaptations. J.R.R. Tolkien might still be resting on dusty library shelves surrounded by his Middle-earth if he hadn’t been (re)discovered by film makers and adapted for the silver screen.

Today’s reality is that every day we have to face a flood of adaptations, not only in the domain of cinema and television but also in that of virtual reality, thematic parks, clothes, mugs, pens, and household and furniture objects, an impressing array of accessories, etc. We live in a world where everything is adaptable and, in fact, today we become more and more aware of the practice of watching adaptations. Paraphrasing Linda Hutcheon with her fundamental A Theory of Adaptation (Routledge, 2006) — quoted extensively in this Rationale — we can say that anyone who has ever experienced an adaptation (and who hasn’t?) has his or her own theory of what an adaptation means, whether voluntarily or involuntarily.

Watching book adaptations tends to replace the reading of novels, or, on the contrary, to accelerate the selling of the books, when the viewing precedes the reading experience, because the watchers want to compare the adapted text with the film. The responsibility of producing and receiving an adaptation of any kind becomes even more noticeable in the case of novels that are part of the literary canon.

Though films may have their limitations, being unable to dig into the depths of psychology or emotional consciousness, or to render the nuances of voice and tone in spite of good acting on the part of the performers, if understood as cultural translation, the process of adaptation becomes a distinctive, individual work of art. Each adaptation is the product of a cultural context through which various worldviews are expressed, and therefore the adaptation can be contradictory once it has been taken out of its own cultural background. Its existence is not only conditioned by the cultural context that created it but it stays alive within such a context.

What film makers have to decide when they start out on a project of adaptation is not only what to adapt but also how, namely whether their aim is to merely recreate visually the story of the book or to depart from it and offer their own creative vision of that particular story. This double nature of any adaptation is what Linda Hutcheon refers to when she states in A Theory of Adaptation (6) that ‘[a]n adaptation’s double nature does not mean, however, that proximity or fidelity to the adapted text should be the criterion of judgment or the focus of analysis. For a long time, “fidelity criticism,” as it came to be known, was the critical orthodoxy in adaptation studies, especially when dealing with canonical works such as those of Pushkin or Dante. Today that dominance has been challenged from a variety of perspectives […] and with a range of results.

And, […], when a film becomes a financial or critical success, the question of its faithfulness is given hardly any thought.’

But, for Hutcheon, what is of further interest when adapting a novel is not so much the act of deciding between fidelity or creativity as the fact that ‘the morally loaded discourse of fidelity is based on the implied assumption that adapters aim simply to reproduce the adapted text […].

Adaptation is repetition, but repetition without replication.’ (7). The result is what she sees as the urge to consume and erase the memory of the adapted text or to call it into question and problematize it. This is the case when the dictionary meaning of ‘adaptation’ as a process of adjusting, altering or making suitable becomes almost literal.

Starting from this theme and context, the December 2019 issue of the ESSE Messenger invites contributions concerned with what Hutcheon suggests as ‘distinct but interrelated perspectives’

  • of a contemporary process of adaptation:
    1. as a formal entity or product, an announced and extensive transposition of a recognizable particular work;
    2. as a process of creation, an interpretive act of appropriation which involves both (re-)interpretation and then (re-)creation;
  • as an extended intertextual engagement with the adapted work, with the stress on its process of reception, when adaptations are perceived as palimpsests which make our memory of other works resonate ty repetition with

Work Cited: Hutcheon, Linda. A Theory of Adaptation. Routledge, 2006.

(posted 25 July 2019)

December 2019 – January 2020 issue of Litinfinite
Deadline for proposals: 30 November 2019 (midnight)

Drama can be considered to be a composite whole consisting of theoretical, performative, socio-political, religious, economic, and psychological aspects. Litinfinite invites original and unpublished research papers, interviews, articles and scripts for its December-January issue. Subthemes include, but are not limited to:

  • Drama beyond borders
  • Indian English drama
  • Regional Indian drama
  • Dramatists and their major works (One at a time)
  • Folk drama
  • Song, music, dance, and drama as a performing art
  • Drama and mythology
  • Comparative analysis (drama and theaturgy)
  • Case studies on drama

Submission guideline:

  1. MLA 7th for reference.
  2. Word limit: 1500-2000 words (including citations)
  3. Font: Book Antiqua, 12
  4. Author bio: 50 words maximum
  5. Abstract: 150 words maximum
  6. Keywords: 5 maximum

Note: All papers will undergo a blind peer-review process. Plagiarism of any kind will lead to the disqualification of a paper. Acceptance mail will be sent within 20 days of the last date of submission. Papers will be selected for the print version or online version, or for both. Please check the status of your paper in the acceptance mail after the submission deadline is over.

Along with these, Litinfinite is accepting short stories, poems, book reviews and essays in English and Bengali for its regular section.

Short stories: English or Bengali (1500 words maximum)
Poems: English or Bengali (Maximum 2)
Book review: 700-800 words, with book details including cover page, ISBN number, price, author name, publisher name and year of publication.
Essays: 1000 words maximum.

Litinfinite does not promote any political party, organization, and religious groups. Please do not send us writings that are influenced by a strong political, religious or communal bias.

We do not provide complimentary copies, and encourage readers to buy books although the online version is completely free and open-access.

(posted 24 October 2019)

Just art. Documentary poetics and justice
A special issue of the journal Synthesis
Deadline: 1 December 2019

Special Issue Editor: Naomi Toth (13. 2020)

The unprecedented scale of violence unleashed during World War I inaugurated a new relationship to the document amongst writers and artists in Europe and North America. Whereas in 19thcentury works, documents were predominantly treated as source material to be transformed into works of art or fiction, in the aftermath of the 1914-1918 conflict, four new trends took centre-stage. Firstly, testimony comes into its own as a genre, defining itself against both fiction and ego-narratives, claiming documentary status in order to shore up its legitimacy under the pressure of negationist discourse on the one hand and in the context of an increasingly positivist historiography on the other. The genre would only gain in importance after World War II and the Shoah, with the work of Primo Levi or Charlotte Delbo. Secondly, avant-gardes in the literary, performing and visual arts engaged in the appropriation and repurposing of documents produced by the press, state bureaucracies and legislatures. In addition to surrealist and Dada works, such practices gave rise to experimental works such as Charles Reznikoff’s Testimony. Documents enter these projects in unmodified or minimally modified form, giving rise to works which foreclose arts’ tendency towards idealisation and elevation above concrete and circumscribed experience. At the same time, building upon the tremendous expansion of the role of the press in the 19thcentury and reinforced by the crisis of the Great Depression, the model of the reporter as producer of documentary narrative and evidence sees the flourishing of photojournalist publications and the rise of the non-fiction novel, which would come into its own with John Hersey’s Hiroshima and Truman Capote’s In Cold Blood. Finally, in theatre, documentary and verbatim practices emerge with works such as Karl Kraus’ The Last Days of Mankind in the interwar years and Peter Weiss’ The Investigation. Such shifts in the relationship to the document cannot be restricted to the industrialised West and its attempts to come to terms with historical and socio-political crises: colonial, post- and de-colonial contexts as well as reactions against authoritarian regimes and the exercise of power deemed illegitimate have seen similar practices flourish across the globe in the course of the 20thcentury.

In both their form and content, these different currents of documentary aesthetics all accord a privileged place to the judicial system, interacting with its regime of proof, the frameworks of the enquiry and the trial, and its mission to administer justice. Historically, the works of Reznikoff, Capote and Weiss are perhaps the most emblematic; today, artists, writers and theatre practitioners such as Luis Camnitzer, France Leibovici and Julien Serroussi, Vanessa Place, Anna Deavere Smith, or Milo Rau continue to produce documentary works in close contact with the judicial system. However, though such works structurally undermine claims to aesthetic autonomy and voluntarily confine themselves to the historical particular, they circulate in extra-judicial spheres and invite forms of judgement that differ from those administrated by the legal system. What motivates this recourse to art, and what effects might this aesthetic supplement seek to engender? Do such works act to shore up the judicial system in place? Do they seek rather to complement it or palliate its shortcomings? Or do they sometimes turn the tables and put the law itself on trial? To what ends? What, if any, alternative conceptions of the just do they generate? And what, if any, changes do such works aspire to effect on the course of the history they engage with?

Exploring the role documentary poetry, literature, theatre and art play in legitimating or questioning legal systems over the past century and in contemporary contexts, this issue of Synthesis invites submissions that reopen the question of literature and art’s critical potential as a laboratory for extra-legal conceptions of justice.

Abstracts of 300 words should be submitted to Naomi Toth by1 December 2019.

Notification of acceptance will be delivered by 10 January 2020.

Accepted articlesare tobe submitted by 30 May 2020.

Final articles should be 6,000-8,000 words long and include an abstract of no more than 300 words.

All enquiries regarding this issue should be sent to the guest editor, Naomi Toth, at

(posted 16 Septembe 2019)

Feminist Responses to Populist Politics
An issue of Volume 25 of EJES (2021)
Deadline for proposals: 31 December 2019

Guest editors: Mónica Cano Abadía (University of Graz), Sanja Bojanić (University of Rijeka), Adriana Zaharijević (University of Belgrade)

‘Populism’ is as slippery a term as the political soil it rhizomes in. During the last decade, it has been tested in political reality on numerous occasions and with varying outcomes. The distinction between right and left populisms has also become a staple in everyday academic, policy, and civil society discourses. On the left or the right, populisms often act as a bogeyman, as a threat to politics as usual, and as a sure sign that the world is, yet again, out of joint.

But are these misgivings of any substance? Perhaps the world is actually disjointed. It may be that populisms, left or right, fill in the cracks and fissures that have been lain open for only a short period of time, one that coincides with decades of sustained feminist efforts to change the world for the better. Despite the gains, much of what has been won is now being brought to a halt – and it seems that populisms play their share in this stoppage. It is therefore vital to ask what feminist responses to populisms could be. Can the answer to this question be reduced to the issue of political allegiance, or is it a matter of needing to adjust to new political realities? Would this imply then embracing these realities as well? What is the role that populisms now play in shaping the relationship between radical and mainstream feminisms? If we claim that feminism has always been populist to a certain extent, then we have to have a clear notion of the populus at its core. Alternatively, we might categorically posit that feminist populism is a contradiction in terms and therefore also reject the possibility of left populist feminisms.

This special issue addresses feminist visions of politics as a different answer to populisms’ challenges. We wish to mark ambivalences and name conceptual reasons for why it is insufficiently daring or even reactionary to place feminist emancipatory strategies close to politically divisive contemporary tendencies. Instead, we call for a return to notions of feminist resistance and resilience – notions that put an emphasis on agency, change, and hope in the face of the grave challenges we are faced with around the world. The following topics may be addressed:

What does ‘feminist populism’ refer to?

To what does feminist resistance to populism refer?

How does feminist resilience function?

What are the consequences, challenges and possible solutions that feminist resilience can bring about in civil society and institutions?

Detailed proposals (up to 800 words) for full essays (7,500 words), as well as a short biography (max. 100 words) should be sent to all of the editors by 31 December 2019: Mónica Cano Abadía (, Sanja Bojanić (, Adriana Zaharijević (

The EJES website:

(posted 20 May 2019)

Disseminating Knowledge: The Effects of Digitalized Academic Discourse on Language, Genre and Identity
An issue of Volume 25 of EJES (2021)
Deadline for proposals: 31 December 2019

Guest editors: Rosa Lorés Sanz (Universidad de Zaragoza), Giuliana Diani (Università di Modena e Reggio Emilia)

Recent decades have seen a substantial evolution in discursive practices, particularly those associated with institutions, the sciences and the economy. This state of affairs has been enhanced by the appearance of digital platforms, which have made of the web a privileged access platform both for knowledge creation and knowledge dissemination in an increasingly globalized society. This scenario is also characterized by the use of English as the international language of communication, most users being non-native speakers of the language. Thus, the spread of electronic platforms as well as the use of English as a vehicle of international communication have led to the emergence of new discursive practices or the adaptation of existing ones to the digital mode.

Digital affordances, and the immediacy, visibility, and connectedness they bring along, have changed the way we communicate and project our identities. They have also changed the way we approach texts as objects of analysis. This special issue aims to become a forum for some of the latest contributions to this topic. Proposals from different analytical approaches are welcome. These approaches might include computer-mediated discourse analysis, pragmatics, intercultural rhetoric, genre-based analysis, corpus studies or multimodality. The following topics may be addressed:

Are digital genres in academic settings modelled on traditional genres in paper format? Or, rather, is the digital mode generating new genres? What are their rhetorical and discursive features?

How is identity constructed and represented in digital academic discourse?

In which ways has the use of English as a Lingua Franca in the academic world been influenced by the use of digital platforms? To what extent do culture and discipline affect the shaping of academic web-mediated discourse?

How do verbal and visual modes interact in academic digital contexts? Which new methods of approaching discourse are needed to understand web-mediated texts?

Detailed proposals (up to 800 words) for full essays (7,500 words), as well as all inquiries regarding this issue, should be sent to both editors by 31 December 2019: Rosa Lorés-Sanz ( and Giuliana Diani (

(posted 20 May 2019)

Formal Intersections between Narrative Fiction and Other Media
A special issue of Lublin Studies in Modern Languages and Literature, Vol. 44, no. 2 (2020)
Deadline for contributions: 31 December 2019

A special issue guest edited by Grzegorz Maziarczyk and Wojciech Drąg

The new millennium has seen a resurgence of literary narratives which combine a variety of semiotic modes, such as “image, writing, layout, gesture, speech, moving image, soundtrack and 3D objects” (Kress, Multimodality 79). Some of them situate themselves in the tradition of postmodernist experimentation (represented by such authors as B.S. Johnson, William H. Gass and Raymond Federman), while others aspire to break out of the avant-garde niche and reach a wider audience. As demonstrated by the examples of Douglas Coupland’s Generation X, Mark Z. Danielewski’s House of Leaves and Jonathan Safran Foer’s Extremely Loud and Incredibly Close, multimodal novels are capable of gaining the status of bestsellers. They have succeeded in appealing to a broader audience because most readers are used to the multimedia environment of print, film, computer etc. By drawing on readers’ experiences with other media, contemporary fiction is becoming increasingly hybrid. It has productively engaged with the computer (digital/electronic literature), videogames (interactive fiction), touchscreen devices (Reif Larsen’s Entrances and Exits), photography (works by W.G. Sebald and Steve Tomasula), painting (Tom Phillips’s A Humument) and sculpture (Safran Foer’s Tree of Codes). A synthesis of text, image, sound and video, Tomasula’s TOC: A New-Media Novel may be a harbinger of how fiction will evolve in the decades to come.

We invite original articles examining various aspects of the formal interaction between narrative fiction and one or several other media, including collage/montage, illustrated and tactile works, altered books, card-shuffle novels, electronic fiction, fragmentary writing and other kinds of formal experimentation. We also welcome articles that interrogate the ways in which literary devices and conventions are incorporated/transformed/subverted in other media. We are particularly interested in analyses of Anglophone works published in the second half of the twentieth century and post-2000. The articles should be 25-30,000 signs (with spaces) in length and should follow the house style of Lublin Studies in Modern Languages and Literature as set out in the guidelines for the authors (

Contributors are requested to submit their works by email to Grzegorz Maziarczyk ( and Wojciech Drąg ( by 31 December 2019.

(posted 26 July 2019)

Books and special issues of journals – Deadlines July-September 2019

Alien in LSP Classroom
An international publication providing guidance for LSP instructors
Deadline for submission: 31 July 2019

The Institute of Foreign Languages at the Faculty of Mechanical Engineering, Brno, University of Technology, Czech Republic is issuing a call for papers on the role of the LSP teacher. We hope to collect papers by LSP practitioners that will make up an international publication providing guidance for other LSP instructors and enlightening them in their uneasy pedagogical efforts. Papers’ topics may include:

  • Curriculum developments, where there are usually very few guidelines, composing one’s own materials, and tailoring course design.
  • Instructors retraining themselves and finding out and staying in touch with
    the demands of the target discipline.
  • Reflection of student’s needs and employers’ requirements.
  • Teaching discipline-specific cultural competencies (including specific corpora) when the instructor is a linguist outside of the target discipline.
  • Developing active and self-evaluative learners as most of their future language learning will be done by themselves.
  • Community-based learning, cooperation with experts, project-based learning while approximating the real-world workplace.
  • Use of any technologies mediating the teacher-student relationship.

Detailed information can be found at:
Deadline for submission: 31 July 2019
Questions and papers to be addressed to Martina Vranova:

Recontextualising Brexit: discursive representations from outside the UK
Special journal issue CADAAD (Critical Approaches to Discourse Analysis Across Disciplines)
Deadline for proposals: 31 July 2019

Journal website:

This special journal issue deals with how the Brexit phenomenon is recontextualised outside of the United Kingdom. We are interested in how the post-referendum withdrawal process has been discursively represented in different political, socio-cultural and economic settings as well as in how specific historical factors influence those representations. To complement previous research (Koller et al., 2019, Zappettini & Krzyżanowski, 2019), the focus of the special issue will be on non-UK discourses. The scope for articles is broad, encompassing various stakeholders, discourse domains and (supra-)national contexts. We welcome contributions that address, but are not limited to, any of the following:

  • reactions by business organisations and economists
  • fictional accounts (e.g. novels, films, comedy)
  • responses by national and supranational institutions and individuals
  • citizens’ perspectives in online and offline forums
  • representations of Brexit in news media

To reflect the interdisciplinary editorial team, we aim for this special issue to feature contributions from diverse fields of study and therefore invite researchers working in linguistics, discourse analysis, political science and international relations, communication and media studies, sociology and possibly others. The same broad approach applies to data and methodologies, including spoken, written or multimodal data, and quantitative, qualitative or mixed methods. Please send your abstract of up to 350 words (excl. references) to by 31 July 2019. In your abstract, please clearly state the aims and research questions of your paper, its theoretical background, the data and analytical methods used as well as indicative findings. We plan to submit the special journal issue for publication by the end of 2020.

First drafts will have to be submitted by 31 March 2020, with final drafts due by 15 August 2020.

We regret that due to the topical nature of the issue, we will not be able to grant any extensions on deadlines, including the one for the abstract. We are looking forward to receiving your abstract!

(posted 20 May 2019)

The Edinburgh Companion to the Essay
Contributions are invited to The Edinburgh Companion to Literature and the Humanities series of reference books
Extended deadline for proposals : 31 July 2019

The Edinburgh Companion to the Essay provides an overview of the theories, histories, contexts and forms of the essay as well as of current debates around the genre and its extensions. The co-editors seek brief (300-word) proposals for chapters that provide original insights into one or more of these thematic threads. The chapters would explore the essay as a 21st century genre with its own inheritances, experiments, theories, receptions, contexts, and readership(s). The book seeks to expand understandings of the essay in and beyond European and North American literary cultures.

Proposed chapters may draw on specific works, authors, movements/periods, concepts, styles, forms, practices, and/or locations. They should especially seek to make innovative contributions to the study of the essay even when revisiting the history of the essay. Chapters should be rigorous and scholarly while reflecting some of the form’s possibilities for inquiry and argument, structure and authorial presence.

About the series: This volume will join The Edinburgh Companion to Literature and the Humanities series of single-volume reference books, which began in 2006 with The Edinburgh Companion to Twentieth Century Literatures in English, and as of 2019 comprises twenty-four titles. This collection will include 35 to 40 pieces of original scholarship and criticism of between 6000 and 7000 words apiece, including notes. The final version will be approximately 600-pages long, published in hard cover.

This project has been commissioned by acquisition editors at Edinburgh University Press.

300-word proposals due by July 31, 2019.

Notification of acceptance by October 1, 2019.

Completed manuscripts for selected proposals due by March 1, 2020.

 Proposals are invited on a wide range of topics, including (but not limited to) the following:

theories and definitions of the essay

  • current debates about the essay
  • written sub-genres of the essay
  • essays in or across media (e.g. film, photos, digital)
  • essaying and essayism
  • genealogy of the essay
  • key figures in the development of the essay as a genre/praxis
  • key historical moments for the essay
  • the essay within English and American traditions
  • New Journalism
  • alternative histories of the essay (e.g. African American, Queer, feminist, etc.)
  • publication contexts
  • pedagogy
  • institutional contexts (e.g. within school contexts—for both children and adults—and within the public sphere)
  • new forms of the essay

Questions and/or proposed abstracts may be directed to the co-editors, Mario Aquilina, Nicole Wallack and Bob Cowser by June 15, 2019. Proposals should be sent as attachments to in the form of a Word document or PDF and should include: Title; Abstract of around 300 words; and a short profile of the contributor.

(posted 11 June 2019)

Poetics and Hermeneutics of Pain and Pleasure
An edited volume
Deadline for proposals: 1 August 2019

“I am interested in language because it wounds or seduces me” Barthes
“The aim of the wise is not to secure pleasure, but to avoid pain” Aristotle
“Poetry is a deal of joy and pain and wonder” Khalil Gibran

Pain and pleasure are at the heart of human experiences and literary journeys. Taking the title of Roland Barthes’s text on the pleasure/ bliss/ “Kama Sutra” of writing is a starting point for the discussion of other different wor(l)ds and cartographies of pain and pleasure. Set against the Aristotelian delineation of pleasure as the major principle that should govern a literary endeavor, this volume seeks to investigate other/alternative reflections on the themes of pleasure and pain. Thinking about the ways through which expressions of pain and pleasure may affect the writer/reader as experiences of other pursuits of the human imagination can place/displace, soothe/enrage, and inspire/discourage the individual search for meaning. By engaging with different theories and expressions, it is possible to understand what pain and pleasure have done in the history of humanity, rather than merely looking at them as representations of others’ distant experiences.

This call for papers encourages new reflections on/ a play at the expressions of pain and pleasure to create new meanings for these words in a world vying for expressions of power with/without bliss.

Contributors are invited to send proposals relating to one or several of the following themes (but not limited to them):

  • Writing pleasure and the pleasure of writing: allegories and metaphors
  • Writing pain and the pain of writing: lived and imagined experiences
  • The use of pain to deconstruct the myth of other pleasure
  • Intersection between history and pain/pleasure: resistance and suffering
  • Men/ fathers and Women’s/mothers’ pleasure/pain
  • Individual(s) in pain/communities in pleasure
  • Texts and contexts of pain and/or pleasure
  • Pain and pleasure in art, poetry, fiction, non-fiction, drama…
  • Prohibitions and jouissance in texts and their contexts
  • On rhetorics & the language of pain and pleasure
  • Experimental literature
  • Literature and emotions
  • The paradox of tragedy
  • Experiencing/ reading the sublime
  • Understanding and deconstructing pain and pleasure

Please send a short bio and a 350-word abstract by August 1st, 2019 to:
Notification of acceptance: August 20th, 2019
Essay submission by: November 1st, 2019

(posted 25 July 2019)

Poetics of the Native
Call for Articles
Deadline for proposals: 1st August 2019

“Every individual is a meeting ground for many different allegiances, and sometimes these loyalties conflict with one another and confront the person who harbours them with difficult choices. In some cases the situation is obvious at a glance; others need to be looked at more closely.”

Amin Maalouf1

Natives, Aborigines, Indigenous, First Nations are all appellations that assert the legitimacy of the antecessors despite the sub-position granted to them by colonial, postcolonial and neo- colonial theories. In a perpetual quest for agency, over long resistance journeys, looking for self-assertiveness, in the quest for identity and subdued by historical narratives and political discourse, the native has been framed within a set of representational practices that claim for a redress of grievances.

Cultural, mediatized and historical representations of the native tend to fall within the boundaries of either a bottom up or a top down view that fits within a structuralist paradigm that rarely questions the individual let alone the marginalized. However, there is a need to examine the systems within which indigenous narratives operate from a post-structuralist stance in order to re-read indigenous discourses and to celebrate the multiplicity of meanings inherent in them. The need for an intercultural pragmatic reading of native discourse also reveals to be of utmost relevance.

A ‘mass of atrocities’ experienced by natives has been the object of study in literary, historical and linguistic practice. The native’s trauma, subjugation, voicelessness, identity crisis, displacement, shame and resistance are still produced and reproduced through literary archetypes, historiography and narrative techniques. Howard Zinn says in this respect: “the reason these atrocities are still with us is that we have learnt to bury them in a mass of other facts, as radioactive wastes are buried in containers in the earth”2.

This volume attempts to discuss indigenous literary performances, native history and cultural representations of natives and aboriginal discourse all around the world.

Researchers are encouraged to send abstracts focusing on, but not restricted to, the following topics:

  • Historicizing the native: the role of testimony and primary sources
  • Teaching native literature and Anglophone history
  • Native American trauma
  • displacement and the denial of native legitimacy
  • Literary (Mis) representations of natives
  • Cultural representations of natives in the media: the birth of stereotypes
  • Native vs. Refugee
  • Identity, Origins, Belonging
  • Self/Other dichotomy
  • Amin Maalouf, On Identity. London: The Harvill Press, 2000. p 5
  • Howard Zinn. A People’s History of the United States. London & New York: Longman, 1980

Essays should be 7,000-8,500 words, including all quotations and bibliographic references, and should follow the MLA Style for internal citation and Works Cited.

Writers around the world may be considered, but texts must be available in English and essays must be in English.

Short bio and 500 word abstracts by August 1st, 2019 to: Notification of acceptance: August 10th, 2019

Essay submission by: November 30th, 2019

  1. Amin Maalouf, On Identity. London: The Harvill Press, 2000. p 5
  2. Howard Zinn. A People’s History of the United States. London & New York: Longman, 1980

(posted 25 July 2019)

The Public Place of Drama in Britain, 1968 to the Present Day
A special issue of Humanities (ISSN 2076-0787).
Deadline for manuscript submissions: 31 August 2019

Guest Editor: Dr. Mary Brewer, School of the Arts, English and Drama, Martin Hall 1.01, Epinal Way, Loughborough, LE113TU, UK

This special issue of Humanities will focus on British dramatic narratives and performance from 1968 through the contemporary period with the goal of assessing the public place or social function of drama in contemporary British society. The issue aims to assess the key continuities and discontinues in the relation between dramatic narratives and the British public sphere since the theatre revolution of 1968.  More contemporary indicative topics include: the extent to which drama has been relegated largely to the private sphere and revalued as one of many forms of entertainment for which consumers may opt, the extent to which drama contributes to the public sphere today, how the relation between dramatic representational narratives and the public sphere has developed in different directions among the nations and diverse communities that comprise contemporary British society, the state of political theatre in Britain today, challenges/strategies relevant to sustaining a drama that challenges popular preferences, the extent to which drama retains the power to persuade and offer a model for social action, the impact of ‘austerity’ on British theatre, and drama post-Brexit. The editor welcomes contributions on other topics related to British drama and the public sphere.

The issue will build upon some of the frameworks developed for exploring the relation between theatre and the public sphere, most notably Christopher Balme’s 2014 study, The Theatrical Public Sphere (Cambridge University Press), as well as Arpad Szakolczai’s Comedy and the Public Sphere (Routledge, 2015), and Janelle Reinelt in “Rethinking the Public Sphere for a Global Age,” Performance Research, 2011.  In contrast to these publications, it will focus on contemporary drama and performance in Britain, and, while the issue will respond to Habermas’s definition of the public sphere, it will encompass a wide range of definitions of the public sphere.

Manuscript Submission Information

Manuscripts should be submitted online at by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All papers will be peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Humanities is an international peer-reviewed open access quarterly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charges (APCs) of 350 CHF (Swiss Francs) per published paper are fully funded by institutions through the Knowledge Unlatched initiative, resulting in no direct charge to authors. Submitted papers should be well formatted and use good English. Authors may use MDPI’s English editing service prior to publication or during author revisions.

 (posted 4 June 2019)

Departures and Arrivals: Women, Mobility and Travel Writing
Feminismo/s, Issue 36– 2020
Deadline for proposals: 1 Septembe 2019

Issue editors: Dr. Sara Prieto (University of Alicante) & Dr. Raquel García-Cuevas (University of Kent)

Feminismo/s, from the Institute of Research in Gender Studies from the University of Alicante, is currently accepting submissions for its 36 issue, entitled “Departures and Arrivals: Women, Mobility and Travel Writing”. This issue seeks to approach women travel writing from a transhistorical and transnational perspective. Thus, we encourage submissions that deal with travelling and mobility in women’s writing from different cultural and national backgrounds and periods.
We are particularly interested in contributions that explore the intersections between gender, mobility and identity, including, but not restricted to the following aspects:

  • Religious or spiritual pilgrimages.
  • Transatlantic and transnational experiences.
  • Exploratory journeys and pioneering experiences.
  • Sea narratives, air narratives, railway experiences and road trip experiences.
  • Travelling in/to/from war zones.
  • Diasporic experiences.
  • Enforced migration and refugee experiences.
  • Uprootedness and in-between identities.
  • Ecocritical approaches to travelling.
  • Tourism and neo-colonial experiences of travelling.
  • Travelling and the cyber-world.
  • Mobility and ableism.

Submitted abstracts should be between 300 and 500 words in length, and should be sent to the issue co-editors by no later than 1 September 2019. Please also include an additional biographical statement, of no more than 100 words, that lists your educational level, current academic affiliation, previous publications and any other details you may feel are pertinent.
Applicants can expect to hear back about their proposals by 1 October 2019. Full articles (9,000 words) will be due by 1 February 2020. Notifications about acceptance or required changes will be provided in July 2020, and final articles will be required on 1 September 2020. Contributors must follow the journal’s editorial guidelines and style.
Should you have any further questions, do not hesitate to contact the issue co-editors, Sara Prieto ( and Raquel García-Cuevas (
Feminismo/s is an Open Acces Journal and is indexed in the following databases: Proquest (Gender Watch), DOAJ, REDIB, InDICEs-CSIC, ERIH PLUS, MLA, CIRC, MlAR, Latindex, Dialnet, Ulrich’s, Dulcinea, Google Scholar, SHERPA/RoMEO, RUA, DICE, REBIUN, RESH, OCLC WorldCat, Copac, SUDOC and ZDB/EZB.

A special issue of Green Theory and Praxis Journal
Deadline for proposals: 1 Septembe 2019

The aim of this special issue is to explore the intersection of phenomenology and environmental philosophy. It examines the relevance of Husserl, Merleau – Ponty etc. on the topics of this field raised by environmental issues, and then proposes new approaches to the natural world and its impact to human nature. The contributors will demonstrate ecophenomenology’s issues to engage in an ecological self – evaluation of natural and human assumptions. This issue marginalized environmental topics and will offer new perspectives between phenomenologists, ecologically-minded theorists and comparative philologists.

Topics of issue:

  • ecophenomenology in literary texts (American and European Literature 19th-20th)
  • transcendental ecophenomenology
  • ecophenomenology as discipline
  • Husserl or M. Merleau – Ponty and their contributions to ecophenomenology
  • ecophenomenology today
  • phenomenology after eco-orientation


Nikoleta Zampaki, PhD Candidate of Modern Greek Philology, Department of Philology, National and Kapodistrian University of Athens, Greece, International Student at Harvard Extension School, Harvard University, U.S.A. and International Student at Oxford University, U.K. (

Erik Juergensmeyer, Associate Professor of English, Fort Lewis College, Durango, CO, USA (

Website of Green Theory and Praxis Journal

(posted 4 June 2019)

The Influence of the Long Eighteenth Century upon Balkan Identities in the Feminine
A collection of essays to be published
Deadline for proposals: 1 September 2019

You are kindly invited to contribute to a collection of articles entitled The Influence of the Long Eighteenth Century upon Balkan Identities in the Feminine.

This book will emphasise particularly women’s contribution in this area because there is a general deficit of knowledge about women’s lives and their implication in the history of the Balkans. The emphasis on education, the translation of Enlightenment authors, the promotion of the cult of reason as well as of other ideals of the Enlightenment in the Balkan cultures coincide with a very strong tendency towards autonomy and independence in the Balkan political life. The Enlightenment did not constitute only the ideology backing the constitution of the American colonies that became independent during this period, it also inspired the peoples of the Balkans in their fight for independence and consolidation of that independence. The consequence was that the Enghlightenment subsided in the Balkans much longer and in forms different from its traditionally acknowledged Western parameters. The feminists, the women’s activists, and the women writers from the Balkans were inspired by the ideals of the Enlightenment which spread beyond the strictures of traditional historical periodization.

If you are interested in contributing to this project, please send an abstract (300 words maximum) and 6-8 keywords to Michaela Mudure, Babes-Bolyai University, Cluj-Napoca, Romania <> by 1 September 2019. The collection will be published by a prestigious academic press.

(posted 25 July 2019)


Books and special issues of journals – Deadlines April-June 2019

“All We Are Is Eyes”: The Literary Art of Ali Smith
Authors are invited to contribute to an edited volume
Deadliine for proposals: 14 April 2019

Authors are invited to submit papers for a volume exploring the literary output of Ali Smith. Papers may explore any aspect of Smith’s work, but suggested areas include gender, sexuality, nationality and the relationship between literature and the visual arts. Papers should be between 4,000-7,000 words, preceded by a 200 word abstract and formatted using the MLA system. The deadline for abstracts is 14th April 2019.

Any queries regarding submissions should be sent to:


(posted 5 February 2019)

Postclassical Narratology: Twenty Years Later
An issue of Word and Text – A Journal of Literary Studies and Linguistics, IX (2019)
Deadline for proposals: 30 April 2019

Guest Editors: Biwu Shang, Arleen Ionescu and Laurent Milesi

As a term, ‘postclassical narratology’ was proposed by David Herman in his ground-breaking article ‘Scripts, Sequences, and Stories: Elements of a Postclassical Narratology’ (1997) and widely popularized in his edited volume Narratologies: New Perspectives on Narrative Analysis (1999). The last two decades witnessed an explosive interest in narrative studies, which to a large extent could be categorized as the various strands of postclassical narratology. Although in Herman’s view postclassical narratology does contain classical moments, it does not simply mean that the term, in the very literal sense, periodizes narratology into classical vs. postclassical phases. Instead, it refers to those newly-developed approaches beyond structuralism and to new narrative phenomena in the spectrum of analysis.

The boom and rapid development of postclassical narratology is evidenced in an unaccountable number of works produced in the past years; to name a few: James Phelan and Peter J. Rabinowitz’s A Companion to Narrative Theory (2005), Jan Alber and Monika Fludernik’s Postclassical Narratology: Approaches and Analysis (2010), David Herman et al.’s Narrative Theory: Core Concepts and Critical Debates (2012), Biwu Shang’s Contemporary Western Narratology: Postclassical Perspectives (2013), Jan Alber and Per Krogh Hansen’s Beyond Classical Narration: Transmedial and Unnatural Challenge (2014), and Zara Dinnen and Robyn Warhol’s The Edinburgh Companion to Contemporary Narrative Theories (2018). However, we should be aware of the fact that along with its unprecedented development, postclassical narratology has also met controversies from various directions. For instance, Brian Richardson (1997) and Meir Sternberg (2011) are doubtful of both the term ‘postclassical narratology’ and the distinction of the classical/postclassical in narrative studies.

As a rejoinder to the thought-provoking and timely initiative of the second phase of postclassical narratology by such scholars as David Herman and Biwu Shang (2010), Jan Alber and Monika Fludernik (2010), and Biwu Shang (2015), this special issue ‘Postclassical Narratology: Twenty Years Later’, in order to celebrate the 20th anniversary of this new orientation in the field of narratology, attempts to examine and assess the development of narrative inquiries in the postclassical context of the last two decades. Suggested topics include but are not limited to:

  • Classical Concepts, Postclassical Perspectives
  • Narrative Theory Today and Tomorrow: Current State and Future Directions
  • Rhetorical Theory of Narrative
  • Feminist Narrative Theory
  • Unnatural Narrative Theory
  • Cognitive Narrative Theory
  • Transmedial Narrative Theory
  • Fictionality, Emotionality, Ideology,

We welcome interdisciplinary approaches, ranging across critical theory, literary and cultural studies, as well as other disciplines in the humanities. Contributors are advised to follow the journal’s submission guidelines and stylesheet available from The deadline for abstract submissions is April 30, 2019. Please send 500-word proposals to the editors of the volume, who will answer any queries you may have. Articles selected for publication must be submitted by June 30, 2019. All submitted articles will be blind-refereed except when invited. Accepted articles will be returned for post-review revisions by July 30, 2019 and will be expected back in their final version by September 30, 2019 at the latest.

Proposals and articles should be sent as attachments to and the three editors of the issue Biwu Shang (, Arleen Ionescu ( and Laurent Milesi (

(posted 25 January 2019)

The Cinema of Kenneth Branagh: Adaptations, Retellings and Reevaluations
A volume edited by Sabine Planka & Feryal Cubukcu
Deadline for abstracts: 31 May 2019

Since Kenneth Branagh impressed audiences in 1989 with his first film, “Henry V”, movie critics, film scholars, Shakespeare scholars, and Shakespeare enthusiasts alike have noticed two qualities about the young director: he holds back very little, and he borrows from other films quite a bit. Certain portions of his films have been defined appropriately as “lavish”, “over the top”, “energetic”, and “sheer bravura”. His numerous engagements with the mainstream would offer rich and varied ground to explore, and would contribute to a deeper understanding of how a star persona functions; but failure to recognise even the least significance of exploring his recent popular work suggests a persistence in obeying traditional cultural hierarchies and marginalising the mainstream as a site of academic focus.

Branagh does not hesitate to make use of the camera angles, textual imagery, ambiguity, pastiche and parody in his movies and adaptations. If all his movies are taken into account, it would seem that despite the fact that film is so often touted as a visual medium, perhaps its’ most powerful ability of affecting and influencing its viewers lies not only in the images it presents, but also in the personalities of life-like characters.

While lots of research has been done on Branagh’s Shakespeare-adaptations our volume wants to consider the other movies Branagh has directed, too. It is obvious that not only Shakespeare and other authors have had influence on him but also other directors as can be seen, for example, in his film “Dead Again” (1991) that is clearly influenced by Alfred Hitchcock. Additionally Branagh’s work, therefore, contains not only Shakespeare adaptations but also adaptations of other literary works from different genres like “Thor” (2011), “Cinderella” (2015) and the upcoming adaptation of the novel for children “Artemis Fowl” (2019). The newly-announced is a second Agatha Christie-adaptation “Death on the Nile” for 2020 – and which has indirectly be announced by the cliffhanger at the end of his first Christie-adaptation “Murder on the Orient Express” (2017) – which expresses Branagh’s extraordinary talent to handle every genre. It goes without saying that Branagh adapted an opera, too: in 2006 he transferred Mozart’s “The Magic Flute” into a World War I-scenario.

Our volume, therefore, intends to focus on Kenneth Branagh primarily as a director. We are seeking for previously unpublished essays that consider the following topics (but are not limited to) from multidisciplinary perspectives to expand the view on Branagh’s oeuvre that can be divided into

(a) Adaptations of Shakespeare (Henry V (1989)/Much Ado About Nothing (1993)/A Midwinter’s Tale (1995)/Hamlet (1996)/Love’s Labour’s Lost (2000)/As You Like It (2006)/Macbeth (2013)) and

(b) Adaptations of other literary works and the connection to different genres (Mary Shelley’s Frankenstein (1994; Gothic Novel)/The Magic Flute (2006; Opera)/Thor (2011; Comics)/Cinderella (2015; Fairy Tale)/Artemis Fowl (announced 2019; Children’s Literature)/Murder on the Orient Express (2017; Crime Novel/Agatha Christie)/Death on the Nile (announced for 2020; Crime Novel/Agatha Christie)).

Suggested topics include, but are by no means limited to the following:

  • influences of Branagh’s education at Royal Academy of Dramatic Art (RADA) on his movies
  • influences of and connections to other directors
  • the literary basis of his movies
  • techniques of narration
  • colonial/postcolonial readings
  • ‘spatial turn’/architectural concepts in Branagh’s movies
  • class consciousness
  • social life and the role of the individual
  • gender representations/representations and visualizations of femininity and masculinity
  • visual effects/style
  • visualization of garden/landscape/nature and heritage
  • set design/costume design and (collaboration with) set designers/costume designers
  • use of (classical/modern) music

The timetable for the volume is as follows:

  • The deadline for abstracts: May 31, 2019
  • Feedback: Mid of July 2019 at the latest
  • Submission for articles (completed): October 31, 2019
  • Double peer review process and feedback of final acceptance due to: November 30, 2019
  • Articles sent back to editors: December 31, 2019
  • The publication is planned during spring/summer 2020.

If you are interested in proposing a chapter, please send an email with (1) an abstract of 500 words and (2) a short CV (maximum of 200 words, plus 3 titles of relevant publications) to both Dr. Feryal Cubukcu (Dokuz Eylul University) ( and Dr. Sabine Planka (University of Siegen) (

Your abstract should outline your hypothesis and briefly sketch the theoretical framework(s) within which your chapter will be situated. All submissions will be acknowledged. If you do not receive a confirmation of receipt within 48 hours, you may assume that your email was lost in the depths of cyberspace. In that case, please re-submit. Please note that we will not include previously published essays in the collection.

(posted 4 February 2019)

Left-wing radicalism in the United States: a foreign creed?
A special issue of  Transatlantica, Journal of American Studies
Submission date : 31 May 2019

Red Scares have been a feature of US-American history from the end of the 19th to the middle of the 20th century. The repression of anarchists between 1890 and 1910, the Red Scare of 1919-1920 and witch hunt of the 1940s and 1950s helped develop national tools and strategies of intelligence and surveillance (Goodall, Rios-Borde) ; they took place within contexts when US-American identity was being created (reacting to the massive immigration and the industrialization of capitalism at the end of the 19th century) or reaffirmed (on the international scale after World War One, in opposition to the Soviet Union after 1945) (Gerstle, O’Leary). Anarchism, socialism and communism  were framed as foreign ideologies, by politicians, journalists and academics. « Radicalism » was perceived as belonging to other times and other places, as being in contradiction with the values of triumphant Americanism (liberalism, democracy, upward mobility) or ill-adapted to the American political context (Higham, Bell, Ceplair).

This Transatlantica issue will analyze the way in which the construction of radicalism as foreign to US-American identity was received by radicals themselves, to see how they reacted to the branding of their beliefs as un-American, and how they devised counter-discourses in order to Americanize their ideas, sometimes leading to conflict and contradiction. How can the language of patriotism be combined with a belief in internationalism ? What coalitions, what political alliances can be built while maintaining a revolutionary stance ? How can the class struggle be rooted in a discourse on US-American society without succumbing to the sirens of exceptionalism ?

The hegemony of the « national » in the study of social movements as well as in intellectual history has been largely contested by transnational history (Tyrrell) and a local history seeking to unearth the political and social experimentations born of radical ideas in specific geographical contexts (on socialism in Oklahoma, for instance, see Bissett and Plassart). Our desire to reintroduce the prism of the nation in the study of radicalism, without falling into the trap of naturalizing « the nation », stems from recent scholarly work stressing the importance of analyzing the interplay of scales (local, national, transnational) and the conflicts that might result from this interplay, for instance between internationalism and the necessity to root radical ideas in the « imagined community » (Anderson) of the nation. Are radicalism and national identity necessarily incompatible (Bantman, Turcato) ? And how does this feeling of national belonging play in the political strategies of radical activists ?

Proposals can address these issues from a large disciplinary perspective (history, social history of ideas, historiography). Possible topics include figures of the US-American left embodying the Americanization of radicalism (Daniel DeLeon, Emma Goldman, CLR James…), the repression of radicalism resting on the rhetoric of national identity (the « Americanization » defended by the American Legion in the 1920s, the opposition between American and Un-American…), the articulation and conflict between internationalist beliefs and national belonging, foreign-language radicalism (biographies of activists, propaganda in languages other than English…), the role of racial issues – or their absence – in the framing of the relationship between radicalism and national identity, comparative perspectives, theoretical approaches to the conciliation of Marxism and Americanism, controversies among historians on the relationship between radicalism and Americanism (the long posterity of Werner Sombart) and problems arising from this narrative.

Paper proposals (about 500 words) should be submitted by May 31st, 2019. Papers (8 000-10 000 words) will be due in October 2019.

Please send your proposals to

Transatlantica website:

(posted 30 March 2019)

Learn? Escape? Feel? Contemporary Perspectives in Teen and Young Adult Literature
Romanica Silesiana n° 17
Deadline for  proposals: 31 May 2019

Despite the ongoing debate regarding the declining number of young readers, it is impossible to ignore the results of the surveys carried out by Centre National du Livre between 2016 and 2018 in the age group of 15+, 7-9 and recently also 15-25[1]. Not only do the young read, but also love reading, the research shows. However, even if these results seem optimistic, the analysis should not avoid observations of multiple changes that have been part of the practice of reading among the young as well as of the choice of their read and the causes of their reluctance to opt for this particular activity.

In the framework of Romanica Silesiana 17, we would like to examine, on the one hand, the preferences and behaviors of teenagers and young adults, also by making an attempt to answer the question regarding their expectations and reasons for which they choose a given book. On the other hand, we seek to confront the requirements of the young readership with what contemporary literature offers. It would also be crucial to ponder on the changes related to the representation of the young reader’s world in both realistic and fantasy novels for this age group, especially in the context of its reflection of reality and authors’ creative choices[2]. With reference to the central ideas of literature for teenagers and young adults, which can be expressed with the help of the juxtapositions educate/learn, invite to escape/dream, touch/be moved, our reflection, focused on Francophone, Anglophone and other literatures, may concern, in particular, the following lines of research:

  • What do teenagers and young adults look for in the realistic novel and what can it offer to them with its themes (identity(-ies), religion(s), (in)tolerance, values promoted by society, love, sexuality, body, tyranny of beautiful and athletic bodies, handicap and diseases, violence, death, etc.) [3].
  • In reference to Maria Cecire’s research[4], does literature for teenagers and young adults play an important role in establishing one’s national identity? Does it contribute to the promotion of tolerance and show how to become more open to the other?
  • Do young readers escape reality by choosing imaginative stories in order to live adventures of initiation or rather follow the trends of the media?
  • What interests the young in horror or mystery stories? Are these picked by teenagers or rather young adults? What are the consequences of hybridization of novels for younger audiences? What other methods are used to attract them? Do authors follow the rules which guarantee commercial success at the expense of didactic and literary legitimacy?
  • What is the role of creativity in the construction of imaginary worlds and how does such a world influence the development of imagination?
  • What can young audiences learn about the functioning of the world regardless of the genre represented by the text? What decides about the choice of the genre or the subgenre of a novel? What are the consequences of such decisions on the representation of a given story? And on readers’ perception of the text?
  • What messages are offered by teenage and young adult literature? Can it ever liberate itself from the triad explanation-moralization-simplification? Is YA literature original or does it borrow both from literature for adolescents and adults not to be deemed ‘a marketing ploy’ or ‘an editors’ fantasy’? Has it been created in order to bypass the limitations imposed by the law 49-956 of July 16, 1949 regarding publications for young readers?
  • What is the correlation between the decline in the number of young readers and the mass production of books as well as the growing publishing offer?

The proposals of articles, in French or English, including an abstract of 200 words (with a short bio-note) are to be sent in by 31st May 2019 at The publication of the issue is scheduled for the second half of 2020.

Important dates :
31st May 2019 – deadline for the proposal submission
10th June 2019 – notification of the acceptance / rejection of the proposal
15th September 2019 – submission of the final paper

On behalf of Romanica Silesiana: Ewa Drab and Aleksandra Komandera, editors
Institute of Romance Languages and Translation Studies
University of Silesia in Katowice (Poland)

[1] Cf.

[2] Catherine Butler, “Modern children’s fantasy” in: Edward James and Farah Mendlesohn (eds), Cambridge Companion to Fantasy Literature. Cambridge University Press, 2012, p. 225.

[3] Cf. Denise Escarpit, La Littérature de jeunesse. Itinéraire d’hier à aujourd’hui, Éditions Magnard, 2008 ; Danielle Thaler, Alain Jean-Bart, Les Enjeux du roman pour adolescents, L’Harmattan, 2002.

[4] Maria Cecire, “Medievalism, Popular Culture and National Identity in Children’s Fantasy Literature”, in: Studies in Ethnicity and Nationalism, 9(3), 2009.

(posted 20 May 2019)




Calls for papers – Conferences taking place in October 2020

An I for an Eye: Poetry in a World of Images, 20th and 21st centuries
Universidad Complutense, Madrid, Spain, 14-16 October 2020
Deadline for proposals: 14 April 2020

The fruitful intersections between the word and the image have long fascinated poets and artists alike. From the early days of the avant-garde, imagism, simultaneism, vorticism, futurism, surrealism, and concrete poetry, among other trends, fully engaged with the rich and inexhaustible play between language and image. In their aesthetic, epistemic and creative dimensions, they paved the way for the Age of the World Picture.

Postmodernism has challenged the distinction between poetry and art, and by extension, between seeing and reading, between the word and the world, as well as between signifier and signified, allowing for a free play of meaning, which does not ignore the materiality of the word. It also actively reverses the roles of author and audience, reader and viewer, and poetry and art.

That we live today in a culture strongly dominated by the visual and the image may seem far too obvious. In the wake of Foucault’s panopticon and surveillance, Debord’s Society of the Spectacle, and Jameson’s late-capitalist postmodern market society, wher social space is saturated with the culture of the image (Jameson 1998), and Kaja Silverman claims that “words have the potential to be as open as our perceptions” (2011, 74). With the possibilities opened up by technological progress, we could also argue that an active resistance to looking may be the measure of our own desire for freedom, as a mode of resistance to power.

At present, social networks and mass culture reconfigure conditions of reading and spectatorship within a global community. In an effort to understand how this process of reconfiguration occurs, poets and writers as much as visual artists have incorporated mass media technologies (the photo, movie camera), appropriated mass cultural forms (the press, film, advertising, slogans) and the social networks (Twitter, Instagram) as models for the construction and composition of their own work.

This conference aims at investigating why so many poets and artists have placed the relations of reading to seeing and of literature to images at the center of their concerns. What is at stake when artists treat words as pictures and pictures as words? What do we mean when we speak of visual poetry at present, and of an understanding of the visual arts that is “literary”? How does poetry and the visual relate to, and reflect upon, issues as crucial as authorship, language, subjectivity, or the relationship between art, history, politics and popular culture in the 20th and 21st centuries?

We welcome creative proposals, workshops, roundtables and panels, as well as individual presentations which address, but are not limited, to the following,

  • The visual in poetry
  • Intersections between the visual and the word
  • Framing the visual in poetry
  • Words on a canvas
  • Calligrams
  • Poetry and optics
  • Poetry, the visual and formalism
  • Myth, visuality and poetry
  • Still Life, Portrait, Landscape, Composition in poetry and the visual
  • Poetry and perspectival notions of vision
  • Poetry and the moving image
  • Visual poetry
  • Poetry and visual art
  • Poetry and vision(s)
  • Poetry and photography
  • Mirroring effects
  • Electronic poetry
  • Holograms
  • Experimental visual poetry
  • Poetry and digital art
  • Scopophilia and scopophobia
  • Poetry, the visual, and techniques of observation
  • Iconicity, indexing, spatial-temporal semiosis
  • The visual and the invisible
  • Haunting images and echo effects
  • Poetry, the visual and synesthesia
  • Poetry on the screen, smartphone apps and other formats
  • Poetry and the modern panopticon

Keynote speaker: Belen Gache

Deadline for submission of 350-word abstracts: Tuesday April 14, 20<20.

Venue: Facultad de Filología, Universidad Complutense, Madrid

Organization: Poetics Group, U. Complutense, Madrid


A selection of papers and creative presentations will be submitted to a major publisher

(posted 4 December 2019)

Multicultural Discourses in a Turbulent World: 7th International Conference on Multicultural Discourses
Cluj-Napoca, Romania, 24-26 October 2020
Deadline for proposals: 2 April 2020

Co-organised by:

  • International Association of Multicultural Discourse Studies;
  • Babes-Bolyai University, Faculty of Letters, English Department,
    Cluj-Napoca, Romania;
  • Hangzhou Normal University, China

The successful international conferences on Multicultural Discourses organized in China, Brazil, and the Netherlands, respectively, have reinforced the importance of Cultural Discourse Studies in contemporary social science and the humanities.

The 7th International Conference on Multicultural Discourses, under auspices of the International Association of Multicultural Discourses, will be co-organized by the English Department of the Faculty of Letters, Babeş-Bolyai University, Romania and the School of Contemporary Chinese Communication Studies, Hangzhou Normal University, China.

The event will be hosted at the Faculty of Letters, Babes-Bolyai University in Cluj-Napoca, Romania from October 24‑26, 2020.

Mankind is witnessing yet again the centennial moment of global transformation and the world is ridden with grave challenges and great opportunities.

To answer to these uncertain winds of change, scholars from various fields such as communication, media, language, literature, society, culture, international relations, etc. are encouraged to offer their insights into topics including, though not restricted to, the following:

  • Multicultural discourses of (anti)globalization, diversity, connectivity, globalism
  • Multicultural discourses of security, conflict, war, peace
  • Multicultural discourses of protectionism, (in)tangible borders, immigration, racism
  • Multicultural discourses of development, the Developing World, the Global South
  • Multicultural digital, multimodal, literary, cinematic discourses
  • Multidisciplinary, multicultural approaches to human discourses

Plenary Speakers

  • Johannes Angermuller, Open University, UK
  • Ioana Bican, Babes-Bolyai University, Romania
  • Raili Marling, University of Tartu, Estonia
  • Laura Pardo, University of Buenos Aires, Argentina
  • Shi-xu, Hangzhou Normal University, China


Abstracts of about 250 words, panel proposals of about 500 words (of min 4 speakers with 250 words abstracts) should be sent to the organizers at the following email address:


  • Deadline for submission of abstracts and panel proposals: April 2, 2020.
  • Notification of acceptance will be sent out not later than April 30, 2020.

Conference fee

  • 150 euros (coffee breaks, lunches and conference materials will be covered);
  • 75 euros for doctoral students and young researchers (under 26).

Ph.D. candidates should present a document from their home institution proving their academic status.

The conference fee can be paid on the spot or electronically. Details will be provided after the acceptance of the papers.

PMresentation format

  • parallel sessions
  • plenary speeches

Confeence website:

(posted 14 July 2019)

Movement and Mobility in America: 40th  Conference of the American Studies Association of Turkey (ASAT)
Ondokuz Mayıs University, Samsun, Turkey, 26-27 October 2020
Deadline for proposals: 30 April 2020

Movement and mobility lie at the core of American society. Whether through immigration, internal migration, social mobility, or domestic and global expansionism, the United States has always been defined as a nation of frontiers and pioneers, a country that is constantly (re)defining itself, where self-(re)invention is part of the American dream. Movement and mobility in the American context can also be physical, sociological, psychological, or even political, as in the case of mobilizing for social movements.

With its agenda of stemming the alleged “tide of illegal aliens” by building a wall along the US-Mexico border, the Trump Administration has prompted a reevaluation of movement and mobility across the political spectrum. While some argue that this has stimulated a visible resurgence in activism and a revival of social movements in the United States, others have seized the moment to express that this so-called “new wave” of protest is not so new at all, and is part of a long continuum of public engagement that originated during the colonial era.

From protests against the Stamp Act, Tea Act, and Townshend Duties in the eighteenth century; to the abolitionist, and women’s and workers’ rights movements of the nineteenth century; to the peace, civil rights, free speech, and anti-nuclear activism of the twentieth century; to the use of social media as an organizing platform in the twenty-first century, Americans have defined, and have been defined by, movement and mobility, using it to counter injustice by voicing their opinions and taking to the streets. As US Supreme Court Justice Ruth Bader Ginsberg has expressed, “Fight for the things you care about, but do it in a way that will lead others to join you”—a dictum that Americans have been following for over three centuries.

ASAT invites the submission of individual abstracts, panels, and workshop/roundtable proposals that explore all aspects of this theme. Possible subthemes include, but are not limited to:

• The literature of movement, mobility, and activism
• Travel narratives; life writing
• Im/migration; inner and outer space
• Social mobility; self-(re)invention
• Movement, mobility, and rebellion in American history
• Frontiers, borderlands, and pioneers
• Manifest Destiny, expansionism, and imperialism
• Ethnic, class, and race-based activism
• Feminist, women’s, and gender activism
• LGBTQIA+ activism; human rights advocacy
• Social media; virtual activism (#metoo, #TimesUp, etc.)
• Civil rights movements; union and labor activism
• Healthcare movements; patients’ rights activism
• Mobility and dis/ability
• Peace, anti-war, anti-nuclear movements
• Radical activism; power movements
• Environmental activism; free speech activism
• Cross-generational activism; global movements
• Activism and nostalgia; commemorating past movements
• The politics/logistics of activism; activist fatigue; infighting
• Intersectionality; the limits of activism
• Critiques of activism and clicktivism
• Activist pedagogy; teaching activism
• Comparative approaches; future directions

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, 2020
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:

(posted 2 October 2019)


Calls for papers – Conferences taking place in September 2020

Bounded languages… Unbounded: COMELA 2020
The American University, Athens, Greece, 2-5 September 2020
Deadline for proposals: 15 November 2019

Politics of identity are central to language change. Here, linguistic boundaries rise and fall, motivating the ephemeral characteristics of language communities. The Mediterranean and European region is one replete with histories, with power struggles, uniquely demarcating nation, ethnicity, and community. For this, cultural and political identities, language ideologies, as well as the languages themselves, have sought boundedness, dynamics of which have indeed sought change over eons, through demographic movements, through geopolitics, through technological innovation. In a current era of technological advancement, transnational fluidity, intellectual power, capitalism, and new sexualities, then, we question, once again, the boundedness of language and identity, and ways in which to unbound languages and ideologies. More than before, we now increasingly pursue anthropological toil, so to innovate ways to locate these ideologies and their fluid boundaries, actively. We now need to increasingly unbind these languages, and their ideologies, so to arrive at progressive realizations, and to rectify, or at least see and move past, the segregations of old.

The COMELA 2020 theme, “Bounded languages… Unbounded”, encapsulates the ongoing struggle throughout Mediterranean and European regions. As the continuous tension between demarcation, and the concurrent legitimization, of languages, language ideologies, and language identities, enters an era where new modes of interactivity require language communities to take on roles super-ordinate to the past, flexible citizenship now operates within, and not only across, language communities, to unbind languages, and to create new boundaries, unlike those ever seen throughout history.

The COMELA 2020 invites work which addresses the shifting boundedness of Language Communities of the Mediterranean and Europe. Papers and posters should acknowledge and decribe processes of language shape, change, and ideology, pertinent to social, cultural, political histories, and futures of Mediterranean and European regions, and by those working in Mediterranean and European regions.

Speaker: Jan Blommaert, Department of Culture Studies, Tilburg University, The Netherlands. Jan Blommaert is Professor of Language, Culture and Globalization, and Director of the Babylon Center at Tilburg University, the Netherlands. He is of the world’s most prominent Sociolinguists and Linguistic Anthropologists, and has contributed substantially to sociolinguistic globalization theory, focusing on historical as well as contemporary patterns of language and literacy, and on lasting and new forms of inequality emerging from globalization processes.


  • Anthropological Linguistics
  • Applied Sociolinguistics
  • Buddhist studies and discourses
  • Cognitive Anthropology and Language
  • Critical Linguistic Anthropology
  • Ethnographical Language Work
  • Ethnography of Communication
  • General Sociolinguistics
  • Islamic Studies and discourses
  • Language, Community, Ethnicity
  • Language Contact and Change
  • Language, Dialect, Sociolect, Genre
  • Language Documentation
  • Language, Gender, Sexuality
  • Language Ideologie
  • Language Minorities and Majorities
  • Language Revitalization
  • Language in Real and Virtual Spaces
  • Language Socialization
  • Language and Spatiotemporal Frames
  • Multifunctionality
  • Narrative and Metanarrative
  • Nonverbal Semiotics
  • Oral heritage
  • Poetics
  • Post-Structuralism and Language
  • Semiotics and Semiology
  • Social Psychology of Language
  • Textualization, Contextualization, Entextualization

All the information about the conference can be found at

(posted 26 July 2019)

Contact in Times of Globalization: Fifth International Conference on Language
Klagenfurt, Austria, 23-26 September 2020
Deadline for proposal: 15 January 2020

Conference website:

After 4 inspiring meetings in Groningen (The Netherlands) and Greifswald (Germany), the ‘Fifth International Conference on Language Contact in Times of Globalization’ will be held at the University of Klagenfurt (Austria) from September 23rd – 26th, 2020, locally organized by the linguistics section of the English Department. As in the previous meetings, the conference language is English. The programme is open to contributions from all types of language constellations in which contact occurs. We warmly invite paper presentations from all areas of interest in language contact including the full range of socio-cultural and cognitive perspectives.

Klagenfurt, the conference venue, is located in Austria’s southernmost region of Carinthia which is linguistically characterized by its vicinity and interchange with Romance (Italian, Friulian) and Slavic languages, and is home to autochthonous Slovene speaking communities.

We look forward to seeing you in Klagenfurt.

The notion of language contact captures multi-faceted phenomena and processes of language use that emerge from the interaction of speakers and their diverse linguistic repertoires. Dependent on socio-cultural conditions as well as the type and medium of interaction, manifestations of language contact have been a constant source of linguistic investigations. In current times of increased physical and virtual mobility and of dynamically shifting boundaries and identities, the notion of language contact is faced with concepts such as fluidity, dynamic systems, transculturality, multilingualism and the break-up of the one nation – one language ideology. This raises the question of how language contact as a theoretical notion and as a field of inquiry is able to capture these current developments.

We invite proposals for presentations (20-minutes + 10 minutes discussion) on current scenarios and aspects of language contact world-wide.

A limited amount of thematic sessions can also be accommodated in the programme. Applications for prospective theme sessions should consist of a general description (500 words max., excluding references) and provide a list of planned paper titles and presenters. Theme sessions should consist of a minimum of 4 and a maximum of 6 papers.

Papers addressing one of the following topics and approaches are particularly welcome:

  • globalization as a catalyst of language contact
  • (socio-)cognitive approaches to language contact
  • the dynamics of language contact: fluidity, hybridity, creativity, translingualism, codeswitching/codemixing
  • processes and linguistic manifestations of language contact
  • language contact in a multilingual world

Slots for paper presentation will be 20 minutes followed by 10 minutes for discussion. Please send your abstracts as doc or pdf files (300 words max., excluding references) to LCTG5 [at] aau [dot] at
Abstracts should be anonymous and preceded by a title sheet stating the author(s) contact details.
Please state “abstract submission LCTG5″ in the subject line of your e-mail.
Final date of abstract submission: January 15, 2020
Notification of acceptance: February 25, 2020

(posted 27 September 2019)