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

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

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

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

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

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

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

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

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

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

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

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


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

(posted 13 May 2021)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(posted 29 November 2021)

Journal of Ecohumanism – Special Issue: “Decolonial Echosophy: A Deliberative Encounter with Indian and non-western Eco-Theologies”
Deadlines: for abstracts: 5 February 2022.

The dense interplay between the multiple strands of eco-criticality in the current times that effectively exposes the ambivalences of state machinery’s eco-political intervention culminates in yielding ecosophical assemblages that works with a new ‘conceptual grammatology’, a grammatology that could be turned into an effective praxis to bring about multiple forms of eco-healing and create effective ways of existing in a ‘qualitative diversity’ beyond anthropocentrism. However, it is the ethics of post-structuralist micropolitics that drives these assemblages. So, the relation these assemblages bear with humanism is productively disjunctive, inclined towards ‘difference engineering’ the latter into an expanding problem field, rather than treating it as a dispensable metaphysical abstraction. As a result, humanism gets to persist in these assemblages as hauntological traces or better inexpugnable stains, brooding over latter’s ecosophical reconstruction of the Bio. Moreover, if the current epistemology stands impregnated with a desire to remove this invisible human mediation it is because the current pandemics we are enmeshed in has generated an aggressive form of desire to exorcise the vestiges of the human. The attempt to work out a form of a-humanism that we encounter in epistemology is a fall out of this desire.

However, the need of the times is to broaden and diversify this attempt by coupling the radical western epistemology with ongoing processes of decolonization. This is a project that demands not only provincial forms of decolonization expressed by Western epistemology’s drive towards a-humanism, but a kind of transversal wedding between radical western epistemology and non-western parallax views.
However, except a few random attempts by some Western thinkers to work out semblances of decolonial enquiry by inventing a form of a-humanism engaging with minor positionalities or ‘thresholds’ of epistemology none of what we get encounter as eco-critical interventions or ecosophical assemblages keenly partake of any form of decolonial enquiry. The Heideggerian concept of self-care or Simondon’s non-anthropocentric approach to technology connect with life promoting process that thinkers such as Levi-Strauss were keen to initiate yet they creatively disjunct from Straussian conviction while reworking anthropocentrism into a redeemable assemblage. In the current times Bernard Steigler’s “Neganthropocene” and Sloterdjik’s anthropotechnic or anthropotechnogenic exist as paradigms of non-anthropocentric assemblages, but the nuanced non-anthropocentrism they offer stand as problematic fields demanding renewal. Their non-anthropocentrism orient us towards making the earth habitable by providing a homotechnologicalturn, a turn that is not contra-natural, but co-natural, entrapping both human and non-human—not unlike Deleuze and Guattari’s reconstructive version of non-humanism—in a process of non-linear co-becoming. But what we desire currently are much broader ecosophical “spherological” assemblages that could synthesize differential forms of a-humanism with broader processes of decolonization entailing a sustained interaction with South Asian epistemic and non-epistemic practices.

In this sense, positioning non-western, in particular Indian and Western philosophy in a process of dynamic interactionism is not only the means of working out a broader decolonial framework, but also a way of producing an effective ahumanist radical sensibility that may work towards creating a new Earth devoid of the traces of humanism. The dense overlap that exists between the Western and the Indian eco-theology has been already teased out and archived. Philosopher Henryk Skolimowski, the proponent of Eco-philosophy, has effectively teased out eco-theological strands of Indian mythology. For him the myth of Shiva happens to be a force which transforms and re-creates the world. Skolimowski holds the view that Shiva’s dance propels towards becoming a dance of healing and infusing the cosmos with a new creative substance and energy. Advaita Vedanta’s concept of Brahman accentuates admiration for all life and for nature as a whole. It is this form of adherence which acts as a ground of any eco-centric philosophy or what we call Deep Ecology. This happens to be a radical strand of Indian philosophy that may not in the outset seem ecological, but by refusing to discriminate between humans, animals, trees, it works out a-humanist tangle. By cutting and combining portions from Western and Indian eco-theology one may work out broader, denser and equally decolonial ecosophical assemblage aptly represented by Sloterdjik’s spherology.

However, the need of the time is to turn them into an effective praxis. Undoubtedly, the dissemination of a range of decolonial ecosophical affectualities among the masses could ensure that they acquire a radical sensibility. But it is only by providing a praxial turn to the broader, expansive and decolonial ecosophical assemblages we work out by connecting with Indian and non-western eco-theology that a transformative ethico-politicality could be worked out. Further with this ethico-political restructuration it may be possible to restructure the current degenerative state of democracy into what Skolimowski in his book Philosophy for a New Civilisation calls ecocracy. So, in this issue of Journal of Ecohumanism we invite articles that:

i. could possibly expose how the model of eco-criticality that the governmental apparatuses routinely works by betraying dense overlap with these apparatuses and overt bio-political and necropolitical agendas.
ii. creatively map the ways by which western a-humanist Ecosophy seeks to decolonize itself by engaging with cult, magic and minor positionalities lying within its immanent exterior.
iii. creatively map the limits of Western Ecosophy and come up with a creative art of decolonizing
them, a process that entails a radical critique of Western posthumanism, non-humanism and a-
iv. could make an attempt to pose a deliberative encounter between western Ecosophy and Indian
eco-theology and go on to create decolonial ecosophical assemblages geared to Sloterdjik’s
idea of spherology.
v. could suggest creative ways of turning these ecosophical assemblages into effective praxis.
vi. could even connect with other forms of divergent non-western, eco-activist, eco-critical
parallax views with the intent of folding them into a critique of current western epistemology’s ecosophical drive that stands vulnerable to appropriation by the phenomenon of ‘green Capitalism’.


Dr. Saswat S. Das is an Associate Professor in the Department of Humanities and Social Sciences, Indian Institute of Technology, Kharagpur, India. He has jointly edited books Taking Place of Language (Peter Lang, 2013) and Technology, Urban Space and Network Community (Palgrave Macmillan, 2022), and Deleuze, Guattari and Global Terror (Edinburg University, December, 2021) He is currently co-editing Deleuze, Guattari and the Global Pandemics (Bloomsbury Publication forthcoming). His book reviews are regularly published in Postcolonial StudiesSouth Central ReviewCultural PoliticsFrench Studies, and Philosophy in Review.

Dr. Ananya Roy Pratihar is Assistant Professor in Communication Studies at the Institute of Management and Information Science, Bhubaneswar, India. She has jointly edited Technology, Urban Space and Network Community(Palgrave Macmillan, 2022) and currently co-editing Deleuze, Guattari and the Global Pandemics (Bloomsbury Publication, forthcoming). Her book reviews and articles are published in Philosophy in ReviewFrench Studies and Exchanges: The Interdisciplinary Research Journal (University of Warwick).

About the Submissions

You are welcome to submit full-length papers of approximately 5000-6000 words. The language of submissions is only English.

All submissions shall follow the latest guidelines of APA style referencing. More information about the style sheet is found here: [].
The submissions of full-length papers, including an abstract and short bio/CV, will be sent directly to both Editors’ e-mails as well as any queries that you may have. The Editors’ e-mails are [], [] and [].

The abstracts’ deadline is until the 5th of February 2022.
The deadline for the final papers’ submissions is the 
31st of May 2022.

Journal’s website: []
Contact details: The Editors’ e-mails are [], [] and [].

(Posted 14 January 2022)

Linguaculture – International Journal of Iaşi Linguaculture Centre for (Inter)cultural and (Inter)lingual Research. Vol. 13, no. 1, 2022
Deadline for contributions: 15 February 2022

Issue editors: Dr. Rodica Albu and Dr. Teodora Ghiviriga

For this thematic issue we welcome original contributions in the areas of narratology, literature (with a special focus on fantasy, on possible worlds in language structures, at the crossroads between referential semantics and fiction studies), translation studies (the challenge of translating fantasy for readerships of various ages and its effect on reception), semiotics, philosophy, logic, theology, cultural and arts studies, preferably focusing on the works of C. S. Lewis and of authors belonging to the literary group known as the Inklings. The theme may be approached from a specific or an interdisciplinary perspective. Equally welcome are reviews of books, particularly – but not compulsorily – devoted to authors of the same literary circle.

Contributions to be published in the June 2022 issue are expected by February 15, and they should not have been published or submitted for publication elsewhere. All submissions will go through a blind peer-review process and notification of acceptance will be sent by April 1.

Please consult our Instructions for Authors page ( for further information about submissions and additional requirements.

Use the Submissions page ( to send us your contributions.

Dogmas in Literature and Literary Missionary: Text, Reader and Critique – chapter contributions
Deadline for chapter proposals: 28 February 2022

This book project aims to examine the existence of dogma in literature and some cult texts, and how dogmas in literature are conveyed to various audiences as a mission by some literary readers, experts and academics. The questions leading up to the volume are varied and their answers require lengthy examination and interpretation. So, this project investigates; Is literature dogmatic? What about literary theories? Can they be dogmatic, too? The answers to these questions are open to clarification, but the responses can also initiate an extensive discussion and manifestation. However, above all, literature does have an aspect that drags the readers, habitually burying them in its pages, and blindly attaching them to itself. Blind devotion stems from the factors that are effective in determining the readers’ faith. Theories of literature, similarly, might bring about the generation of blind adherence and dogmatic approaches. Frank Ritchie, in his revealing essay ‘Literary Dogma’ defines pure belief underlining “A creed, so long as it is merely the expression of the genuine belief of an individual, is innocent enough,”1 and he continues, “but when it is put forth with the sanction of a well-known name, and when its promulgator is inspired with a missionary spirit, it is apt to exercise an unwholesome influence.”2 Do the dogmas in literature then begin precisely ‘with the sanction of a well-known name’? Do literary readers and critics turn to literary missionaries after this ‘blind devotion’? While the philosophies fashioned by some well-known literary theorists are typically accepted, very few scholars participate in speculative inquiries and discursive criticisms towards them. Here we, as one of the few scholars, will survey the dogmas in literature in this study.

Generally, dogma is a word related mostly to religion. In this frame, Mathew Arnold’s “Dogma in Religion and Literature” is of great importance as long as religion is concerned. However, there are dogmas in every field, literature being no exception. Virginia Woolf, for instance, wrote stupendous works, turned out to be well-known, and in 1928 she delivered a lecture at Cambridge University, where women were once not allowed, that formed the basis for the celebrated A Room of One’s Own (1929). Her metaphorical wit “a woman must have money and a room of her own if she is to write fiction”3, which she ingeniously expressed in her work, has been recognized as a cult by various people, especially suffragette writers and women, and practically everyone seems to be blindly attached to the idea that ‘a woman without room and money cannot write’. But does this ‘blindly’ acceptance have to do with the fact that Woolf was already a famed writer when she proclaimed this history-defying motto? So, if any woman had said that, would the literary world have reacted in the same way? Undoubtedly, Woolf is quite right when she claims that a woman writer if she desires to be an authoress, should have a room of her own and a salary or money of her own. However, it does not mean that otherwise female writers cannot write. There are a huge number of examples to claim the opposite. The Bronte sisters, Jane Austen, to mention but a few, never had a room of their own. Even Simone de Beauvoir herself confesses that “I didn’t have a room of my own. In fact, I had nothing at all.”4 Interestingly, even those who could afford a room of their own, preferred other ways of “accommodation”. Maya Angeloo, for instance, wrote mainly in a hotel room; Tony Morrison wrote with a paper on her lap. Fortunately, there are recently a number of notes against this statement. One of them is by Ida Rae Egli titled No Rooms of their Own.5 The most poignant is Asja Bakic’s “Not all Writers Can Afford Rooms of their Own”.6 She rents a flat and that’s what she says: “Had Virginia Woolf been forced to walk Mayor Bandic’s gravelly paths in search of inspiration, her cult essay would’ve sounded quite different.

Roland Barthes’ 1967 ‘La mort de l’auteur’ (‘The Death of the Author’)7 essay might be another text that some of its literary readers have developed a dogmatic commitment to. It seemed so unfair and unjust towards writers. In the same vein, some scholars vehemently protested against those who applied this conflicting theory to Shakespeare. “Does it matter who wrote his works”8 exclaimed some critics considering the opposite view sceptically. And that is what is dangerous: to consider all the literary theories by prominent critics and philosophers unchallenging. Recently, even very reputable writers and critics do not consider the theory very reliable and state that “the time for the dead author is over. Now is the age of Living Dead authors.”9 After all, one shouldn’t forget that theory does not mean ‘it is’, rather it means “it might be’. This theory is good for experimenting. Several academics used it at the exams giving students modernist or realist texts without mentioning the writer. and having them determine the literary movement and genres.

Examples abound. Indisputably, one of the most vital hitches that arise is connected to the ‘reader’s intention’. In a way, it is the reader who undertakes the missionary role of the literary text. To put this in two examples, does every text in which Western writers treat Easterners have an Orientalist point of view? Or does the reader produce it? Does the work of every woman writer have feminist elements? How exactly do biases work in the interpretation of a text? How does the reader’s intention affect the fate of the text? Or how accessible is the idea that a text, whether lyrical or prose, is shaped entirely or indirectly by the reader’s emotions? So, the question is, are fallacies? These and similar questions will gather possible answers in this book.

1 Ritchie, Frank (1990).’Literary Dogma’. Longman’s Magazine, 1882-1905; London Vol. 35, Iss. 210: 535-540, p. 535
2 Ibid.
3 Woolf, Virginia (1935). A Room of One’s Own. London: Hogarth Press. p. 4.
4 Qtd in Madeleine Gobeil. ‘Simone de Beauvoir, The Art of Fiction No. 35.’ The Paris Review. Issue 34, Spring-Summer 1965
5 See Ida Rae Egli. No Rooms of Their Own: Women Writers of Early California, 1849–1869. California: Heyday. 2013
6 Bakić, Asja. ‘Not All Writers Can Afford Rooms of Their Own’. Literary Hub. March 21, 2019.
7 See, for instance, Edmonson, Paul. ‘Who wrote Shakespeare’s plays – and does it matter?’ The Guardian. 5 Sep 2011
9 Erikson, Steven. ‘The Author as the Living Dead.’ October 26, 2020

Possible topics to cover but not limited to:

  • Dogma(s) in literature
  • Literary dogmas
  • Dogmatic literary theories
  • Dogma, literature and author relationship
  • Dogma and the literary reader
  • Dogma and literary text
  • The relationship between dogma and fiction
  • Dogma and creativity
  • Readers as literary missionaries
  • Reader’s bias and intention
  • Author’s intention
  • Literary fallacies

A renowned international publisher (US based) with peer-review system has already expressed their interest in this collection. The project is currently under contract.

The anticipated completion deadline for this work is December 2022.

Deadline Processing

28 February 2022: Call for chapter proposals of 500 words along with CVs
15 March 2022: Announcement of the accepted proposals
15 July 2022: First Drafts of Full Papers
15 August 2022: Announcement of Revisions of First Drafts
01 October 2022: Second Drafts of Papers Revised
01 November: Announcement of Final Revisions
01 December 2022: Completing the materials and submitting them to the Publisher

Please send your 500-word proposal along with your recent CV and all your other inquiries to:

Contact details

Editor: Önder Çakırtaş, Bingol University, Department of English Language and Literature, Bingol TURKEY, Email:

Dogmas in Literature

(Posted 16 January 2022)

Literary writings of non-literary artists – special issue: “Poli-femo”
Extended deadline: 20 March 2022

Literary writings of non-literary artists 

First of all, let us set the boundaries by means of exclusion: this issue of Poli-Femo does not deal  with the work of the category of artists defined as literary authors: writers of poems, novels, short stories,  fables, dramas, etc.; rather, it deals – in a positive sense – with the written work of all the other kinds of  artists, representing not literature but the many other arts. A rudimentary classification of which might include the visual arts (painting, sculpture, etc.), the performing arts (music, dance, theatre, musical  theatre, etc.), the constructive arts (architecture, design), the arts of electr(on)ical media technology  (photography, cinema, video art, radio drama, etc.) and all those that have emerged more recently as  hybrids or extensions or twists of the traditional arts (conceptual art, installation, performance art, land  art, net art, comics, videogames, etc.). 

In the most recent historical period, from modernism onwards, there has been a strong tendency  to deconstruct the explicit and implicit codes of the system of literature (or, more generally, of  writing). Including codes relating to genres and their classification. On the creative front, authors are  increasingly inclined to transgress the order of centuries-old or millennia-old codified genres, crossing  or abolishing the boundaries – on different planes – between poetry and prose, between fictio and  dictio, between high and low literature, between pure writing and writing mixed with other material  media, etc. On the historical-theoretical-critical front, scholars increasingly recognise the lability of  established categories of genre, even in their application to history: hence, those categories prove to  be not entirely effective in accounting for past phenomena, let alone the present.  

In such a context, if we want to deal with a textual genre other than codified ones, we should  proceed with caution. The writing of non-literary artists does not form a single, separate, compact genre;  on the contrary, it takes the most diverse forms and constitutes a heterogeneous whole. Alongside the  obvious interest in this issue in production of a more specifically fictional or poetic nature, there is also  interest in other categories of artists’ writings, such as, typically, manifestos, or the presentation of the  artist’s own work, or essays (concerning the artist’s own art or even other arts or non-artistic fields),  epistles, interviews, or articles with a publicist slant. Much of this production has declared literary  ambitions or reveals an intention, albeit not explicit, in this sense. It is precisely this literary intention that will be the object of investigation in this issue of the magazine. 

Despite the heterogeneity of forms and objectives, the writing of non-literary artists is a sufficiently  clear and distinct category to be the object of a specific, dedicated investigation. It is worth isolating and  focusing on this field of investigation, which does not appear to be devoid of scientific interest. The  working hypothesis is that, without presupposing the existence of a unique and autonomous  (macro)genre of “writings by non-literary artists”, it is nonetheless useful, at least from a heuristic  perspective, to bring together in a single volume a set of analyses and theoretical studies on texts by  artists from different artistic backgrounds in order to allow the emergence of characteristic traits or  significant common elements inherent in the so-called “dual talent”. Moreover, while there are  collections of authors’ writings (sometimes in specialised series), in-depth studies on the writings of  individual artist-authors, reflections on the writings of authors belonging to individual artistic fields (the  writings of painters, the writings of composers…), as well as precise analyses of significant examples of  dual talent (cf. “Literature and Art”, no. 18, 2020), it does not appear that a general study of artists’  writings across the different arts (a study that will presumably have to be collective and interdisciplinary)  has already been firmly established, indeed it may almost have to be invented. The basic question could  be the following: can the inevitable interferences between artistic languages that characterise the production of non-literary artists be traced back to a series of characteristic traits? 

The writings of non-literary artists (actually, with regard to what follows, also those of literary authors)  can be divided into two macro-categories (whose boundaries are obviously not rigid, but nor are they inconsistent or entirely arbitrary): 

  • literary writings, belonging to greater or lesser established genres, typically – but not exclusively – fictional, e.g. a novel by a painter or a poem by a composer, etc.; 
  • non-literary writings, not belonging to established literary genres and typically nonfictional, including,  for example, manifestos, self-presentations, essays, analyses, epistles.

The volume to which this call for papers refers will therefore be subdivided into two sections,  respectively concerning the two above-mentioned macro-categories (without excluding contributions  that may also profitably challenge them). 

“Poli-Femo” therefore invites researchers from various disciplines – those inherent to literature and  those inherent to the other arts – to propose articles aimed at studying the literary and non-literary  writing of non-literary artists. 

The monographic theme of this issue can be approached in a completely free manner, but some  suggestions for lines of enquiry may be: 

  • within the work of the same individual author, the unity or separation – genetic and then actual – between the products of their non-literary art and those of their writing; 
  • even in the case of separation of the products of the two distinct activities, the possible interference of  the artist’s individual poetics in their (non-literary) art with their writing; 
  • the artist’s ability to innovate with respect to canonical writing genres; 
  • any historical or geographical tendencies relating to the propensity of certain categories of artists to  write about their own art (poetic, critical, theoretical, didactic texts etc.), about a different art or about  something else entirely; 
  • the possible impact of the fictional production of non-literary artists on contemporary literature; – the question of ‘dual talent’ (where relevant) approached from a theoretical point of view; – exploration of language affinities/differences. 

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

To this end, the Editorial Board proposes the following deadlines: a preliminary and essential step is to send an abstract (min.10/max.20 lines), keywords and a brief curriculum vitae of the proposer, to by 20 March 2022 (absolute deadline). The Editorial Office will confirm to the authors the acceptance of the contributions by 30 March 2022. The deadline for submission of contributions is 15 June 2022.

All contributions will be subject to double blind peer review. The issue, edited by Prof. Laura Brignoli and Prof. Stefano Lombardi Vallauri, will be published in December 2022.


(Posted 12 February 2022)

Territory in the English-speaking world
RANAM 56, to be published in June 2023
Deadline for proposals: 1 March 2022

Please note that proposals (250 words) should be sent to Gwen Cressman (, Fanny Moghaddassi ( and Jean-Jacques Chardin ( by March 1st and full papers by October 15, 2022.

We welcome proposals from the humanities, social sciences and related disciplines on the following themes. We expect contributors to approach territory in practical and conceptual terms.

…Tell me, my daughters
(Since now we shall divest us of both of rule,
Interest of territory, cares of state)
Which of you shall we say doth love us most.
(King Lear, I,1)

King Lear’s test of filial obedience at the beginning of the play connects territory with ruling and organizing space into a geographic and political entity.

The notion of territory is generally admitted to articulate the concept of space with that of its appropriation by a community (the Latin word territorium links the idea of space to that of jurisdiction: Varron’s “Ager Romanus”, Lingua latina, V, §55, defines the territory that all Roman tribes owned in common). In Pour une géographie du pouvoir (1980) for instance, the French geographer Claude Raffestin states that territories are being generated from space through the actions of an actor who territorializes space. In French geographical historiography, a remarkable expansion of the use of the concept of territory since the 1980s has led to its acquiring a nearly hegemonic status in the field. The reasons for such success lie in the very broad definitions territory has received in Francophone contexts. Brunet and Théry for instance note that “The notion of territory always includes legal, social and cultural, and even emotional dimensions. Territory differs from space in that it always implies a form of appropriation of space” (1993). Maryvonne Le Berre also notes that “Everything leads to discussing the idea of territory. Anything can be a territory”, while Yves Jean (2002) stresses that geographers sometimes define territory as “an imaginary and real space” or as “signs, symbols and images inscribed in time”. Using ethological notions of territory, Deleuze and Guattari have produced philosophical concepts of territory, territorialization and deterritorialization that are used in extremely varied research contexts. The fields of geography, history, anthropology, law, urbanism and social sciences have resorted to the concept, which is often used metaphorically as well.

By contrast, Anglophone historiography seems to restrict the use of the word territory to more explicitly political contexts. In a seminal publication about The Significance of Territory (1973), Jean Gottman thus argued that “Territory is a political organization of space that defines the relationships between the community and its habitat”, and many Anglophone publications resorting to the concept of territory endorse that primacy given to the political dimension of the notion (for instance Moore, 2015). Explorations of other ways of appropriating territories (social, personal, emotional, literary, artistic…) resort, perhaps more often than in French, to the word ‘space’, associated to various forms of qualification.

The present call for papers however means to draw attention to a defining feature of the concept of territory in both Anglophone and Francophone historiographies: its emphasis on the relationships territories imply between space and its usages by human actors, who try to organize space, physically, legally, linguistically, ethnically…

To analyze territory is to examine the negotiations and collaborations, sometimes the rivalries, in order to produce forms of space appropriation, ranging from adaptation to domination. Territorializing means naming and identifying space both in communal and personal terms, resorting to the projections of collective or more individual identities. Territory embraces such issues as social, local, regional, national, ethnic, religious, or linguistic identities in relation to the notion of otherness. Whether it be a geographic, or political entity, territory constructs, and is constructed by discourse.

1/Geography, politics, power

  • The specific historical contexts within which relations of domination and contestation have produced singular territories;
  • The cultural and political construction of territories through linguistic, literary and/or administrative mapping;
  • The cultural and ideological dimensions in the process of territorialization – understood as defining limits and boundaries, whether they be jurisdictional, geographic and/or political;
  • Processes of territorial appropriation and reclamation and the complexity of extra-, inter and intra-territorial relations implied;
  • The tensions, exchanges and forms of negotiation induced by multiple and overlapping layers of authority in the organization of territories;
  • The emergence of third spaces (such as co-working areas) as alternative territories productive of social relations that seek to redefine notions of consensus and dissensus;
  • Environmental politics and the territory (resource management, sovereignty).

 2/ Social practices and territorial identities

  • Cultural production of identity in relation to territory (discourse and practices) (territory producing identity and being produced by social relations);
  • Social, ethnic, religious, linguistic, personal identities and their Others in relation to national, regional and local territories;
  • Sociolinguistic policies and how territories construct, and are constructed by language;
  • Social belonging and interpersonal conversation as forms of territorial delimitation;
  • Mapping as sociohistorical where history and memory are constructed as territorial palimpsests;
  • The production of mythical territories and the manufacturing of knowledge;
  • Fluctuating territories or the territory in a permanent process of redefinition by its actors;
  • Mapping the territories of discourse: gender, genre and the canon.

3/ Territories of the mind and the body

  • Imagining and constructing the self as territory;
  • Forms of language and artistic expression that capture the complexities of the relation between the self and the territory;
  • Territories of the self through sensory perceptions (visual / sound territories…);
  • Historical relation between the self, the territory and the environment: eco-critical approach, territory as experienced physically (illegal migration, aesthetic experiences of landscape and territory);
  • Subjective territories : the inscription of the individual in constructed and real territories or landscapes: finding one’s way and place, psychological topographies;
  • Imaginary and fictionalized territories : how the self defines, and redefines territory and its place within it;
  • Territories as projections of the mind: imaginary territories, video games, literature, film studies…
  • Discourses about the self that include the idea of territory, namely in psychology: line between mental health and pathological;
  • Verbal representations of territory in terms of metaphorical discourse, how metaphors can express our bodily experiences of territory (cognitive metaphor theory).

References :

Roger BRUNET, Hervé THERY, « Territoire », in BRUNET, Ferras et THERY, Hervé (dir.), Les mots de la géographie. Dictionnaire critique. Reclus, La Documentation française, 1993 (1e éd. 1992).
André CORBOZ « Le territoire comme palimpseste », Diogène, n° 121, janvier-mars, 1983.
Gilles DELEUZE, Félix GUATTARI, Mille plateaux, Paris, Ed. de Minuit, 1980.
Stuart ELDEN, The Birth of Territory, Chicago, The University of Chicago Press, 2013.
Jean GOTTMANN, The Significance of Territory, Charlottesville, Unversity Press of Virginia, 1973.
Yves JEAN, « La notion de territoire : entre polysémie, analyses critiques et intérêt » in Lire les territoires, Yves JEAN et Christian CALENGE (dir.), Presses Universitaires François-Rabelais, coll. Perspectives Villes et Territoires, 3, 2002, 9-22.
Zoltan KOVECSES, Metaphor and Emotion, New York and Cambridge: Cambridge University Press, 2000.
Zoltan KOVECSES, « Methodological Issues in Conceptual Metaphor Theory”, in S. Handl & H. Schmid (eds.), Windows to the Mind: Metaphor, Metonymy and Conceptual Blending, Berlin: Mouton de Gruyter, 2011, 23–40.
George LAKOFF and Mark JOHNSON, Metaphors We Live by. Chicago: The University of Chicago Press, 1980.
George LAKOFF and Mark JOHNSON, Philosophy in the Flesh, New York: Basic Books, 1999.
George LAKOFF and Mark JOHNSON, “Why Cognitive Linguistics Requires Embodied Realism”, Cognitive Linguistics, 2002: 13(3), 245–263.
Ronald W. LANGACKER, Foundations of Cognitive Grammar. Vol. 1: Theoretical Prerequisites. Stanford, CA: Stanford University Press, 1987.
Ronald W. LANGACKER, Grammar and Conceptualization. Berlin, New York: Mouton de Gruyter, 1999.
Maryvonne LE BERRE, « Territoires », in Antoine BAILLY, Robert FERRAS, Denise PUMAIN (dir.), Encyclopédie de géographie, Paris, Economica, 1995, 603.
Margaret MOORE, A Political Theory of Territory, New York, Oxford, Oxford University Press, 2015.
Thierry PAQUOT, « Qu’est-ce qu’un « territoire » ? », Vie sociale, 2011 : 2 (n°2), 23-32, online : (16 Nov. 2021)
Claude RAFFESTIN, Pour une géographie du pouvoir, Paris, Librairies Techniques, 1980.
Leonard TAMLY, Toward a Cognitive Semantics, Cambridge, MA: MIT Press, 2000.
Jakob von UEXKÜLL (1864-1944), Mondes animaux et monde humain, Paris, Denoël, (1934) 1984.

(posted 7 December 2021)

Thematic issue of Studia Litteraria Universitatis Iagellonicae – “Ulysses 100 years after”
Jagiellonian University in Krakow, Poland
Deadline for paper proposals: 15th March 2022.

“Science, it cannot be too often repeated, deals with tangible phenomena.
The man of science like the man in the street has to face hardheaded
facts that cannot be blinked and explain them as best he can.
There may be, it is true, some questions which science cannot answer – at present…”
(James Joyce, Ulysses)

On 2 February 2022 the literary world will celebrate the centenary of the publication of James Joyce’s Ulysses, about which the author famously stated that he put so many enigmas and puzzles into it that it will keep the professors busy for centuries. After one hundred years, how much do we actually know about it? How many puzzles have been solved, and which still remain a challenge? What insights have we gained into Joycean enigmas? Which of them are intersubjectively verifiable, and which are just fanciful flights of critics’ imagination barely grounded in rigorously conducted research? Which results obtained in Joycean scholarship have stood the test of time? What are milestones of Ulysses research, which are seminal critical texts, which of them have fruitfully informed other research, and which have been blind paths?

Beyond questions of factual knowledge, accurate information and its deliberate misrepresentation by the author, there is also the question of the reader’s background knowledge, their choice of methodology, and bias. What some critics perceive as highly relevant, others may tend to ignore. This may result not only in different, but even contradictory findings and interpretations. We may comment on this, quoting Joyce again: “though people may read more into Ulysses than I ever intended, who is to say that they are wrong: do any of us know what we are creating?”

This raises questions about soundness, applicability and relevance of various methodological approaches, not only for Ulysses but for literary works in general. Thus, we invite the authors to reflect on the nature of knowledge, its verifiability, deliberate manipulation, and (degrees) of ignorance, with regard to Ulysses, and other Joyce’s texts. The proposed paper may deal with:

  • facts and fictions in Ulysses
  • science, knowledge, epistemology in Ulysses
  • historical reconstructions, accuracies and inaccuracies
  • impact of Joycean scholarship on translation reception, and teaching of Ulysses
  • genetic Joyce studies
  • relevance and Joyce studies

Please send an abstract of approximately 200 words to Katarzyna Bazarnik (, and/or Dirk Vanderbeke (, and/or Jolanta Wawrzycka ( The deadline for paper proposals is 15th March. Paper proposals will be reviewed and the authors will be notified about their acceptance. Notifications of acceptance will be sent by 25th March. The deadline for the final papers is 15th July.

Selected, peer reviewed papers will be published in a thematic issue of Studia Litteraria Universitatis Iagellonicae Cracoviensis. The publication is planned for December 2022.

For the journal website, see

Cfp for the thematic issue of Studia Litteraria_Ulysses 100 years after

(Posted 10 January 2022)

The Myths of Modernism / Modernism and Myths: Then and Now
The Polish Journal of English Studies
Deadline for proposals: 31 March 2022

The year 2022 marks the centenary of the publication of James Joyce’s Ulysses, T.S. Eliot’s The Waste Land, and Virginia Woolf’s Jacob’s Room. To celebrate this watershed in the history of the English-language literature The Polish Journal of English Studies invites papers for inclusion in a special issue titled The Myths of Modernism / Modernism and Myths: Then and Now.

As suggested by the title, the project has not only a dual, but a repeatedly bifurcating nature. On the one hand, it centres on the modernists themselves: their love of myths, as well as the myths that now surround them. After all, modernist writers from Joyce and Yeats to Woolf and Lawrence were fascinated by their own literary predecessors, the classics, “the dead poets and artists” whom Eliot mentions in “Tradition and the Individual Talent.” At the same time they were driven by the desire to break with the past. Once rebels, even outcasts, some of them authors of outlawed works, they have long been canonised and mythologised. Thus, on the other hand, the project also looks at the generations of writers who have followed the modernists, and have engaged in their own rewriting of ancient scripts and/or have entered into a dialogue with the modernists themselves as pivotal figures within the literary mythos.

Both laudatory and critical/revisionist approaches are welcome. Philip Larkin observed, irreverently:

What I do feel a bit rebellious about is that poetry seems to have got into the hands of a critical industry which is concerned with culture in the abstract, and this I do rather lay at the door of Eliot and Pound… I think a lot of this myth-kitty business has grown out of that, because first of all you have to be terribly educated, you have to know everything to know these things, and secondly you’ve got somehow to work them in to show that you are working them in. But to me the whole of the ancient world, the whole of biblical and classical mythology means very little, and I think that using them today not only fills poems full of dead spots but dodges the writer’s duty to be original.

Is this a fair – or unjust – assessment of the modernists’ supposedly (?) elitist esotericism? How did the modernists approach “the pastness of the past” and “its presence”? What relations did they form with their “ancestors”? What is the use of “this myth-kitty business” today? Does “the whole of the ancient world, the whole of biblical and classical mythology mean very little” to contemporary writers? Or, on the contrary, far from creating the feared “dead spots,” ancient myths can be given a new life in new texts that – exactly by taking us to their distant origins – illuminate the most vital issues of our present moment? Our special issue offers an opportunity to reflect on the above, and other related questions.

Please send a 150-200-word abstract (titled Surname_PJES_Myths) together with a short biographical note to and The deadline for submission of abstracts is 31 March 2022. Notifications about proposal acceptance will be sent by 15 April 2022. The deadline for submission of completed papers is 15 July 2022. Planned publication: December 2022.

The topic of this special issue of PJES will be discussed during a panel at the 31st PASE conference titled “Transitions,” held by the Institute of English Studies, Jagiellonian University in Kraków, on 1-2 July 2022. Detailed information about the arrangements concerning the PASE conference will be provided at a later date.

Special Issue Editors / Panel Organisers:
Dr Izabela Curyłło-Klag
Dr Ewa Kowal

(posted 6 December 2021)

Journal of Narrative and Language Studies – special issue: “Geopolitics and the Anthropocene: Examining the Implications of Climate Change in the narratives of Global South”
Deadine for abstracts: 31 March 2022

Call for papers for a special issue of Journal of Narrative and Language Studies

Geopolitics and the Anthropocene: Examining the Implications of Climate Change in the narratives of Global South

The term ‘Anthropocene,’ which refers to the current geological epoch as a result of the escalation of anthropogenic activities, has sparked much debate since its proclamation by Paul J. Crutzen in 2000. Crutzen argues that the beginning of the Anthropocene coincides with the beginning of the fossil fuel energy regime in the late eighteenth century (Crutzen 2000). In other words, the onset of the Anthropocene marks an increase in the carbon concentration in the atmosphere, eventually contributing to global warming. Anthropocene, the human dominated geological epoch, being arguably tied with the fossil fuel extractions, calls for the convergence of natural and human capitalist histories (Chakrabarty 2016). The capitalist history indicates an imperial past that has thrived on fossil fuel extraction from the Asian and African colonies. The flourishing of the empire at the expense of the environmental health of the colonised has created an ecological divide between the imperial power holders and their subjects. There is no significant change in the present scenario given the expansion of the neo-colonial regime of the Global North that exploits the ‘extraction ecologies’ (Miller 2021) and ‘resource cursed’ (Nixon 2010) nations of the Global South.

The European and American powers’ politics of de-nationalising the resources of the decolonized nations has created an opportunity for the Global North multinationals to exploit the resources of the Global South, thereby damaging the immediate ecology of those countries. Such a divisive and exploitive scenario calls for the assignment of the epoch as ‘Capitalocene’, the ‘geology of capital accumulation’ (Malm 2016), instead of ‘Anthropocene,’ meaning the ‘geology of mankind’. The term ‘Capitalocene’ points to the economic divide between the developed Global North and the developing Global South and the climate change-related inequitable experiences of the two economically divided parts of the globe. Critics argue that the poor and other dispossessed communities are relatively more vulnerable to the current climate change than those capitalist states that primarily contribute to it. The geographical peculiarity of the Global South, with its remnants of the colonial past, requires an assessment of the anthropogenic ecological degradation contextualised within the geopolitics of the Global North and the Global South.

Thus, the special issue of the Journal of Narrative and Language Studies aims to introspect into the politics of unequal human agency and its resultant consequences related to climate change in the literature of the Global South. In this issue, we would like to place a special emphasis on the ‘Anthropocene fictions’ (Trexler 2015) produced within the literary culture of the Global South, addressing the problems of the present climate crisis and speculating on the future in order to understand ‘what anthropogenic climate change is and how long its effects may last’ (Chakrabarty 2016). In doing so, we invite abstracts that will explore the varied implications of ‘Anthropocene’/ ‘Capitalocene’ through the literary practises of the Global South, emphasising the issues related to climate refugees, eco-cultural calamities, environmental justice, citizenship, human-nonhuman interrelationship, dispossession of indigenous communities, and capitalism versus climate and island vulnerability. Thus, the special issue intends to invite submissions making theoretical and literary investigations into the multifaceted ‘Anthropocene’, particularly contextualised in the Global South, which demands greater representation within the climate change discourses. In the special issue, we also seek to examine the role of the authorial voices from the Global South in explicating the dire climatic conditions of the region in relation to geopolitics and in presenting an alternative environmental historiography of the Global South.

We thus invite scholars to submit abstracts/paper proposals that address the following (but not limited to) issues contextualised in the Global South and literature:

  • The critique of human agency in the Anthropocene
  • The critique of unequal human agency in the Capitalocene
  • Capitalism and climate change
  • Environmental justice and citizenship
  • Indigenous communities and the climate crisis
  • Speculative fiction and climate change
  • Human-nonhuman interrelationship
  • Fossil fuel energy regime and ‘extraction ecologies’
  • Ecological and cultural calamities
  • Postcolonial ecology and climate change
  • Graphic narratives and climate change
  • Racism and speciesism
  • Island ecology and the Anthropocene

The abstracts (300 words) should be submitted to no later than March 31st, 2022.

Intimation of the selection of abstracts: 15 April 2022

After an initial review of abstracts by the editors of the special issue, selected authors will be invited to contribute full-length (5.000–7000 words) articles written according to APA 7th edition and adhering to standard NALANS guidelines for authors that can be found here: The deadline for submission of full articles is June 30, 2022. This issue is expected to come out in October 2022.

NALANS (ISSN: 2148-4066), the Journal of Narrative and Language Studies is a double-blind peer-reviewed journal published by Karadeniz Technical University. The Journal is indexed in SCOPUS, MLA International Bibliography, DOAJ, The Linguist List, Google Scholar, DRJY, ASOS, Academic Resource Index, Turkish Education Index, SOBIAD. All other important information on the Journal can be found here: 

Issue editors

Goutam Karmakar, Ph.D. (English), is an Assistant Professor of English at Barabazar Bikram Tudu Memorial College, Sidho-Kanho-Birsha University, Purulia, West Bengal, India. His forthcoming and recently published edited books are Narratives of Trauma in South Asian Literature (Routledge), The City Speaks: Urban Spaces in Indian Literature (Routledge), and Religion in South Asian Anglophone Literature: Traversing Resistance, Margins and Extremism (Routledge, 2021). He has been published in journals including MELUS, Interdisciplinary Literary Studies, South Asian Review, Journal of Gender Studies, Journal of Graphic Novels and Comics, Journal of Postcolonial Writing, National Identities, Nationalism and Ethnic Politics, Asian Journal of Women’s Studies, and Asiatic among others.

Somasree Sarkar is an Assistant Professor of English at Ghoshpukur College, University of North Bengal, West Bengal, India. She is also pursuing her Ph.D. from the Department of English, University of North Bengal, West Bengal, India. Her articles have been published in an edited volume, Partition Literature and Cinema: A Critical Introduction (UK: Routledge, 2020). Her articles have also been published in Journal of Gender Studies, South Asian Review and Journal of Graphic Novels and Comics

Mustafa Zeki Çıraklı, PhD, is an Associate Professor of English Language and Literature at Karadeniz Technical University, Turkey. He is the editor-in-chief of the Journal of Narrative and Language Studies.

(Posted 7 Fenruary 2022)

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

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

Edited by Grzegorz Maziarczyk and Joanna Klara Teske

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

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

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

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

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

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

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

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

(posted 4 May 2021)

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

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

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

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

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

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

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

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

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

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

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

(posted 5 May 2021)

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

Edited  by:

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

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

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

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

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

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

E-Rea accepts contributions in French and in English.

Submission guidelines

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

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

(posted 28 June 2021)

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

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

Upcoming issue

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

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

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

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

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

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

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

(published 11 September 2021)

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

Contact the Seminar Organizers

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

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

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

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

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

DEADLINE: October 31, 2021.

(posted 23 August 2021)

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

Guest editor: Dr. Ema Vyroubalova, Trinity College Dublin

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

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


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

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

(posted 22 February 2021)

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

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

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

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

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

Selective bibliography:

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

(posted 18 May 2021)

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

Synthesis: an anglophone journal of comparative literary studies

Special Issue Editor: Mayako Murai

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

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

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

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

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

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

(posted 16 September 2021)

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

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

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

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

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

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

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

(posted 19 October 2021)

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

Editors: Giuseppe Scattolini and Enrico Spadaro

A call for papers from Tolkieniani Italiani

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

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

Contributions are particularly requested that investigate:

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

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

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

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

(posted 18 May 2021)

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

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

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

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

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

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

(posted 21 June 2021)

Conjugal Relationships: An Assessment of Sino / West Discourse and Aesthetics
An edited volume to be published in 2022
Deadline extended: 15 January 2022

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

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

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

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

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

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

For details and enquiries, please write to and

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

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

(posted 25 October 2021 / Dedline extended: 25 December 2021)

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

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

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

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

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

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

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

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

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


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


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

Contact information:

Dr. Paula Barba Guerrero, University of Salamanca

Dr. Laura de la Parra Fernández, University of Salamanca

(posted 16 September 2021)

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

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

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

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

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

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

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

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

(posted 10 September 2021)

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

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

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

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

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

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

Researchers and practitioners are invited to submit on or before July 15, 2021, a chapter proposal of 1,000 to 2,000 words clearly explaining the mission and concerns of his or her proposed chapter. Authors will be notified by July 29, 2021 about the status of their proposals and sent chapter guidelines.Full chapters are expected to be submitted by January 20, 2022, and all interested authors must consult the guidelines for manuscript submissions at prior to submission. All submitted chapters will be reviewed on a double-blind review basis. Contributors may also be requested to serve as reviewers for this project.

Note: There are no submission or acceptance fees for manuscripts submitted to this book publication, Intercultural Communication and Ubiquitous Learning in Multimodal English Language Education. All manuscripts are accepted based on a double-blind peer review editorial process.

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

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

Important Dates

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


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

Richard Clouet, Universidad de Las Palmas de Gran Canaria:

The full call for chapters can be found at

(posted 8 April 2021)

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

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

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

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

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

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

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

(posted 17 June 2021)

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

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

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

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

(posted 20 April 2021)

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

Issue Editor: Isabelle Meuret

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

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

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

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

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

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

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

Call for Papers and Guidelines for Contributors

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

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

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

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

Correspondence should be sent

(posted 16 June 2021)

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

(posted 13 May 2021)

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

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

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

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

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

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

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

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

(posted 15 June 2021)

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

Please direct any queries about the journal to (

(posted 15 June 2021)

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

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

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

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

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

Please send submissions by 30 September 2021 to the editors:

Adrian Grafe:
Andrew McKeown:

(posted 3 July 2021)

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

Paolo Bugliani

(posted 31 July 2021)

Calls for papers – Conferences taking place in October 2022

II SEDERI International Conference for Junior Researchers
Universidad Autónoma de Madrid / Autonomous University of Madrid (UAM) in Spain, 5, 6 and 7 October 2022
Submission of abstracts: 31 May 2022

We are pleased to announce that the II SEDERI International Conference for Junior Researchers of Early Modern English Studies will be held on 5, 6 and 7 October 2022 at the Universidad Autónoma de Madrid / Autonomous University of Madrid (UAM) in Spain. This event is part of an initiative born within SEDERI, the Spanish and Portuguese Society for English Renaissance Studies, which seeks to provide a platform where junior researchers from around the globe can gather in order to exchange different ideas, views and opinions on the study of the English language and its literature, history and culture of the 16th and 17th centuries. 

Keynote Addresses

  • Alexander Samson (University College London)
  • Sabine Schülting (Freie Universität Berlin)
  • Jesús Tronch Pérez (Universitat de València)

We welcome proposals in English for 20-minute papers that critically explore questions related to the study of early modern literature, language, history and culture, particularly in relation to the English Renaissance and the English Restoration. Suggested topics include, but are not limited to, the following:

  • Early modern texts, contexts and stages
  • Early modern politics, economies and ideologies in texts and on the stage
  • Anglo-Iberian and Anglo-Mediterranean relations in the early modern period
  • Early modern cultures of work, customs and rituals
  • Early modern utopias and dystopias
  • Early modern travel narratives and narratives of migration and exile
  • Early modern constructions of the figure of the outsider/ the other and their afterlives
  • The materiality of the early modern text: critical editions, manuscripts and print culture
  • Linguistic contact, variation and change in the early modern period
  • Translations, adaptations and appropriations of early modern English texts
  • Performance and reception of early modern English plays

The deadline for the submission of abstracts is 31 May 2022. Acceptance will be notified before 30 June 2022. Proposals must be sent to as an email attachment (preferably as .doc or .docx files) containing the following information:

  • The author’s name, institutional affiliation and email address
  • A short biographical note (max. 100 words)
  • The full title of the paper, a 250-300 word abstract, and 4 keywords
  • Your SEDERI membership status (member, non-member, application submitted). If you wish to join SEDERI, please visit

Conference fees: SEDERI members (€30), non-SEDERI members (€40)
Registration: 30 June 2021– 15 September 2021

(Posted 26 April 2022)

Transnational Shelley(s): Metamorphoses and Reconfiguration Conference
Accademia Vivarium Novum, Vila Falconieri, Frascati, Rome. 6-7 October 2022
Deadline for abstracts: 30 April 2022

This conference celebrates Percy Bysshe Shelley’s multifaceted afterlives, exploring the many echoes his oeuvre has produced throughout the history of modern and contemporary literature. The aim of the conference is to craft a map of the poet’s seminal influence on single authors as well as on literary movements.

Starting from Mary Shelley’s immediate editorial and critical efforts, and passing through both late 19th century Victorian celebrations and Modernist (apparent) rejection, the history of Shelley’s fortune is one of the most interesting in modern and contemporary literature, and helps us to reflect on the true essence of his poetic legacy. Robert Browning, Walter Pater, the War Poets, Wallace Stevens, and many other poets were indeed among the most overt estimators of P.B. Shelley’s works. Furthermore, his poetical and philosophical lesson has reverberated through the production of authors from around !he globe, not just those in the anglophone world.

Given the Shelleys’ fruitful collaboration, especially in their “Italian” years, Mary Shelley’s transnational legacy will also be the object of investigation.

Scholars from various parts of the world and fields of study (literature, sociology, anthropology, pedagogy, to name a few) are invited to discuss the wealth of Shelley’s aesthetic and ideological legacy, thus creating a forum which will provide a fertile addition to the various events that constellate the Shelleyan bicentenary celebrations.

Suggested topics include, but are not limited to:

  • The Shelleys’ reception in the Americas;
  • The Shelleys’ reception in Asia;
  • The Shelleys’ reception in Africa;
  • The Shelleys’ reception in Oceania;
  • The Role of the Shelleys’ oeuvre in the context of other European Romantic movements;
  • (New) Translations of Shelley’s poems;
  • Adaptations and remediations of Shelleyan character in popular culture;
  • P.B. Shelley as a Romantic icon;
  • Mary Shelley’s role in the canonization of Shelley’s figure.

Send abstracts of individual papers (250 words) and a short bionote by April 30, 2022 to:

Acceptance will be notified by May 20, 2022.

Registration fee: early bird (July 15), €75; later registration €100.

Organized by:

  • Elisabetta Marino
    (Department of History, Humanities and Society, University of Rome Tor Vergata)
  • Paolo Bugliani
    (Department of Philology, Literature and Linguistics, University of Pisa)

Scientific Committee:

Giuseppe Albano, Gioia Angeletti, Serena Baiesi, Roberto Baronti Marchiò, Lilla Maria Crisafulli, Nora Crook, Keir Elam, Carlotta Farese, Roberta Ferrari, Gilberta Golinelli, Daniela Guardamagna, Sharon Ruston, Diego Saglia, Carla Sanguineti, Rossana Sebellin, Maria Valentini


(Posted 7 April 2022)

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

Conference Organizers

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


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


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

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

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

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

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

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

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

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

(Posted 19 May 2021)

“Modernism and Matter” – An International workshop
Université Paul-Valéry Montpellier3, Montpellier, France, 13-14 October 2022
Deadline for submissions: 1 June 2022

An International workshop organised by EMMA (Université Paul-Valéry Montpellier3) in collaboration with CIRPaLL (Université d’Angers)  

This workshop on modernism and matter is an incentive to interrogate the meaning of matter,  and investigate its power in modernist literature. Our assumption is that modernist writings can  help us answer the call for ‘more complex understandings of materiality’ (Alaimo). 

A hundred years after the so-called annus mirabilis of modernist literature, such a  reappraisal of modernism should be appropriate. Over the last few years, revaluations of  modernism or modernisms have been many, from Stephen Ross and Allana Lindgren’s The  Modernist World (2017) and Douglas Mao’s New Modernist Studies (2021) to Jean 

Michel Rabaté and Angeliki Spiropoulou’s recent anthology Historical Modernisms: Time,  History and Modernist Aesthetics (2022). The focus has gradually shifted from canonical  writers such as James Joyce, T.S. Eliot or Virginia Woolf to relatively neglected figures like  Dorothy Richardson or Rebecca West and to lesser-known writers usually not labelled as  modernists, as in Lynne Hapgood’s and Nancy L. Paxton’s Outside Modernism (2000). In order  to embrace the rainbow-like nature of modernism, diverse methods – historical, literary or  philosophical – and theories have been implemented, and archival research often favoured. Modernism has nevertheless remained associated with experimentation (as underlined by  Rabaté and Spiropoulou), the quest for the self and urban modernity, a vision that was promoted  by the modernists themselves, as is well-known. 

Only recently have critics begun to alter this image of modernism by drawing attention  to the ecological sensibility that manifests within its bounds. In his seminal Green Modernism (2015), Jeffrey Mathes McCarthy stated that ‘Until recently, modernist studies has largely  rebuffed the insights of ecocriticism thanks to the aesthetic armor of its autonomous, subjective,  urban texts’, and he proceeded to analyse Joseph Conrad, Ford Madox Ford and D.H. Lawrence  in that new light. Kelly Sultzbach (2016), Andrew Kalaidjian (2020), Michael Rubenstein and  Justin Neuman (2020) have each in their own way extended these reflections. 

Building on this recent work on modernist ecologies and in a similar attempt at renewing  our understanding of modernism – and possibly, tease out some of its contradictions, we would  like to draw attention to the specific connections between modernism and materiality. Indeed,  modernist writers were not only interested in the materiality of the books which they produced,  but also in matter. The ‘prosaic’ concerns of the preceding generation were rejected – Wells,  Bennett and Galsworthy being labelled as ‘materialists’ by Virginia Woolf, because they wrote  of ‘unimportant things’ – while the centrality of matter itself was reaffirmed in new and original  ways, with Woolf herself devoting a short story to ‘Solid Objects’ and comparing impressions  with atoms in her essay ‘Modern Fiction’. 

Far from being inert, matter is considered as being alive and vibrant not only by biologists  or physicists but also by philosophers such as Henri Bergson and Gilles Deleuze, and theorists  such as Jane Bennett or Bruno Latour. What qualifies as matter for the writers of the modernist  era? How do they define matter and represent it? How does it relate to the self they were so  intimate with? How does the Modernists’ conception of matter resonate with the contemporary scientists’? How do the ways they represent matter, materiality or material environments resemble or depart from those that characterize the Romantic and Victorian periods? 

In order to address these questions, theories that embrace the ‘insights of ecocriticism’ or cut across those of New Materialism may be resorted to (although not exclusively); they will  help to explore the plural form and plasticity of matter together with the connections between  the material and the psychological, the organic and the inorganic, matter and consumerism,  matter and materialism, matter and myth, materiality, physicality, animism and mysticism, to  give but a few examples. Such an approach should shed a new light on modernist literature, its  canonical and non-canonical figures, and the aesthetic, ethical, ontological or political role and  power of matter. 

Please send a 300-word abstract with a short biographical note to Christine Reynier  ( and Xavier Le Brun (  

Deadline for submissions: 1 June 2022 

Notification of acceptance: 30 June 2022 

A selection of peer-reviewed papers will be published in the series Horizons  Anglophones/Present Perfect, PULM: anglophones/present-perfect.html 

Select bibliography 

Alaimo, Stacy, Bodily Natures. Science, Environment, and the Material Self, Indiana University  Press, 2010. 
Diaper, Jeremy, ‘Modernism and the Environment’, Modernist Cultures 16.1 (2021): 1–11.  DOI: 10.3366/mod.2021.0317 
Hapgood, Lynne and Nancy L. Paxton, Outside Modernism, Palgrave Macmillan, 2000. 
Kalaidjian, Andrew, Exhausted Ecologies: Modernism and Environmental RecoveryCambridge University Press, 2020.  
Mao, Douglas, New Modernist Studies, Cambridge University Press, 2021.  
Rabaté, Jean-Michel and Angeliki Spiropoulou, Historical Modernisms: Time, History and  Modernism Aesthetics, Bloomsbury, 2022. 
Ross, Stephen and Allana Lindgren, The Modernist World, Routledge, 2017. Rubenstein, Michael and Justin Neuman, Modernism and its Environments, Bloomsbury, 2020. 
Ryan, Derek. Virginia Woolf and the Materiality of Theory: Sex, Animal, Life, Edinburgh  University Press, 2013. 
Sultzbach, Kelly, Ecocriticism in the Modernist Imagination: Forster, Woolf and Auden, Cambridge University Press, 2016.

Scientific committee  

  • Dr. Nicolas Boileau, Aix-Marseille Université, France Pr. Rossana Bonadei, University of Bergamo, Italy 
  • Dr. Elke D’hoker, KU Leuven, Belgium 
  • Pr. Christine Froula, Northwestern University, USA 
  • Pr. Jean-Michel Ganteau, Université Paul-Valéry Montpellier3, France Dr. Xavier Le Brun, Université d’Angers, France 
  • Pr. Caroline Patey, University of Milan, Italy 
  • Pr. Frédéric Regard, Sorbonne Université, France 
  • Pr. Christine Reynier, Université Paul-Valéry Montpellier3, France Pr. Stephen Ross, University of Victoria, BC, Canada 

Organising committee 

  • Marie Bertrand, Université Paul-Valéry Montpellier3, France
  • Alice Borrego, Université Paul-Valéry Montpellier3,
  • France Tim Gupwell, Université Paul-Valéry Montpellier3, France Clémence Laburthe-Tolra, Université Paul-Valéry Montpellier3,
  • France Xavier Le Brun, Université d’Angers, France  
  • Christine Reynier, Université Paul-Valéry Montpellier3, France

Modernism and Matter ev

(Posted 12 February 2022)

The View from the Anthropocene: Exploring the Human Epoch from Post-Anthropocentric Perspectives
The Institute of English and American Studies, Faculty of Humanities, University of Debrecen, Hungary, 15-16 October 2022
Deadline for proposals: June 30, 2022

If the sadness of life makes you tired
And the failures of man make you sigh
You can look to the time soon arriving
When this noble experiment winds down and calls it a day

In this age of ecological, economic and social crises, the notion of the Anthropocene is becoming ever more significant. Proposed by Paul J. Crutzen and Eugene F. Stoermer in 2000, the Anthropocene as a new geological epoch highlights detrimental human impact on the planet, while as a critical notion it synthetises anti-, non- or post-anthropocentric views challenging the dominant discourses and practices that place humans at the centre of the world. However, with its scope incessantly expanding and its meanings ever in flux, the Anthropocene requires constant redefinition and reassessment. So far it has been criticised for its ideological implications and several terms such as Plantationocene (Haraway 2015), Capitalocene (Moore 2016, Davies 2016), and Occidentalocene (Bonneuil and Fressoz 2017) have been offered as alternatives. Yet could we define the Anthropocene and its implications more clearly and harmoniously? Above all, it is an urgent warning about the future of ecosystems, cultures and societies alike, forcing us to realise that “we are embedded in various social, economic, and—especially—ecological contexts that are inseparably connected” (Kersten 2013). Addressing the need for coherence across versatile approaches, the conference calls for a transdisciplinary investigation of the challenges of our age.

We also realise that the Anthropocene must be acted upon, although its cry for action is crippling. As Judy Wilson put it during one of the panel discussions at COP26, “the human epoch is not only external, it is also internal”, for it not only denotes a number of ecological and social crises – including climate change, loss of biodiversity, pollution, poverty and starvation in the global south, causing waves of migration which in turn fuel global conflict –, but it also involves anxiety and apathy that render us passive in the face of these crises. As Liz- Rejane Issberner and Philippe Léna put it, it seems “as though humanity is being lethargic – waiting for the end of the film, when the heroes arrive to sort everything out, and we can all live happily ever after” (2018).

The conference aims to address some of the controversies, the lethargy and (wilful) ignorance that conceal the significance of the Anthropocene, exploring the notion itself as well as its theoretical and practical challenges from the perspectives of posthumanism, animal studies, ecocriticism and any other approaches that question anthropocentrism from their respective viewpoints. We invite proposals that may address, yet are not restricted to, the following topics:

  • Critiques of and conceptual alternatives to the Anthropocene—Donna Haraway’s ‘Cthulhucene’, Jason Moore’s ‘Capitalocene’, Bernard Stiegler’s ‘neganthropocene’ and the like
  • Cli-fi, dystopian and/or utopian responses to climate change Speculative and fantastic fiction related to the Anthropocene Eco-anxiety
  • Fantastic texts exploring indigenous worldviews on ecology
  • Literary fiction or other media that interrogate humanity’s relationship with other lifeforms Literary fiction or other media that question the human/animal boundary
  • Human-Animal Studies, Literary and Cultural Animal Studies, Animal Ethics, Critical Animal Studies The non- and posthuman other (animals, plants, monsters, aliens, artificial intelligence) in art, literature, cinema and other media
  • Nonhuman perspectives in literature and cinema; the nonhuman gaze Non-anthropocentric spaces and temporalities in literature and cinema Ecocriticism, environmental humanities, deep ecology and ecosophy Eco-horror; aesthetics and themes
  • Bioethical considerations
  • Posthumanism, post- and transhumanist frameworks, posthumanist ethics Anti-humanism, meta-humanism
  • Speculative realism, object-oriented ontologies, new materialism, post-anthropocentric ecology theories, theories of social assemblage
  • Object-oriented art; bioart, microbial art
  • Eco-art, eco-literature, eco-media, eco-cinema

Confirmed plenary speakers include Márk Horváth and Ádám Lovász who will give a talk on the post- anthropocentric turn, and László Nemes, who will speak about his current inquiry into the ethics of de- extinction. Accompanying programmes will include a roundtable discussion addressing the challenges of the Anthropocene, with participants from various fields including philosophy, literary and film criticism, biology, and psychology; a photography exhibition; and a multimedia art event organised by the members of Művészek a klímatudatosságért (Artists for Climate Awareness). With these programmes we hope to turn the collective experience of inertia symptomatic of the Anthropocene into awareness, new forms of agency, and action.

“Time has come now to stop being human
Time to find a new creature to be
Be a fish or a weed or a sparrow
For the earth has grown tired and all of your time has expired.”
(Thinking Fellers Union Local 282: “Noble Experiment”)

Technical details:

The conference is planned as an on-site event, to be held in English and Hungarian, on 15-16 October 2022 at the University of Debrecen. Depending on the dynamics of the pandemic, we will nevertheless adapt and consider moving parts of or the whole conference to a digital platform. Participants will be informed about any changes via email in due time.

Please send a 250 word abstract of your proposed paper with a brief, max. 100 word biography to by June 30, 2022. Those who wish to present in Hungarian are also welcome, but are kindly asked to include an English version of their abstract and mini bio in their application. Responses will be given by July 31, 2022.

It is intended that a selection of the papers based on the conference presentations will be published, either in a separate collection of articles or a thematic volume in a scholarly journal.

Organising committee:

Zsófia Novák and Borbála László (PhD students, Department of British Studies, IEAS, UD);
Tamás Bényei, DSc (professor, Department of British Studies, IEAS, UD);
György Kalmár, PhD (reader, Department of British Studies, IEAS, UD).

For more information please visit the event’s Facebook page or contact the organizers at the following e-mail address:

CFP_The View from the Anthropocene

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

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

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

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

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

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

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

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

Proposals for papers

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

(Posted 19 November 2021)

Postcolonial Narrations 2022: Postcolonial Matters of Life and Death
Bonn, 20-22 October
Deadline for abstracts: 31 May 2022

The last decades have brutally shown that not all lives and bodies are equally grievable. War, increased migratory movements, the COVID-19 pandemic as well as the climate crisis demonstrate that hierarchies of life and death continue to be dominated by colonial and racialized criteria as well as political and social power structures. In her much-referenced work Precarious Life: The Powers of Mourning and Violence (2004), Judith Butler asserts that “[s]ome lives are grievable, and others are not; the differential allocation of grievability […] operates to produce and maintain certain exclusionary conceptions of who is normatively human: what counts as a liveable life and a grievable death?” (XIV-XV). Her assessment raises further questions about the conception and boundaries of ‘the human’ and who controls them. Since the European Enlightenment the predominant understanding of ‘the human’ has been shaped by a universalizing focus on individualism and rationality. These humanist notions do not only foreground an immaterial understanding of human essence, neglecting any question of the material existence of the body, but more so indicate a sharp distinction between subject and object, self and other. Recent posthumanist scholarship seeks to expose these binaries and tries to negotiate new understandings of ‘the human’. Examining marginalised lives and deaths through a focus on black, female, queer, or non-human agents, critical posthumanism investigates who counts as ‘human’. This endeavour is especially relevant in a postcolonial context, where existing ideas of the human mind and body are continuously reconsidered, and the imagining of alternative ways of life is a central concern. Emerging from this framework, we hope to explore postcolonial matters of life and death in next year’s Postcolonial Narrations Forum.  

The controlling and policing of life and death, which dominate our screens again and again in the form of racially motivated police shootings, the discoveries of mass graves of Indigenous children, and the violence at Europe’s borders, have long been central to colonialism and its continuous aftermath. Consequently, the institutionalised regulation of human life and bodies has attracted notice as a major focus in literary and cultural studies, postcolonial studies, medical and environmental humanities, and other fields. Concepts such as biopolitics (Foucault), bare life (Agamben), necropolitics (Mbembe), and slow death (Berlant) are only a few among the many tools which are useful to examine the abovementioned issues. Literary genres as diverse as life-writing, memoir, dystopia, and SF as well as other media have not only voiced criticism in this regard, but have narrated forms of resistance, resilience, and survival. These cultural trends reflect political discourses surrounding, for instance, the Black Lives Matter movement, the reclaiming of bodies through mourning rituals, and #RefugeesWelcome. We would like to invite fellow PhD candidates and early career scholars to join us in a multifaceted exchange on postcolonial matters of life and death. We welcome a wide range of contributions on the following and related issues in postcolonial contexts:  

  • the body as the site of life/death/change 
  • death and grief / rituals of mourning 
  • birth / reproduction (rights) 
  • violence / genocide / war / pandemic 
  • queer bodies / erotic sovereignty  
  • toxic environments / toxic bodies 
  • survival / resilience / resistance 
  • ageing and decay / preservation 
  • suicide / assisted suicide 
  • images of the afterlife  
  • genre theory: life-writing / autobiography / autobiografiction / memoir
  • genre theory: utopia / dystopia / SF / futurism 

Confirmed speakers

  • Prof. Dr. Mita Banerjee, Universität Mainz (keynote lecture) 
  • Alecia McKenzie (artist’s talk and reading) 
  • Dr. Jennifer Leetsch (workshop) 

Please send abstracts for 20 minute-long talks (ca. 300 words + 5 keywords) and a short bio note to by 31 May 2022. We will send out acceptance e-mails and further info by mid-June.  

We are planning to hold the conference in person in Bonn, following current COVID-regulations. In case the circumstances change, the format might switch to an online event. In either case, single events or panels may be held in a hybrid form. There will be no conference fee and a limited amount of travel bursaries can be organised. Please let us know if you require further information on this. 

We are currently exploring possibilities for the publication of a conference volume. Further information on this will follow.  


  • Marie Berndt, Angela Benkhadda, Lena Falk, and Peri Sipahi University of Bonn 

Works Cited

Agamben, Giorgio. Homo Sacer: Sovereign Power and Bare Life. Translated by Daniel Heller-Roazen, Stanford University Press, 1998. 
Berlant, Lauren. Cruel Optimism. Duke University Press, 2011.  
Berlant, Lauren. “Slow Death (Sovereignty, Obesity, Lateral Agency).” Critical Inquiry, vol. 33, no. 4, 2007, pp. 754-780. 
Butler, Judith. Precarious Life: The Powers of Mourning and Violence. Verso, 2004. 
Butler, Judith. “Precarious Life, Vulnerability, and the Ethics of Cohabitation.” The Journal of Speculative Philosophy, vol. 26, no. 2, 2012, pp.134-151. 
Foucault, Michel. Abnormal: Lectures at the Collège de France, 1974– 1975. Translated by Graham Burchell. Picador, 2003 
Foucault, Michel. The History of Sexuality, Vol. 1: An Introduction. Vintage Books, 1980. 
Mbembe, Achille. Necropolitics. Translated by Stephen Corcoran, Duke University Press, 2019.

(Posted 30 March 2022)

Ways of Picturing, Thinking and Telling Our Time: Fifty Years of Seeing with John Berger
University of Lorraine, Metz (France), 20-21 October 2022.
Deadline for proposals: 25 June 2022

Keynote lectures: Tom Overton (Barbican Centre) and Olivier Cohen (Éditions de l’Olivier).

2022 marks the 50th anniversary of two striking developments in John Berger’s career. Indeed, 1972 was the year in which he was awarded the Booker Prize for G., and became a household name thanks to Ways of Seeing, an unprecedented programme through which the critical efforts of art history and historical materialism found their way to a wider audience. The anniversary provides an excellent opportunity for the Société d’Études Anglaises Contemporaines (SEAC) to devote its annual conference to the œuvre of this luminary of 20th and 21st-century British culture: France was the country Berger chose for his home, and although his work has been staged, translated, and published there, it has not always received the academic attention it deserves. Accordingly, this conference will acknowledge Berger’s significant impact on his contemporaries, both as a writer of fiction and non-fiction and as an art historian. Such an undertaking is, however, problematic: even as he rose to fame, Berger himself repeatedly warned against hagiographic approaches to great writers, and, more profoundly, argued against misapprehending art history as a linear sequence of individual protagonists, encouraging instead an understanding of culture as collective and collaborative. How then can we commemorate Berger’s work without falling into the pit-falls he himself draws attention to? This reflexive paradox will be at the centre of the conference, which aims both to commemorate and to problematise Berger’s complex legacy.

The very notion of an anniversary raises the issue of influence, and one of the objectives of the conference will be to examine the long shadow Berger casts on the landscapes of visual art and contemporary fiction. The impact of his thinking on visual art is widely documented, and reflected in events such as the symposium held in Lausanne in 2018, ‘De B à X. Faire (l’histoire de) l’art depuis John Berger.’ The deep impression he left on contemporary literature is also noteworthy, especially in the anglophone world. In A Jar of Wild Flowers, a collection published in celebration of his 90th birthday, Ali Smith states: ‘I could say that everything I’ve ever written or aspired to write has been in one way or another an appreciation of the work of John Berger.’ In the same volume, Amarjit Chandan describes Berger as ‘the writer of our time,’ suggesting that his figure towers over any attempt at apprehending contemporary writing and culture. 

And yet, as Tom Overton points out in Landscapes, thinking in terms of ‘influence’ contradicts Berger’s own understanding of authorship: ‘Rather than the collective, collaborative act of storytelling, the idea of “influence” seems more associated with […] a capitalist logic of debt and restitution that Berger rejects.’ If the present conference is to propose a tribute to his work, it is bound to do so by fully engaging with the challenges his thinking and practice pose to any form of authoritarian imposition and to disciplining processes. Indeed, suspiciousness towards deference and canonisation is characteristic of his work.

One way of doing justice to Berger’s celebration of his readers’ ever-critical minds and eyes would be to respond to his entreaty in Ways of Seeing: ‘I hope you will consider what I arrange, but please, be sceptical of it.’ Ever mindful of the distinction between monography and hagiography, this conference will make room for critical appraisals of the contribution his work has made to our visual perception and imagination. It will take into account the ways in which Berger himself noted and anticipated such critical readings, stating as early as 1959 ‘I have been writing art criticism long enough to be proven wrong’ (in Portraits), and often connecting this sensitivity to his readers’ critical perspectives with his personal practice of ‘reconsidering’ (Overton, Portraits) artists and their works, returning to them from a different angle. Taking our cue from Berger’s awareness that the critic cannot content himself with situating the piece he studies, but must also reflexively ‘place [himself] historically’ (‘Between Two Colmars’), we will recognise a readiness to being read, critiqued and situated by others, as was the case for instance when Christopher Wood’s A History of Art History placed Berger beside Gombrich in the category of ‘fallen’ art historians. 

 The double movement that consists in inviting an other’s critical gaze while acknowledging one’s own situatedness points beyond a simple precaution against solipsism to a fundamental understanding of the collaborative nature of writing. One of the challenges of the conference in that sense will be to do justice to Berger’s own resistance to the ‘individualist illusion’ that would have us read art history as ‘a relay race of geniuses,’ (in Portraits) in a context where the monograph remained ‘one of the most typical discursive forms of art historical research and writing’ (Pollock). The aim will be to combine the attention to singularity proper to monographic research with Berger’s constant concern for the ramifications that inscribe each life in world historical processes. In doing so we will be fulfilling a condition necessary to the elaboration of any contemporary portrait, for ‘[i]n a world of transition and revolution, individuality has become a problem of historical and social relations […] Every mode of individuality now relates to the whole world’ (‘No more portraits,’ in Landscapes). The consideration shown to the reader as a singular feeling and thinking agent is therefore underpinned by the wider attention to be paid to the collective – that same attention which led Berger to share his 1972 Prize between his ‘project about the migrant workers of Europe’ and the activism of the Black Panthers, thereby counteracting the logic of exploitation behind the wealth of Booker McConnell.

Finally, by keeping in mind the material framework within which he could work, Berger reached beyond academic networks of specialists and art historians, and beyond the communities of political activists he kept ever present in his mind and writings, to a wider audience who might encounter him through such popular media as TV or paperbacks. Following the same logic that made him choose cheap, black and white illustrations over the glossy ones frequently used in exhibition catalogues and academic books, the conference will aim to look for the marks Berger left in our ways of seeing especially where these imply unexpected yet welcome encounters, the sort of coincidences and serendipities unchecked by academic structures and boundaries. In keeping with the author’s appeal to an audience of non-specialists in Ways of Seeing, the conference will welcome contributions from ‘common readers’ as well as from  Berger scholars.

Possible topics include, but are not limited to: 

  • art and politics, scholarly writing and activism
  • the individual and/within history
  • reproductions and reproduction rights
  • contemporary times and history
  • Berger and border-crossings
  • Berger and the common
  • the monograph, the œuvre
  • Berger and art historians
  • Berger and academia
  • Berger and discipline(s)
  • word and image
  • intertextual connections: Berger and/in contemporary fiction 
  • Berger’s readers as authors? Writing with/after Berger
  • storytelling and ideas, concepts and/in narrative
  • storytelling and/as looking
  • writing and/as letter-writing

This conference will be jointly convened by Dr Sarah Gould (Paris 1-Panthéon Sorbonne; HiCSA research center) and Dr Diane Leblond (University of Lorraine in Metz, IDEA – Interdisciplinarité dans les Etudes Anglophones). It will be held at the Faculty of Arts and Humanities on the University of Lorraine’s campus in Metz, on October 20th-21st, 2022.

We invite contributions from scholars, artists, writers, translators, publishers, or anyone who might testify to the impact of John Berger’s work and ways of seeing. Proposals of 300 words, together with a short biographical note, should be sent to Sarah Gould ( and Diane Leblond ( by June 25th, 2022. Notifications of acceptance will be sent by June 30th, 2022.

A selection of peer-reviewed papers will be published in the SEAC’s journal Études britanniques contemporaines:


  • Berger, John, Ways of Seeing. 1972, Penguin Books, 2008.
  • —‘Speech on accepting the Booker Prize for Fiction at the Café Royal in London,’ Nov. 23rd 1972, in Steps Towards a Small Theory of the Visible, Penguin Books, 2020.
  • —‘Between Two Colmars,’ in About Looking. 1980, Bloomsbury, 2009. 
  • —, ed. Geoff Dyer. Selected Essays of John Berger. Bloomsbury Publishing, 2014.
  • —, ed. Tom Overton. Portraits: John Berger on Artists. Verso Books, 2015.
  • —, ed. Tom Overton. Landscapes: John Berger on Art. Verso Books, 2018.
  • Chandan, Amarjit, Sally Potter, and Jean Mohr, eds. A Jar of Wild Flowers: essays in celebration of John Berger. Bloomsbury Publishing, 2016.
  • Guins, Raiford, Juliette Kristensen, and Susan Pui San Lok, eds. ‘Ways of seeing: 40th anniversary issue.’ Journal of Visual Culture 11, no. 2 (2012).
  • Pollock, Griselda, ‘Artists, Mythologies and Media — Genius, Madness and Art History’, Screen 21, iss. 3 (Autumn 1980).Wood, Christopher, A History of Art History. Princeton University Press, 2019.


(Posted 11 May 2022)

Uncertain Landscapes
University of Strasbourg, 20-22 October 2022
Deadline for proposals: 15 May 2022
International conference
Organised by SEARCH (UR 2325, Université de Strasbourg), 
MGNE (UR 1341, Université de Strasbourg), CHER (UR 4376, Université de Strasbourg), 
Haute Ecole des Arts du Rhin
With the support of the MISHA (Maison Interuniversitaire des Sciences de l’Homme – Alsace) 
and the Institut Universitaire de France


“Uncertain landscapes”: representations and practices of space in the age of the Anthropocene.

 Maison Interuniversitaire des Sciences de l’Homme – Alsace
Université de Strasbourg
20-22 October 2022
(Deadline for proposals: 15 May 2022)

 Keynote speakers: Pr Mark Cheetham, Department of Art History, University of Toronto ; Lina Prosa, Playwright, Palermo

“A working country is hardly ever a landscape. The very idea of landscape implies separation and observation.” (Williams, 1973) In this well-known statement, Raymond Williams expresses the view, often reformulated by cultural geographers and philosophers since the 1980s, that the idea of landscape always supposes a distancing process, whether it is a dissociation between the observed environment and the observing subject or, to use Alain Roger’s term, an “artialization,” a break with the natural world that allows environments to be constructed or represented according to aesthetic values (Roger, 1997).

Beyond this cultural separation, the history of the idea of landscape in Western thought seems to be punctuated by moments of tension between the natural world and man, in which aesthetic constructions of nature appear to be correlated with a sense of loss. Thus, just as forms of severance from rural life in the early modern period seem to have led to an aesthetic perception of environments that was dissociated from their use as working spaces, the flourishing of landscape painting in the Romantic period could be understood as a response to the tensions generated by industrialization.

In an era defined by some as the Anthropocene (Crutzen and Stoermer, 2000), in which it is increasingly difficult to deny the acceleration and irreversibility of environmental damage as a result of human action, the concept of landscape has become the subject of multiple debates and redefinitions. The necessity to give aesthetic meaning to the spaces which we inhabit, as well as renew our social and political commitment to them, seems to be more urgent than ever. The paradigm of landscape as it was constructed in the early modern era no longer seems to give satisfactory answers to contemporary concerns, which emphasize the imbalances and degradations caused by decades of industrial exploitation and intensive agriculture. The contemplation of nature, far from conveying a reassuring sense of permanence, goes together with our awareness of humanity’s responsibility in what appears to be an ultimate crisis. While some consider that the idea of landscape is no longer relevant and put forward the notion of “post-landscape” (Wall 2017), others experiment with new aesthetic spatialities and outline new artistic practices of space.

In this context, the history of the landscape idea is re-examined by academics as well as political actors. In historical studies, the primacy of landscape as representation or “abstract picture of the world” is being questioned, with a new focus on landscape as “a way to inhabit the land” (Dauphant, 2018, 30). The role played by the landscape idea in the colonial imaginary as an instrument of appropriation is also underlined, allowing non-European cultures to challenge or even reinvest the concept. Once the historicity of the landscape idea is acknowledged, it becomes possible to explore the diversity of aesthetic conceptions of spaces that are simultaneously perceived, conceived and lived, to use Henri Lefebvre’s categories (1974). This diversity expresses itself in concrete ways of appreciating and experiencing landscape, such as French or English gardens, rural enclosures or open fields, and perhaps especially in changes of perception through time. For example, the “wilderness” was long perceived as terrifying before becoming desirable in the 19th century (R. F. Nash, 1967), and has now become an objective and symbol of preservation in the context of the Anthropocene. It is essential to acknowledge the ideological implications of such perceptions and their material, social and political impacts, when, for example, they justify the appropriation of territories for the sake of preserving a fantasized pristine landscape, untouched by humans (Black, 2012).

 This conference aims to reassess the notion of landscape, understood in an aesthetic, social and political sense, and its current relevance to contemporary environmental challenges. While raising the question of the historical conditions of its construction and transformations, it proposes to examine its relevance today, its new meanings, as well as the practices of space and political actions that are now possible and justified. The emphasis will be on the artistic practices of the industrial and postindustrial eras as sources of resilience or reflection – in the visual arts and literature – as well as the idea of landscape, in its diachronic dimension, in order to reflect on the various ways in which it is possible to reassess our relationship to the environment in the context of the Anthropocene.

 We welcome proposals on topics that may include, among others:

  • new aesthetic and artistic spatialities (site-specific art, Land Art, Earthworks)
  • cultural variations on the idea of landscape 
  • the inscriptions and traces of human history in landscapes
  • contemporary ruins
  • The shift from the notion of landscape to that of site in the 1960s
  • soundscapes
  • contemporary forms of political commitment in relation to specific landscapes (such as natural or urban parks, shorelines that are threatened by rising waters, sacred territories) 
  • inequalities of access to landscapes 
  • the inclusion of the idea of landscape in urban policies, in the context of ecological transition
  • the questioning and rethinking of anthropocentric approaches to nature
  • the role of landscapes in psychological well-being 

Please send a 250 to 300-word abstract, as well as a short bio, before May 15th, to the following addresses: 

Organising committee: 

Sandrine Baudry (University of Strasbourg, SEARCH EA 2325) 
Emmanuel Behague (University of Strasbourg, Mondes Germaniques et Nord-Européens)
Gwendolyne Cressman (University of Strasbourg, SEARCH EA 2325)
Francesco d’Antonio (University of Strasbourg, CHER) 
Olivier Deloignon (Haute Ecole des Arts du Rhin) 
Hélène Ibata (University of Strasbourg, SEARCH EA 2325) 
Monica Manolescu (University of Strasbourg, SEARCH EA 2325; Institut Universitaire de France)
Melanie Meunier (University of Strasbourg, SEARCH EA 2325) 
Fanny Moghaddassi (University of Strasbourg, SEARCH EA 2325) 
Thomas Mohnike (University of Strasbourg, Mondes Germaniques et Nord-Européens) 
Gérard Starck (Haute Ecole des Arts du Rhin)


Black, George, Empire of Shadows: the Epic Story of Yellowstone, London: Macmillan, 2012.
Crutzen, Paul and Stoermer, Eugene, IGBP Newsletter 41 (2000): 17-18.
Dauphant, Léonard, Géographies. Ce qu’ils savaient de la France (1100-1600), Ceyzérieu: Champ Vallon, 2018.
Lefebvre, Henri, La production de l’espace, Paris : Anthropos, 1974.
Nash, Roderick Frazier, Wilderness and the American Mind, 1967. 5th Edition, New Haven, CT: Yale University Press, 2014.
Roger, Alain, Court traité du paysage, Paris : Gallimard, 1997.
Wall, Ed, “Post-landscape,” in Wall, E. and Waterman, T., Landscape and Agency: Critical Essays, London: Routledge, 2017.
Williams, Raymond, The Country and the City, Oxford and New York: Oxford University Press, 1973.

(Posted 13 April 2022)

6th International Conference on Linguistics and Literature
Department of Philology, University of Cantabria, Santander, 27-28 October 2022
Deadline for abstracts: 1 June 2022

The Department of Philology at the University of Cantabria is pleased to resume the celebration of our VI International Conference on Language and Literature. We are interested in fostering a scientific meeting for the exchange of current research linked to the areas of knowledge that comprise the Department: Spanish Philology, English Philology, French Philology and Didactics of the Language and Literature. 

Our goal is to create a forum where all specialists in the study of modern languages ​​can present the development and results of their research from a variety of perspectives such as: 

  • Acquisition and teaching of First, Second and Foreign Languages  
  • Bilingualism and multilingualism  
  • Translation studies 
  • Corpus linguistics  
  • Sociolinguistics  
  • Diachronic and synchronic linguistic studies (phonetics, phonology; morphosyntax; semantics; lexis; discourse…) 
  • Digital Humanities o Disabilities Studies o Ecocriticism and Animal Humanities  
  • Comparative literature  
  • Cultural studies  
  • Gender Studies 
  • Postcolonial Literature  
  • Critical Theory 
  • Eccriticism 

The Conference will take place online, through synchronous sessions using Zoom. The Conference will be honoured with three plenary speakers:  

  • Asier Altuna (University of Deusto) 
  • Angela de Bruin (York University) 
  • Frank Boers (University of Western Ontario) 

We welcome proposals for 20-minute papers that will be presented in parallel sessions. Please email a 250-word abstract (excluding bibliography) in English, Spanish or French to The deadline is June 1st 2022. Should you have any queries, please contact us or check our webpage: 

Selected papers will be published in a post-conference volume with ISBN.  

(Posted 4 May 2022)

Calls for papers – Conferences taking place in December 2022

Crossing Boundaries: Rethinking the Humanities across Disciplines
Online event (hybrid format), 2-3 December 2022
Deadline for proposals: 26 November 2022

Continually being transformed, the humanities have expanded into a discursive field of trends, movements, and methodologies that have appropriated the thoughts, ideas, and viewpoints from social and other sciences by transgressing and crossing traditional boundaries, limitations, and demarcations. The humanities which traditionally include the study of disciplines such as language, literature, arts, history, culture, and philosophy rarely prove to be “disciplined” as each one often tends to encroach upon prescribed and reserved territories of other disciplines not traditionally humanities labeled. “Classical humanistic disciplines,” Claus Emmeche, David Budtz Pedersen, and Frederik Stjernfelt point out, “are increasingly interacting with societal fields and investigating socio-economic challenges, such as globalization, multiculturalism, equality, democracy, security and health” (Mapping Frontier Research in the Humanities, 3). This crossing over cannot be limited to the related fields in the humanities. Mikhail Epstein claims that all the fields in the sciences, such as “mathematics, cybernetics, informatics, cognitive science, semiotics, neuropsychology, and the theory and practice of artificial intelligence … depend upon the humanities’ focus on the self-reflexivity of any consciousness—be it that of God, human, or machine” (Transformative Humanities 10). The humanities, in other words, appear to dwell in a continually expanding field of borderless interaction with all disciplines which inform our knowledge of the world and determine the perspectives employed in considering the subject and the object of studies that overlap in the humanities. Epstein also proposes an interpretation of how the humanities need to be viewed when he introduced a term made of the meaning of boundaries. The term “infinition” blends “definition and infinity (both from Latin finis, meaning ‘a boundary’)” to denote “indefinite definition.” Infinition, he asserts, is “for the humanities what the transcendental number … is for mathematics: an endless approximation to, and escape from, discrete definition” (Epstein 112). Yet, borderlines and limits, Frank Furedi reminds us, “serve as an invitation for their transcendence [and] we need borders both for the realisation of existential security as well as for providing a starting point for acts of transcendence (Why Borders Matter, 11).

The aim of the conference is to provide space for discussion focusing on the significance of boundaries, real and symbolic, and how they reinforce our knowledge and understanding of the meaning of and the practice in the humanities – from crossing the borders on the political map to the problematization of literary and theoretical canons to theorizing the enunciations of intertextuality to the discussion of the linguistic and social parameters of polyglossia and transculturalism, and to practical approaches to teaching culture, literature, language, and media literacy in the digital world.

We are looking for answers to the following questions:

  • How do boundaries affect the meaning and interpretation of any cultural production since the object and the subject of study coincide in the humanities?
  • How do culture, media, language, and literature make sense of boundaries and limitations? Are boundaries and border zones ontologically essential in the humanities?
  • Does the meaning and perception of the humanities change in the context of dialogue between the disciplines and how?
  • Are the humanities originally a product of mutually exclusive or complementary disciplines?
  • Do overcoming and crossing boundaries create new boundaries?
  • If the humanities form a field of discussion with broken borders or borderless terrains/liminal spaces, can humanity live without them? How far do the borders of the borders go?
  • How do postmodern critiques, such as deconstruction, postcoloniality, and the variety of posthuman ideas disrupt/subvert existing interpretations of texts and cultural phenomena?
  • How do specific works and authors, media narratives, philosophical texts, and linguistic phenomena discuss/make use of boundaries, limitations, and borders as part of the discussion on the interdisciplinarity of the humanities? How do these cross the boundaries, borderlines, and borders of existing and established disciplines?

We invite submissions of abstracts for papers discussing various aspects of Humanities – Society – Sciences and their enunciations of boundaries, including, but not limited to, literature, language, linguistics, culture, social science, and information technology.

The languages of the conference are English and Bulgarian, but submissions of proposals in other languages will also be considered.

The conference is planned to be in a hybrid format (in-person and online). Presentations will be approximately 15-20 minutes, each followed by a 10-minute discussion.

Please submit your presentation abstract (150-250 words).
The deadline for proposals is 26 November 2022
Please send your proposals to the following email:

Associate professor Dr. Alexandra Glavanakova:
Dr. Galina Avramova:
Dr. Vesselin Budakov:

(Posted 21 September 2022)

Place, Region, and Local / Indigenous Cultures (Cultural Identities) in Anglophone Literatures and Cultures
University of Prešov, Slovakia, December 7th-8th , 2022
Deadline for abstracts: November 15, 2022

Name of the event

International conference on Place, Region, and Local / Indigenous Cultures (Cultural Identities) in Anglophone Literatures and Cultures


University of Prešov, Slovakia


University of Prešov, Slovakia

The conference will be held in person. Papers should be prepared for 20-minute presentations which will be followed by a discussion. The city of Prešov is easily reached from the international airport in Košice which is some 40 kilometers from Prešov. Košice airport has direct flights to London, Vienna, Prague, Dublin and other cities (check Ryan Air, Austrian Air, Czech Airlines and others).

Dates of the event

December 7th-8th , 2022


Abstracts of proposed papers (200-300 words) should contain the title, name of the author and contact information (institutional affiliation, mailing address and email address). The abstracts including a short c.v. should be sent to by November 15, 2022. The participants will receive notification of acceptance by November 20, 2022 The select papers
will be published.

The conference language is English.

Conference fee: EUR 80
Early Bird Rate: EUR 60
Doctoral students EUR 50

The registration fee does not include travel expenses and accommodation.
The conference fee will cover organizational, technical support, refreshment during the coffee breaks and reception. The conference fee is to be paid no later than November 30th 2022 via bank transfer to the bank account specified after your paper is accepted.


This conference ́s aim is to explore the connection between place, space, region and cultural identity and various ways these relations manifest themselves in Anglophone literatures, films, arts and cultures with the main emphasis on American, Australian, British and Canadian literatures and cultures. The conference topic can be discussed from an interdisciplinary perspective including various approaches and disciplines  such as Literary, Cultural, Social, Film, Philosophical, Media and Film, History, Gender, Linguistics, artistic and other Studies. This conference is a part of the research projects 035PU-4/2021 focusing on cultural identity of the region and indigenous literatures and cultures and KEGA 019TTU-4/2021 focusing on digital technologies and teaching and invites papers focusing on a depiction of place, region and space as connected with the specificity of cultural identity of this region and particular cultures such as Native American, African American, Latino/a American, Hawaian, Australian Aboriginal cultures, Inuit Cultures, Irish, Scottish, Welsh and other cultures in Anglophone Literatures, Films and Arts. The papers may focus on but are not limited to the following themes:

  • place, region and cultural identity in Anglophone Literatures and Arts
  • depiction of the place and region (the American South, American West, Hawai,
  • Alaska, Ireland and Irish Regions, Scotland and Scottish Regions, Wales and Welsh
  • regions, Tasmania, Western Australia, Ontario/Quebec in Canada, etc.) as connected
  • with ethnic communities in Anglophone Literatures and Arts (Native Americans,
  • African Americans, Latino/a Americans, Asian Americans, Australian Aborigines,
  • Inuit Cultures, Hawaian Indigenous People, etc.
  • The American West, the Southwest, Chicano/a and Hispanic American Literature,
  • Arts and Cultures
  • Aztlán: Place, Region and Cultural Identity
  • The American South and African American Literature, Arts and Cultures
  • Place, Region, Cultural Identity and Postmodernism in Anglophone Literatures, Arts
  • and Cultures
  • City as a Place, Region or Non-Place? (Augé, Lipovetsky)
  • Place, Region, Indegenous Cultures and Spirituality and Philosophy in Anglophone
  • Literatures, Arts and Cultures
  • Regional space and culture and their relation to national and global cultural, social,
  • geographical and economic space
  • Place, Region, Human and the Post-Human Culture and Identity
  • place, region, Indigenous cultures, media and technologies in Anglophone Literatures
  • and Cultures
  • Place, Region, Cultural Identity and Popular Culture/s
  • place, region as a clash of cultures in Anglophone literatures and arts
  • natural and urban places within the regional
  • Fantastic place/space/region and cultural identity-is there any connection?
  • Linguistic specificity of a region and its cultural Identity
  • Didactic aspects/Teaching Place, Region and Cultural Identity


Contact details

The abstracts including a short c.v. should be sent to by November 15, 2022. For more information contact:

Prof. PhDr. Jaroslav Kušnír, PhD.
University of Prešov
17. novembra 1
08116 Prešov, Slovakia

(Published 27 October 2022)

METU British Novelists International Conference: Wilkie Collins And His Work
Middle East Technical University, Ankara, Turkey, 8-9 December 2022
Extended deadline for abstracts: 16 September 2022

METU British Novelists International Conference: Wilkie Collins And His Work
8-9 December 2022
Middle East Technical University, Ankara, Turkey 

The Department of Foreign Language Education at Middle East Technical  University is pleased to announce the call for its 26th British Novelists  Conference, the theme of which is “Wilkie Collins and His Work.” The  conference will be held on 8-9 December, 2022 in Ankara, Turkey. 

The keynote speaker is Professor Andrew Mangham from the University of Reading, the Department of English Literature. Prof. Mangham’s research interests are the intersection between literature and medicine, the gothic, realism, ideas of sexuality and health, real crime, and popular fiction. His publications include Literature and Medicine in the Nineteenth Century (CUP, 2021), The Cambridge 
Companion to Sensation Fiction (CUP, 2013), and Wilkie Collins: Interdisciplinary Essays (Cambridge Scholars Press, 2007). Prof. Mangham is also the founder and director of the Centre for Health Humanities.

We invite proposals for 20-minute presentations on any aspect of Wilkie Collins’s work. Interdisciplinary and comparative approaches as well as studies focusing  on broader topics such as Wilkie Collins’s work and the Victorian period,  sensation fiction, detective fiction are also welcome. Selected papers may be  considered for publication in a book volume or a journal issue. 

Please send abstracts of about 250 words and a short academic bio to by 16 September 2022. Please include your name, institutional affiliation, and contact information in your submission. All submitted abstracts will go through a blind peer-review process.

Queries can be directed to Assoc. Prof. Dr. Hülya Yıldız Bağçe  at 

Further information about the conference and its venue can be found at:

(Posted 20 April 2022)

Translation Times
University of Craiova, online event: Google Meet, 8-9 December 2022
Deadline for proposals: 30 November 2022

Translation may no longer be considered the magic buzzword that “seemed indispensable to grasp the contemporary world and its challenges, although few people quite knew how to specify or define” it (Bieldsa, 2021: 1). Its ubiquity is related to its dynamism, paralleled by the proactive positioning of Translation Studies within interdisciplinary, multidisciplinary and transdisciplinary landscapes.


The Department of British, American, and German Studies, Faculty of Letters, University of Craiova, in partnership with The Romanian Society for English and American Studies (RSEAS) and The European Society for the Study of English (ESSE)


8-9 December 2022


Craiova, online, Google Meet

Deadline for proposals

30 November 2022

Conference website


(Posted 15 October 2022)

“The British working class since the 18th century – Identity(-ies), representations, (re)definition” – International Conference
Université Côte d’Azur, Nice, France, 15-16 December 2022
New deadline: 30th June 2022.

By the mid-19th century, workingmen were already such a well-established socio-economic group in Britain that Marx and Engels were adamant that the country would be the first to witness the rise of the ‘dictatorship of the proletariat’.

However, the dramatic shift they advocated never happened even as the workers’ movement went from strength to strength in terms of organisation and commitment towards addressing the consequences of all manner of crises taking place on a rather regular basis.

Despite these bitter and sometimes long-drawn-out industrial disputes (e.g. the so-called ‘hunger marches’ of the 1920s and 1930s, or the large-scale strikes in the coal-mining sector in the early 1970s and the mid-1980s), the working class seems to have eventually withered to such an extent that John Prescott, the former Labour deputy Prime Minister, and a workingman’s son, felt justified in saying in 1997: ‘We are all middle class now’.

Does this then mean that there is nothing, or little, left today of a social group that was inevitably conspicuous in days gone by not only on account of its involvement in extractive industry, manufacturing, land and sea transport, and so on, but also due to its very presence in the urban environment (working-class districts and leisure activities, accents, speech patterns, clothes, etc.)? Or is John Prescott’s pronouncement purely normative, i.e. the archetype of an external viewpoint? Besides, is it not a fact that dealing with ‘the workers’ or ‘the working class’ has always consisted in expressing a specific viewpoint, inspired either by a sense of pride and respect or by pure distrust, without regard to that socio-professional category’s objective characteristics?

All these terms, nowadays, may sound old-fashioned, even stigmatising, while the word ‘worker’, which in this day and age basically means the same as ‘wage-earner’ or ‘employee’, tends to cloud the issue. On the other hand, what about the use by e.g. the managers of a major e-commerce company of the word ‘associate(s)’ to refer to those shop-floor employees who, in fact, generally perform tiring, repetitive, low-skilled and poorly-paid tasks, i.e. tasks typical of those carried out by the ‘workers’ of yesteryear?

Which probably brings us back to the beginning of this overview: indeed, understood as the outcome of a disadvantageous power relationship within the economic sphere, the working class seems therefore not to have disappeared since it is an integral part of that relationship.

Thus, a multitude of further issues arises:

  • What objective links might there be between the past and the present of
    ‘workers’ in Britain?
  • If they have not died out, can it be argued that their lifestyle has endured? But if so, in what form today? And haven’t certain of its features (dialects, consumption habits, pastimes, etc.) been more lasting than others?
  • Has this way of life been impacted by fragmentation not only on account of the destructuring of traditional economic activities, in particular from the 1970s, but also due to immigration? And if it has, how specific
    is this situation to our own time and age?
  • Wouldn’t the phrase ‘the working classes’, therefore, be more appropriate?
  • Last but not least, have the transformations briefly mentioned above changed the way this class, or these ‘classes’, has/have been perceived, whatever the forms of the perceptions: literary, artistic, politically engaged, or otherwise?

We welcome submissions by 30 June 2022. They should be sent to

  • Didier Revest <> and
  • Ruxandra Pavelchievici <>

and contain the following elements:

  • title;
  • author(s), institutional affiliation, contact email(s);
  • abstract (300 words maximum);
  • a short biographical note

Confirmed guest speaker:

Professor Selina Todd (St Hilda’s College,
Oxford University).

Registration fees: 20€

(Posted 7 February 2022)

Calls for papers – Conferences taking place in November 2022

(Brave) New Worlds, Graduate Symposium
CETAPS (Centre for English, Translation and Anglo-Portuguese Studies) – American Intersections Research Strand, 04 November 2022.
Deadline for abstracts: 15 September 2022

Venue: NOVA FCSH (NOVA School of Social Sciences and Humanities) 
Colégio Almada Negreiros (CAN), Lisbon, Portugal 

As we celebrate the 90th anniversary of the publication of Aldous Huxley’s Brave New World, it  becomes inevitable to reflect on its impact in the context of American imaginaries. Thinking about what is going on in the world, including wars, pandemics, and climate change, the (Brave) New  Worlds Symposium aims to bring together an intersection of plural perspectives and representations  of the worlds and spaces we are creating across multiple areas of literary and cultural studies. 

We invite proposals responding to, but not limited to, the following topics: 

  • Mapping identities (age/race/gender) 
  • New worlds in speculative fiction 
  • (Auto)mobility spaces 
  • Migration and new worlds 
  • Mapping space through visual and digital culture 
  • Embodiment and ethics of reproduction 
  • Representations of space in climate fiction 
  • Representations of space and climate change 
  • Redefining space in the post-pandemic period 
  • Finding new spaces/worlds in the context of war 
  • Spaces of industrialization and technology 
  • Technological spaces and landscapes 
  • The worlds of virtual reality 
  • Subaltern identities and politics of difference
  • Representations of wastelands 

The organizers will welcome proposals for 15-20-minute papers in English or Portuguese. We also  encourage early career PhD/Masters researchers to participate. 

Keynote Speaker:  

José Duarte (CEAUL – Faculdade de Letras da Universidade de Lisboa) 


Please send an abstract of up to 300 words, as well as a short biographical note (100 words), by September 15, to: 

Notification of acceptance will be sent by September 30

Fee: 10€ 

Organizing Committee 

  • Alice Carletto (CETAPS/NOVA FCSH) 
  • Mariana Cruz (CETAPS/NOVA FCSH) 
  • Rui Mateus (CETAPS/NOVA FCSH) 
  • Sheila Brannigan (CETAPS/NOVA FCSH)


(Posted 30 June 2022)

Writing Contemporary Wars and Contemporary Militaries: Film and Literature of Military Interventions from the Persian Gulf War to the Present
University of Lausanne, Switzerland, 11-12 November 2022
Deadline for abstracts: 30 June 2022

Writing Contemporary Wars and Contemporary Militaries: Film and Literature of Military Interventions from the Persian Gulf War to the Present 
Conference venue: University of Lausanne, Switzerland 
Date: 11-12 November 

Keynote speakers:  
Prof. Helen Benedict (Columbia University) and
Prof. Anna Froula (East  Carolina University) 

This 2-day conference will focus on the way that war has been represented in the  United States (and UK) since the First Persian Gulf War in 1990 to the present.  Recent events, such as the end of a so-called Forever War with the removal of  American troops from Afghanistan, will serve as a focal point from which to  explore topics related to war and the military.  

This conference welcomes papers that interrogate the recent American wars, with  particular interest for the exploration of representations of the military, especially as  it relates to gender. Cross-cultural and interdisciplinary contributions are also  encouraged, and we therefore welcome papers that explore similar themes related  to gender and the military across other countries, cultures, or periods.  

Some of the suggested questions include:  

  • How does the military, a historically masculine institution, reconcile its  discriminatory practices with its need for female troops?  
  • More generally, how does the instrumentalization of women—both at home,  within American troops, but also in the invaded countries—serve the  country’s imperialistic interests and revitalize the war rationale?  
  • How has the influx of women into combat positions in all the services  changed the way war is perceived, experienced, and narrated?  
  • How has drone warfare and the increasing reliance on other technologies of  the virtual and remote soldier impacted military masculinity?  
  • Along the same lines, how have the new technologies of surveillance and  remote assassination changed the meaning and visualization of war more  generally?  
  • How have representations of the psychological cost of war entered film and  literature in a time where trauma and PTSD are far more accepted than  during the Vietnam War?  
  • Do these seemingly endless wars result in overexposure and fatigue—and if  so, how does this affect anti-war activism? 
  • After the hyper-mediatized failure of the Afghanistan War, what  perspectives for Afghanistan, but also for future American wars? Is the rhetoric of liberation still a viable justification for further American  interventionism and imperialism? 
  • How might the current war in Ukraine impact the representation and  cultural memory of the wars in Afghanistan and Iraq? 
  • Lastly, fictional writing about war has increasingly included elements relating  to climate change and the Anthropocene. What are the implications and  results of this?  

Abstracts (250-300 words) should be sent, along with a short bio-note, to both  Prof. Agnieszka Soltysik Monnet ( and Ana  Gomes Correia ( by 30 June.

(Posted 20 May 2022)

Time of Monsters
Institute of Modern Languages, University of Bielsko-Biała (Poland), 16-17 November 2022.
Extended deadline for the submission of abstracts: 23 October 2022

Time of Monsters 
Institute of Modern Languages, University of Bielsko-Biała 
16-17 November 2022 

It matters which stories tell stories, which concepts think concepts. Mathematically, visually, and narratively, it  matters which figures figure figures, which systems systematize systems. 1 

(Donna Haraway) 

In the Western perception of things, which still preserves the Platonic, or rather  Parmenidean image of a stable order in which they exist, the potentiality of monstrousness,  emerging from fractures in this world – or, to reach even deeper, from the dark matter of the  chōra, the sombre Nurse of all becoming – appears as absurd, and yet at the same time as  ecstatic, epiphanic.  

Klaus Nürnberger, an expert in the evolution of ideas, sees the recurring  manifestations of the monstrous in different cultures as units of meaning travelling forward in  time, and in his seminal seven theses on monster culture, Jeffrey Jerome Cohen makes a  complementary claim, succinctly reminding us that monsters are inevitably manifestations of  the historical circumstances that spawn them: “The monstrous body is pure culture.”2 After  all, the very etymology of the word monster (“that which reveals”, “that which warns”)  encourages treating the monstrous as a text of culture par excellence. This is why our  conference invites scholars from various fields to explore the possibilities of reading the terror  of our monstrous times as symptoms of what has been hiding beneath the shiny surfaces of  our culture. 

The third decade of the twenty-first century is indeed a time of monsters, in which  threats that we have been apparently aware of for decades, but able to neutralise in our  discourses, are beginning to blow up in our faces. The economic, environmental, military  costs of the West’s standard of living, which have been relegated to other parts of the world, 

are now coming back to haunt the global metropole. For a long time the disparity between the  parts of the world that contribute most seriously to the climate catastrophe and those that are  most immediately affected by its symptoms has been as striking as it is depressingly  predictable. Now we begin to realise that it is likely to become somewhat reversed in the near  future. We are experiencing a return of the repressed, an eruption of the Real on a global  scale: everything we refused to face, everything we swept under rugs, is now becoming  impossible to deny and threatens the coherence of the symbolic frameworks, giving us a sense  of mastery over our reality. The monsters are already here; we can no longer pretend they will  go away if we close our eyes. The question that we urgently need to ask ourselves is how to  tame them, live with them, learn from them. The future has become radically different,  unpredictable, and overwhelmingly threatening, and we are in dire need of reimagining our  ways of interacting with the world. 

Scholars of the monstrous remind us that it tends to facilitate a rethinking of our ways  of being in the world. To quote Cohen again: “A mixed category, the monster resists any  classification built on hierarchy or a merely binary opposition, demanding instead a ‘system’ allowing polyphony, mixed response […] The horizon where the monsters dwell might well  be imagined as the visible edge of the hermeneutic circle itself: the monstrous offers an  escape from its hermetic path, an invitation to explore new spirals, new and interconnected  methods of perceiving the world.”3In this sense, monsters are not only a manifestation of a  crisis (and as such require a new approach to reality), but actually enable new approaches by  questioning earlier categories through their very presence. The monstrous challenges our  ways of making sense and at the same time opens them up to the possibility of new  reconfigurations. Our conference invites you to use this opportunity.  

Topics might include but are not limited to the following: 

  • Genesis of monsters 
  • Monstrosity and reproduction 
  • Forms of monstrosity in literature and culture 
  • Manifestations of monsters across the centuries 
  • Monster with(in) us 
  • Monsters as others/ as the abject/ as metaphors for social anxieties 
  • The concepts of ‘monsters’ or ‘monstrosity’ in contemporary research – The concepts of unwar, unpeace 
  • Narratives/counter-narratives 
  • Liminal spaces 
  • Postnormal times 
  • Polycrisis 
  • – Anthropocene, capitalocene 

Confirmed keynote speakers:  

  • dr Caterina Nirta, Royal Holloway, University of London 
  • dr Jaroslav Švelch, Assistant professor, Charles University in Prague 

We welcome proposals from across theoretical and disciplinary fields that engage the  conference topic. Please send an abstract of about 300 words and a short biographical note to  the conference organisers at:  

The deadline for the submission of abstracts is 15 October 2022. The selection of papers is on  an ongoing basis, so you should hear from us within a week from your submission.  

The conference fee is 450 PLN (100 euro) for on-site participation (lunch and coffee breaks  included) and 350 PLN (70 euro) for online participation. Please state whether you are  interested in participating online or on-site.  

Organising committee 

  • Maria Korusiewicz 
  • Anita Jarczok 
  • Sławomir Konkol 

1 Donna Haraway, Anthropocene, Capitalocene, Plantationocene,Chthulucene: Making Kin, “Environmental  Humanities”, vol. 6, 2015, p. 160.  
2 Jeffrey Jerome Cohen, Monster Culture (Seven Theses), “Monster Theory: Reading Cuture”, ed. Jeffrey Jerome  Cohen, University of Minnesota Press, 1996, p. 3.
3 Ibid., p. 7


(Posted 6 October 2022)

Trans*America: American Studies Association of Turkey (ASAT) 41st International Conference
Hacettepe University, Ankara, Turkey, 16-18 November 2022
Deadline for submissions: 30 April 2022

In Trans*: A Quick and Quirky Account of Gender Variability (2018), Jack Halberstam provides a broad conceptualization of trans*, defining it as an open term that resists and interrupts “certainty through the act of naming.” The asterisk, Halberstam notes, “modifies the meaning of transitivity by refusing to situate transition in relation to a destination, a final form, a specific shape, or an established configuration of desire and identity.”

As such, trans* is a dynamic space of agency, self-definition and hybridity. Also embedded in trans* is transformation and a sense of flexibility and change that defies categorization and constructed binaries. As Halberstam expresses, trans* is thus a powerfully liberating epistemology, one that challenges, decenters and “stands at odds with…concise definitions, sure medical pronouncements, and fierce exclusions.” Always “under construction” or in the process of becoming, it defies and subverts domination by regulatory regimes while exposing the interstices and lacunae of being.

The American Studies Association of Turkey invites the submission of individual abstracts, panels, workshop and roundtable proposals that explore all aspects of trans* with respect to the United States. Possible subthemes include, but are not limited to:

  • Trans* geographies and spaces
  • Transnational; transcontinental; transatlantic; transpacific; transoceanic
  • Transgender/LGBTQIA+ issues; trans* phobia
  • Trans* bodies, identities, genders and sexualities
  • Transing; transitioning; transitivity; trans* lives
  • Trans* embodiment; trans* theory; trans* visibility
  • Trans* action and activism; trans* politics; trans* networks
  • Trans* performance and performers; trans* fandom
  • Transhumanism; trans* as a site of futurity
  • Transecology; trans* histories
  • Information and technology transfer; transparency
  • Change and transformation
  • Translation; transcription; transliteration
  • Transcendence, transcendentalism
  • Transience; transmigration; transborder
  • Transportation, movement and mobility
  • Cultural transfer; transculturation
  • Trans* in American culture, literature, film, sports and media
  • Transdisciplinary studies of the United States

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

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


American Studies Association of Turkey

(Posted 19 October 2021)

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

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

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

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

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

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

Our Keynote Speakers

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

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

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

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

Conference Organisers

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

Britcult 2022 Salzburg Call.docx

(Reposted 1 March 2022)

Taking the Mic: Black British Spoken Word Poetry Since 1965. Aesthetics, Activisms, Auralities
Central School of Speech and Drama, University of London, UK. Friday 18th November 2022
Extended deadline for Abstracts: 15th August 2022

Taking the Mic:
Black British Spoken Word Poetry Since 1965
Aesthetics, Activisms, Auralities

Central School of Speech and Drama, University of London, UK.
Friday 18th November 2022

Extended Deadline for Abstracts: 15th August 2022

Keynote Speakers: Carolyn Cooper, Professor Emerita, University of the West Indies, Mona, Jamaica and Jay Bernard, Writer and Artist, Berlin and London

Conference Convenors: Dr Deirdre Osborne FRSA, Goldsmiths, University of London; Dr Emily Kate Timms, University of Vienna; Josette Bushell-Mingo OBE, Principal, Central School of Speech and Drama.

Conference Assistant: Shannon Navarro, Central School of Speech and Drama.

Black British* poets have long pushed the aesthetic and sonic boundaries of performance in spoken word poetry, creating a compelling public voice for poetry. The legacy of this work both on and off the page follows diasporic routes in and out of Britain from Una Marson to James Berry, from the Caribbean Artists Movement to Linton Kwesi Johnson, Jean ‘Binta’ Breeze, John Agard, and Roger Robinson through to the twenty-first century poets Patience Agbabi, Jay Bernard, Anthony Joseph, Raymond Antrobus, Warsan Shire, and Caleb Femi to name a few. While fashioning electrifying performance personae, Black British spoken word poets have equally claimed, redefined, or rejected the term ‘performance’. In his classic essay, Kwame Dawes (2005) argued that ‘the position of the black poet in Britain has become inextricably linked to notions of “performance poetry”’ and that this association inhibits recognition of the fact that many poets were writing for print publication. In response Corinne Fowler (2016) reflects, ‘The lack of parity between so-called “page” and “stage” poets points to a long-running, unresolved argument in Britain about what poetry is, and who it is for, an argument that reaches back to the British poetry revival of the 1960s.’

To what degree does Black British spoken word poetry offer an ongoing ‘avant-garde’? From the Black People’s Day of Action to #BLM, to decolonising the curriculum, spoken word poetry plays significant roles in Black activism; bears witness to contested and forgotten histories; and imagines new futures, communities, and belongings to numerous cultural lineages. To rhyme, rap, or speak of poetry performance, its lyrical forms, beats, and bars is also to invoke the voices of Black British poets and collectives across Britain’s geographical breadth. From Grace Nichols’s meditations on the English countryside, to the Mancunian Blackscribe Black feminist poetry collective; Khadijah Ibrahiim’s poetic histories of Chapeltown and Harehills, and Benjamin Zephaniah’s accounts of Brummagem; to Eric Ngalle Charles’s negotiations with his adopted ‘home’ in Wales to Jackie Kay as Scotland’s Makar; or Caleb Femi’s testimony to North Peckham— these locales, regions, and their nations reveal the multiple genealogies of Black British spoken word poetry’s performance communities.

Thus, it is timely for poets, academics, and critics alike to ‘take the mic’ and embark on a sustained examination of Black British spoken word poetry and the relationships that might be traced between its aesthetics, activisms, and auralities. This one-day conference combines critical and creative perspectives and invites 20-minute papers, presentations, panels and/or performances exploring any aspect of Black British spoken word poetry in performance since 1965. Such presentations may include, but are not delimited to, explorations of Black British performance aesthetics, audience interactions, performance reception, education, and engagement with creative industries.

The conference will form the basis for a special issue with a scholarly journal. This conference is a free event with options for remote attendance.

* Black British indicates a scope, for ease of reference, to the work by poets of African or Caribbean descent who live(d) and/or published/performed a significant body of work in Britain, in a context of literary history.

Please email abstracts of no more than 250 words and a short biographical note (80 words)* to:, follow us on twitter @PoetryOff_Page. You can also find out more information at

Taking the Mic Conference Team

  • Dr Deirdre Osborne FRSA
  • Dr Emily Kate Timms
  • Josette Bushell-Mingo OBE
  • Shannon Navarro

Follow us at @PoetryOff_Page.
For more information see


(Reposted 30 June 2022)

International Conference on Anglo-Portuguese Studies III
Faculdade de Ciências Sociais e Humanas, Lisbon, Portugal, 24-26 November 2022
Deadline for submission of proposals: 15 October 2022


International Conference on Anglo-Portuguese Studies III

Topic of the current edition

Anglo-Portuguese historical, literary and cultural relations; Luso-American exchanges; Anglo-Iberian relations; comparisons and connections between Portuguese-speaking and Anglophone countries.


CETAPS (Centre for English, Translation and Anglo-Portuguese Studies)


Faculdade de Ciências Sociais e Humanas
Campus de Campolide 
Universidade Nova de Lisboa
Lisbon, Portugal


24-26 November 2022


  • Deadline for submission of proposals: 15 October 2022
  • Notification of acceptance: 20 October 2022
  • Deadline for registration: 30 October 2022 (after this date proposals will no longer be considered)

Keynote speakers

  • Lara Bule (Independent Scholar) confirmed
  • Other keynote speakers soon to be announced


Contact details


(Posted 24 August 2022)

Calls for papers – Conferences taking place in September 2022

Touring Travel Writing II: Anglophone travel writing on the Portuguese-speaking world – Lusophone travel writing on the Anglophone World – Travelling to write…
CETAPS – NOVA University of Lisbon, Lisbon. 8-9 September 2022.
Paper submission until 31 July 2022


Touring Travel Writing II

Topic of the current edition

Anglophone travel writing on the Portuguese-speaking world
Lusophone travel writing on the Anglophone World
Travelling to write… 


CETAPS – NOVA University of Lisbon


Lisbon – Colégio Almada Negreiros – Campus de Campolide NOVA FCSH


8-9 September 2022 


Paper submission until 31 July 2022

(Include keynote speakers if necessary)

As indicated by the number in its title, this conference is the second in a series focused on travel writing studies. The first one, which took place in 2019, celebrated the 300th anniversary of the publication of Robinson Crusoe (1719) and its literary legacy. This second edition will celebrate the 100th anniversary of James Joyce’s modernist novel Ulysses (1922), which chronicles the itinerary of Leopold Bloom in Dublin in the course of an ordinary day.

Keynote speakers: Carl Thompson and Maria de Fátima Outeirinho


Contact details

Maria Zulmira Castanheira –
Cristina Carinhas –

(Posted 19 July 2022)

Experimental Writing in English (1945-2000): The Anti-Canon
Brussels, Belgium, 15-16 September 2022
Deadline for proposals: 2 May 2022

International Conference
Experimental Writing in English (1945-2000): The Anti-Canon
15-16 September 2022 – Brussels, Belgium

Keynote speakers:

Anthony Reed, Associate Professor of English, Vanderbilt University
(2nd keynote speaker TBC)

Call for Papers

This conference aims to focus on experimental writing in English from the second half of the twentieth century which is less well known, has been positioned outside of the literary mainstream or is simply deserving of more attention. It particularly invites proposals on experimental writing by women, queer authors, people of colour and working-class writers.

Much research in recent years has been concerned with nuancing accounts of post-WWII literature which either largely ignored experimental writing in the wake of the war and/or only paid attention to certain canonical postmodernist texts when experimentation was considered. In Breaking the Sequence: Women’s Experimental Fiction (1989), Ellen Friedman and Miriam Fuchs proposed that twentieth-century experimentation by women might be the missing link in the crucial intersection between feminism and modernity as literature and feminism share a “profound quarrel with established, patriarchal forms, but also a sense of identification with what has been muted by these forms” (xii). Since their groundbreaking work and especially in recent years, several anthologies and critical studies have contributed to the ongoing project of rectifying the critical neglect of women’s experimental writing of the second half of the twentieth century. The absence of contributions by writers of colour, queer authors and working-class writers to most conversations about experimental literature is similarly striking and problematic. Thus, Anthony Reed, in Freedom Time: The Poetics and Politics of Black Experimental Writing (2014), has suggested that the “abstractness” of black experimental writing and its resistance to “preemptive understandings of black life” has resulted in the exclusion of experimental writing in standard genealogies of African American literature (7).

This conference then adopts the term “anti-canon” as a provocative invitation to reflect on the ways in which experimental literature in English in general – but writing by certain authors in particular– has regularly been neglected or sidelined in overviews of the literary landscape in the second half of the twentieth century. By adopting the term, we also acknowledge and invite reflections on Ellen Friedman’s suggestion that if canonical novels are strategic constructs to reinforce a society’s values, then works which undermine those values might be thought of as “anticanonical.”[1] More recently, Tyler Bradway has connected the “affective agency” of formal innovation to a specifically queer tradition in literature in Queer Experimental Literature: The Affective Politics of Bad Reading, suggesting this agency reveals “literary form’s capacity to work on and through the bodies of readers, immanently restructuring our felt relations to the aesthetic object” (viii).

Following on from this recent research on the topic, this conference invites reflections on the following questions: To what extent can the notion of anti-canon represent a shared condition for the politics of experimentation? In what ways does it engage with, and perhaps suggest a move beyond, certain categories – such as that of “women’s writing” – as the “other side” of dominant literary form? How might anti-canonical works of literature subvert established ways of looking at the world and at society?

As this Call for Papers makes clear, at the heart of this conference is a flexible understanding of both the terms “anti-canon” as well as “experimental literature,” which we use as an umbrella term to investigate, analyse, and celebrate the more formally innovative end of the wide spectrum of writing in English during the period 1945-2000. In addition to reflections on the above questions, the organisers invite papers on a range of topics and authors, including, but not limited to:

  • Experimental prose, poetry, drama, life writing, non-fiction and art writing by women, queer authors, people of colour and working-class writers.
  • Experimental writers who have received relatively little sustained critical attention in the past or to date, such as Kathy Acker, Renata Adler, Gloria Anzaldúa, Russell Atkins, Amiri Baraka, Rachel Blau DuPlessis, Christine Brooke-Rose, Brigid Brophy, Theresa Hak Kyung Cha, Maxine Chernoff, Eva Figes, Nikki Giovanni, Renee Gladman, Barbara Guest, Carlene Hatcher Polite, Lyn Hejinian, Fanny Howe, Anna Kavan, Bernadette Mayer, Naomi Mitchison, Haryette Mullen, Eileen Myles, Suniti Namjoshi, Alice Notley, Ann Quin, Oliver Pitcher, Michèle Roberts, Sonia Sanchez, Ntozake Shange, Denis Williams and others.
  • The meanings, definitions and employment of “experiment” in the second half of the 20th century.
  • Theorisations regarding the anti-canon and what it might mean to read experimental texts in this framework.
  • Interconnections and overlaps between eras and movements, including but not limited to relationships between post-war experimental literature, modernism, “late modernism” and/or postmodernism.
  • Transnational connections and experimental writing in English which questions (Western) borders, categories and assumptions.
  • The categorisation and theorisation of experimental writing in the post-WWII era.
  • The question of how experimental writing by women, queer authors, people of colour and working-class writers was/is received.
  • The idea of the “death of the novel” and the troubling of different literary categorizations.
  • The role and influence of publishing networks in relation to experimental writing.
  • The employment and function of “experimental” techniques within “realist” works.
  • Formal experimentations in the context of trauma, grief and/or radical vulnerability.
  • Multimodal literature.
  • Affects at work in experimental literature.

Proposals (ca. 300 words), together with a biographical note, should be sent to Hannah Van Hove ( and Tessel Veneboer ( by 2 May 2022. Proposals for panels of three interlinked papers are also welcome, as are experimental and/or creative-critical approaches to papers.

This conference is planned as an on-site event to be held in Brussels.

Organised by Hannah Van Hove (Vrije Universiteit Brussel) and Tessel Veneboer (Universiteit Gent), in association with the research groups CLIC (Centre for Literary and Intermedial Crossings), SEL (Studiecentrum Experimentele Literatuur) and 20cc (Twentieth-Century Crossroads).

CfP – The Anti-Canon (Sept 2022)

(Posted 30 March 2022)

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

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

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

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

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

Invited Speakers

We are delighted to announce the following plenary speakers:

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

Abstract Submission

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

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


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

This workshop is full

This workshop is full

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

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

We look forward to welcoming you in Ljubljana!

9th BICLCE organizing team

(Posted 1st October 2021)

The 12th International Conference on Third Language Acquisition and Multilingualism
The Faculty of Humanities and Social Sciences, University of Zagreb, Croatia, 15-17 September 2022
New extended deadline for proposals: 10 January 2022

The 12th International Conference on Third Language Acquisition and Multilingualism will be held at the Faculty of Humanities and Social Sciences, University of Zagreb, Croatia, on September 15-17, 2022. For the first time, the conference will be preceded by a doctoral workshop on September 14, 2022.

Danuta Gabryś-Barker, University of Silesia in Katowice (Poland)
Jason Rothman, University of Tromsø (Norway) & Universidad Nebrija (Spain)
Lidija Cvikić, University of Zagreb (Croatia)

The call for papers opens on November 2, 2021, and closes on December 5, 2021.

UPDATE: The deadline has been extended until January 10, 2022.
Notifications of acceptance will be sent before February 10, 2022.
Please see the new call for papers for more details.

The registration for IAML3 2022 will open in January 2022.

The Croatian organizing team is looking forward to welcoming you in Zagreb on the new dates of 14-17 September 2022.  In the meantime, please contact us at with any specific questions that you might have.

Stay healthy and productive!
Best regards,
Stela, Marina, Jasenka, Renata & Mateusz
Organizing Board of the 12th International Conference on Third Language Acquisition and Multilingualism

Our website:

You can find us on Twitter as well!

(posted 17 December 2021)

Dis/Orientations and Dis/Entanglements in Contemporary Literature and Culture: An International Conference
University of Málaga (Spain), 21-23 September, 2022
Deadline for abstracts: 22 April 2022

Under the auspices of the project ‘Orientation’: A Dynamic Perspective of Contemporary Fiction and Culture  (1990-onwards) (Ref. FFI2017-86417-P), this Conference explores how the concept of ‘orientation’ can  offer a renewed perspective on literary texts and cultural products alike. By positioning ‘orientation’ in close  relation to (multiple) temporalities (or “polytemporality”, following Victoria Browne), space, and recognition  of the ‘other’, this Conference (and the project) addresses the dynamic and fluid nature of today’s fiction  and culture in English. As Sara Ahmed points out, “[o]rientations are about the direction we take that puts  some things and not others in our reach” (56). In this sense, we pose the following: what directions do  contemporary texts tend towards? How are these directions configured? How do we make sense of the  “things” that are within our reach? And, interestingly, in what ways do we unlock an “affective orientation”  (Felski 18) in the act of reading? 

To answer these questions, we actively engage with different critical perspectives that intersect with various  fields such as phenomenology, affect studies, illness and ageing studies, or gender studies. Both  ‘orientation’ and ‘recognition’ prove to be useful lenses to explore narratives of illness, for example. Also,  ‘orientation’ is mobilised in the interlocked relationships between past and present (and future), since we  argue that temporal ‘orientation’ in contemporary fiction and culture is multidirectional, encompassing past,  present, and even future: the past is understood as “a call to action in the present, and the present is  envisaged as the history of the future” (Mitchell and Parsons 14-15). In addition, ‘orientation’ can be employed to address questions of mobility and movement in spatial studies, bearing in mind that, in  phenomenological terms, the individuals experience the world through mutuality and interaction, an  interweaving of self and the world through the senses. In so doing, we propose movement, relationality, and fluidity as ways of understanding our current entangled world. Lastly, we claim that, as a mode of  thinking, this dynamic relationality brings about timely questions about “the interpersonal and social  dimensions of disorientation” (Ratcliffe 463) in the face of the sanitary crisis caused by covid-19 and its  variants.  

We welcome proposals for 20-minute papers that address the following topics (but not limited to): 

  • Theoretical approaches and conceptualisations of ‘orientation’, ‘recognition’, and ‘entanglement’ – Dis/re/orientations towards the past, present and future in literature and culture; (multiple) temporality;  polytemporality 
  • Embodied situatedness, phenomenology and the senses 
  • Dynamic orientation and recognition of the ‘Other’ 
  • Spatial orientations: spatial conceptions, dynamic spaces, geographical fluid orientations and routes – Object-relations ontology, things, new materialisms, the material turn 
  • Queer and gender orientations 
  • Orientation and recognition as useful lenses in health humanities, ageing and illness narratives – Global orientations and entanglements in the Anthropocene
  • Dis/orientation in the face of the sanitary crisis 
  • Dis/entanglements and human vs. nonhuman relationships 
  • New orientations and entanglements between the humanities and other disciplines 

Works Cited 

Ahmed, Sara. Queer Phenomenology: Orientations, Objects, Others. Duke UP, 2006. 
Browne, Victoria. Feminism, Time, and Nonlinear History. Basingstoke: Palgrave Macmillan, 2014. Felski, Rita. Uses of Literature. Blackwell, 2008. 
Mitchell, Kate and Nicola Parsons. “Reading the Represented Past: History and Fiction from 1700 to the  Present”. Reading Historical Fiction: The Revenant and Remembered Past. Ed. Kate Mitchell and  Nicola Parsons. Palgrave Macmillan, 2013. 1-18. 
Ratcliffe, Matthew. “Disorientation, Distrust and the Pandemic”. Global Discourse 11.3 (2021): 463-66. 

We are very happy to confirm the following keynote speakers: 

  • Professor Alberto Lázaro Lafuente (Universidad de Alcalá) 
  • Professor Patricia Pulham (University of Surrey) 
  • Professor Jean-Michel Ganteau (Université Paul-Valéry Montpellier 3) 
  • Dr. Victoria Browne (Oxford Brookes University) 

Please send a 250-word abstract to by April, 22nd 2022 (extended  deadline). Abstracts should include a short biographical note. All submissions will be peer-reviewed. 

Main organisers: Professor Rosario Arias (University of Málaga), Dr. Marta Cerezo-Moreno (UNED), Dr.  Laura Monrós-Gaspar (Universitat de València) 

Twitter handle: @orientationlit


(Posted 6 April 2022)

Victorian Resurrections
University of Vienna, 22-24 Sept. 2022
Deadline for proposals: 15 May 2022

International Conference 22nd-24th Sep 2022 (University of Vienna)
Deadline for proposals: 15th May 2022

Confirmed Keynote Speakers

  • Ann Heilmann (University of Cardiff)
  • Patricia Duncker (University of Manchester)

Death and resurrection as well as the fears, fantasies and fads that surround them, pervade Victorian literature and culture in a myriad of ways. From literary representations of the dead coming back to life, to cultural practices of mourning and memorialising the dead, the Victorian era betrays a striking concern with how to cope with one’s mortality. Working-class literature such as penny dreadfuls fictionalised concerns about the illegal trade in corpses led by resurrection men, or body-snatchers, who exhumed corpses to sell them to medical men, most specifically, to anatomists. Gothic texts throughout the 19th century often featured reanimated corpses or the living dead. The rise of spiritualism and the popularity of mediums and séances in the second half of the century complemented upper- and upper-middle-class practices of mourning, while the working-class was confronted with the (financial) impossibility to memorialise their lost ones in what was thought ‘the proper way’. Queen Victoria herself mourned Prince Albert for over four decades, famously making her servants lay out his clothes in the morning and bring hot water for his shaving, as if he were about to come back.

Twentieth- and twenty-first-century literary, cultural, and material practices are guided by a wide range of agendas – revisionist, political, nostalgic, commercial, aesthetically experimental – in their manifold recurrences to the Victorian Age. At the same time, the manifold recurrences of the Victorian age in twentieth- and twenty-first-century literary, cultural, and material practices have preserved an interest in the idea of resurrection(s) and its implications. As a cultural phenomenon neo-Victorianism, for instance, could be described as one giant resurrectionist enterprise geared towards a reimagining of the Victorian Age through a wide range of different media and genres. Driven by a desire to fill historiographical gaps, retell the lives of iconic figures or uncover the stories of side-lined,
obscure or marginalized individuals, neo-Victorian appropriations are what Kate Mitchell calls “memory texts”. As such, they simultaneously reflect and shape our perceptions of the Victorian Age by creating specific versions of that past; by selecting which stories are being (re)told and whose voices are being recovered or made heard. These acts of remembrance often serve our need to constitute or reaffirm our social and cultural identities through the idea of a shared past and a common set of values. Neo-Victorian recoveries and (re)assessments of the 19th century are hardly ever ‘innocent’. Instead, they are ideologically charged and reflect the concerns of our present, how we position ourselves with regard to the past, and how our meaning-making activates texts selectively. Neo-Victorian texts and practices participate in the project of producing and consolidating but also revising our cultural memory of the 19th century, contributing to the rich spectrum of Victorian after-lives and after-images in our society.

Topics for papers may touch on but are not limited to:

• the Gothic (the undead, re-awakened mummies etc.)
• resurrection men and body-snatching practices
• Victorian cultural practices surrounding death (spiritualism, séances, mediums)
• Victorian memorial cultures
• neo-Victorian literature’s resurrective practices
• the Empire, ancient cultures & translatio imperii (Egypt; Assyria; Greece; Rome)
• 20th/21st century costume drama
• 20th/21st century re-imaginings of Queen Victoria and other iconic Victorian figures
• critical revivals (e.g. the fin-de-siècle Scottish Revival)
• the re-discovery and/or re-evaluation of forgotten Victorian texts
• the re-discovery and/or re-evaluation of forgotten or marginalized Victorian figures
• resurrection of forgotten Victorian traditions and/or social movements
• dark tourism (or thanatourism) in connection with the Victorian era
• (neo-)Victorian literature and biofiction
• Religion/spirituality in (neo-)Victorian literature and biofiction
• neo-Victorianism and cultural memory
• Victorian life writing / writing Victorian lives
• Victorian and neo-Victorian resurrective practices and fame/obscurity
• Victorian afterlives and reputations

Those interested in contributing should send 300-word abstracts for 20-minute papers in English by 15th May 2022 to Sandra Mayer ( and Sylvia Mieszkowski (, and include a short bio-bibliographical note (approx. 100 words).

Conference Warming: 22nd Sep Conference Dinner: 23rd Sep Conference Fees:

• full fee: 60 Euros
• reduced fee (PhD students): 30 Euros

For practical and organisational information about VICTORIAN RESURRECTIONS please check from mid-May 2022 onwards:


Böhm-Schnitker, Nadine, and Susanne Gruss. Neo-Victorian Literature and Culture: Immersions and Revisitations. London: Routledge, 2014.
Heilmann, Ann, and Mark Llewellyn. Neo-Victorianism: The Victorians in the Twenty-First Century, 1999-2009. Basingstoke: Palgrave Macmillan, 2010.
Hotz, Mary Elizabeth. Literary Remains: Representations of Death and Burial in Victorian England. Albany: State University of New York Press, 2009.
Kucich, John, and Dianne F. Sadoff, eds. Victorian Afterlife: Postmodern Culture Rewrites the Nineteenth Century. Minneapolis: U of Minnesota P, 2000.
Lutz, Deborah. Relics of Death in Victorian Literature and Culture. Cambridge: CUP, 2017.
Matthews, Samantha. Poetical Remains: Poets’ Graves, Bodies, and Books in the Nineteenth Century. Oxford: OUP, 2004.
Mitchell, Kate. History and Cultural Memory in Neo-Victorian Fiction: Victorian Afterimages. Basingstoke: Palgrave Macmillan, 2010.
Mole, Tom. What the Victorians Made of Romanticism: Material Artifacts, Cultural Practices, and Reception History. New Haven: Princeton UP, 2017.

Victorian Resurrections CfP

(Published 25 February 2022)

Naturing Cultures/ Culturing Natures: Humans and the Environment in Cultural Practices.
Nicolaus Copernicus University, Toruń/online, 22-23 September 2022.
Abstracts submission deadline: 15 June 2022.

Naturing Cultures/ Culturing Natures: Humans and the  Environment in Cultural Practices
Department of Anglophone Literature, Culture and Comparative Studies Institute of Literary Studies, Nicolaus Copernicus University
22-23 September 2022

The word is made flesh in mortal naturecultures
(Donna Haraway, 2003) 

The climate crisis is also a crisis of culture, and thus of the imagination
(Amitav Ghosh, 2016) 

The conference is dedicated to an investigation of the relations between humans and the  environment and their representation in cultural texts and practices. Its title – Naturing Cultures/  Culturing Natures – refers to the concept of natureculture, developed by Donna Haraway,  which stresses the inseparability of nature and culture and points to the various ways in which  “[f]lesh and signifier, bodies and words, stories and worlds” are joined. The degree of  dependence and connectedness between natures and cultures has been exposed recently in a  series of crises with which the 21st century began, with the climate crisis being the most  significant one. Responding to Amitav Ghosh’s claim that “the climate crisis is also a crisis of  culture, and thus of the imagination” (2016: 9), this conference aims at exploring the various  ways in which the awareness of this crisis has influenced contemporary cultural texts, starting  from post-apocalyptic dystopias and ending with solarpunk utopias. We are interested in  discussing experiments in art, media, and literature that offer new ways of looking at and  thinking about the relationship between humans and the environment, both animate and  inanimate; evolution of literary genres and development of new forms and modes of writing  influenced by ecocriticism; and the role of new media in ecological discourses and  practices. We want to focus on new ways of thinking and creating that move beyond the  anthropocentric perspective, such as posthumanism, new materialism, material feminism, or  object-oriented ontology. We would also like to consider complex affective responses to  environmental crises, such as eco-anxiety, trauma and grief, solastalgia and eritalgia, and their  representations in recent literature, film and art. In addition to these questions, we wish to reflect  on how the coronavirus pandemic has impacted environmental awareness and climate anxiety  and what new visions and scenarios emerged from this experience. The main aim of the  conference is to create space for scholars coming from various disciplines to discuss  contemporary cultural practices and critical and philosophical responses to the threats posed by  human activity in the Anthropocene.

Suggested themes include but are not limited to: 

  • Climate fiction: genres, criticism; 
  • Anthropocene fictions; 
  • From post-apocalyptic dystopias to solarpunk utopias; 
  • New materialisms; object-oriented ontology; 
  • Posthumanism; the human and the non-human; 
  • Semiotic materiality; narrativity, creativity, and matter; counter-narrations Ecofeminism, feminist materialism; 
  • Deep ecology; 
  • Zoocriticism/animal studies; 
  • Environmental ethics: ecocentric and partnership ethics, post-anthropocentric ethics; Climate change and the environment in visual arts; 
  • The Urbanocene, urban ecology, guerilla gardening, eco-hooligans; 
  • Land art, site-specific art, eco-specific art, environmental art; 
  • Soundscape/acoustic ecology; 
  • Loss, mourning and ecological grief; eco-anxiety, solastalgia, eritalgia; Sustainability; eco-ability; 
  • Postcolonial ecocriticism; ecocriticism and indigenous studies; 
  • Critique of Enlightenment narratives of progress and science; degrowth; The COVID-19 pandemic and the environmental crisis. 

Our keynote speakers

Prof. dr hab. Ewa Bińczyk (Nicolaus Copernicus University, Toruń)
Prof. Stef Craps (Ghent University) 

Decisions concerning the format of the conference (online or hybrid) will be made closer to  the conference date, depending on the current epidemiological situation. 

Abstracts of 150-200 words, containing the title of the presentation and the author’s name and  affiliation, accompanied by a short biographical note, should be sent to the following address:

  • Abstracts submission deadline: 15 June 2022 
  • Notification of acceptance: 1 July 2022 
  • Conference fee: 100 EUR (onsite); 50 EUR (online) 
  • For more information, see the conference website:  

Organising committee 

Katarzyna Więckowska
Edyta Lorek-Jezińska
Nelly Strehlau
Joanna Antoniak
Grzegorz Koneczniak
Mohammad Rokib

cfp naturing-final 2

(Posted 6 April 2022)

LUCAS Conference ‘Practices in Comparative Medievalism’
Leiden University Centre for the Arts in Society (LUCAS). 23 September 2022
Deadline for abstracts: 19 August 2022.

Medievalism is the area of academic study that investigates the reception and reconstruction of the medieval past since the Middle Ages came to an end.

This one-day conference, organised by the Leiden University Centre for the Arts in Society (LUCAS), invites you to share your research ideas and results in practices of comparative medievalism in arts and culture. We therefore invite contributions of papers that analyse cultural representations of the Middle Ages from the Early Modern period until the present.

This conference is organised to provide an environment for students, researchers, and enthusiasts to discuss ideas and foster contributions in the area of comparative medievalism. The event will take place at Leiden University, the Netherlands. Leiden is a beautiful city with a fascinating medieval heritage of its own.

We welcome abstracts of 300 words in the areas covered by LUCAS and its connected research centres, including cultural studies, literary studies, film studies, art history, theatre and performance, architecture, and expressions of popular culture. The conference is open to all academics and interested participants, and we specifically encourage students and early-career researchers to submit proposals for presentations (15 minutes) on a topic of their choice relating to the conference theme.

The full programme will be made available in the first half of September but will include Dr. Thijs Porck, Leiden University’s specialist in medievalism, as one of the main speakers.


Please submit abstracts of no more than 300 words by 19 August 2022 to the organisers, Daný van Dam and Fernanda Korovsky Moura. Attach the abstract as an MS Word file to your email. Please ensure your name and contact email are in the document.

For questions, please contact the organisers at the email addresses listed above.

We encourage you to invite colleagues to participate in the conference.

Abstracts and presentations should be in English.

(Posted 28 June 2022)

Virginia Woolf & Simone de Beauvoir: Intersections and Resonances
Université Paris 3 – Sorbonne Nouvelle, 29th-30th September 2022
Deadline for proposals: 20 June 2022

Virginia Woolf & Simone de Beauvoir: Intersections and Resonances
Université Paris 3 – Sorbonne Nouvelle
29th-30th September 2022
Salle Claude Simon, Maison de la Recherche
4 Rue des Irlandais, 75005 Paris

Although Virginia Woolf and Simone de Beauvoir are often mentioned in one and the same breath, only little scholarship so far has investigated the intersections between the two authors. Helen Southworth has dedicated some five pages to the connections between Woolf and Beauvoir (Southworth 2004: 126-131) but has only done so to tie them in with Colette, who is, along with Woolf, the ‘real’ subject of her monograph. Pierre-Éric Villeneuve (2002) has drawn attention to how Beauvoir described and instrumentalised Woolf’s oeuvre during her lecture tour in Japan in the 1960s, thereby suggesting that the French intellectual had a more interesting and materialist take on Woolf than most critics in France at the time. Suzanne Bellamy has recently drawn attention to the legacy of Woolf’s Three Guineas within the context of the “Post-War Left”, especially in Beauvoir’s and Arendt’s work (Bellamy 2020). Maggie Humm, in her recent chapter, explores the similarities between the writing of Woolf, that of Beauvoir, and the cinematic experimentalism of Swedish film director Mai Zetterling (Humm 2021). Outside of the academic context, Rachel Cusk’s Guardian article explored the meaning of ‘women’s writing’ in the wake of Constance Borde and Sheila Malovany-Chevallier’s newly published English translation of Le Deuxième Sexe in 2009 (Cusk 2009). However, in the most authoritative collections of essays on Woolf, Beauvoir is hardly mentioned (Snaith 2007; Randall & Goldman 2012; Berman 2016); equally, Woolf is only mentioned in passing when referring to Beauvoir in an Anglophone context, but no attention has been paid to her in Beauvoir scholarship (Simons 2006; Hengehold & Bauer 2017; Kirkpatrick 2019). Interestingly, Toril Moi’s work has functioned as a watershed both in Woolf studies (Moi 1985) and in Beauvoir scholarship (Moi 1994), but her references to both authors have tended to be quite limited. All these existing contributions, albeit clearly limited in number, already reveal that the two authors offer more room for further exploration.

In feminist circles, the notion of intersectionality has become foundational for feminist movements and feminist theory alike: after Crenshaw’s seminal article (Crenshaw 1989), more and more attention has been paid to Black, queer, radical, decolonial, anti-capitalist feminisms that insist on the interrelatedness of these liberation struggles. Some critics have found the two ‘mothers’ of second-wave feminisms lacking in those regards or have devised ways to reinterpret their work in the light of recent contributions to the field (e.g. Walker 1972, Marcus 2004, Coleman 2014 for Woolf; Simons 2002, Gines 2014, Altman 2020 for Beauvoir). While Southworth (2004) and Villeneuve (2002) have shed light on the intersection between Woolf and Beauvoir in terms of reception, none of the existing contributions have attempted to create a communication channel between the two feminist authors through the lens of intersectionality.

Recently, the concept of resonance has gained wider currency in the humanities and in literary studies more specifically (Dimock 1997; Toop 2010; Rosa 2016; Napolin 2020). Although this flexible, often somewhat nebulous term has been found to be wanting in terms of academic rigour, it has often been pointed out how beneficial this could be for scholars who are interested in the reverberations between textual voices and echoes, readerships, and the slow rippling out of ideas beyond a purely diachronic understanding of influence. By focusing on the resonances between Woolf, Beauvoir, and possibly other authors and thinkers, this conference intends to bring together a varied ensemble of scholars to collaborate in order to piece together a version of literature, philosophy, and culture that exceeds all sorts of boundaries – disciplinary, geographical, linguistic, and textual.

The aim is thus to bring together Woolf scholars and Beauvoir scholars to rethink the intersections and resonances between the two ‘mothers’ of second-wave feminisms, both within and beyond their respective literary and philosophical productions. Topics of interest may include, but are not limited to:

  • The reception of Woolf and/or Beauvoir in feminist circles, past and present;
  • Intersectional feminism in and beyond Woolf and Beauvoir;
  • Sound and resonance in the works of Woolf and Beauvoir;
  • Literature and philosophy, literary theory between Woolf and Beauvoir;
  • Pacifism, fascism and war in Woolf and Beauvoir;
  • Corporeality, embodiment, and the body between Woolf and Beauvoir;
  • Life-writing and autobiography in Woolf and Beauvoir;
  • Resonances of Woolf and/or Beauvoir in other authors, either their contemporaries or ours (e.g. Marcel Proust, Simone Weil, Colette, Nathalie Sarraute, Alain Robbe-Grillet, Franz Kafka, Violette Leduc, Annie Ernaux, Rachel Cusk, Ian McEwan, Toni Morrison, bell hooks, Jeannette Winterson, etc.);
  • Woolf, Beauvoir, and translation;
  • Woolf, Beauvoir, and the philosophical tradition (e.g. phenomenology, psychoanalysis, feminist philosophy, queer theory, decolonial thought).

This hybrid international conference intends to be markedly horizontal: there will be no keynote speaker; rather, the two communities of scholars are meant to collaborate and exchange ideas about Woolf and Beauvoir. No prior engagement with both authors is expected, and we would like to encourage every participant to be generous and generative in their approach to others.

The conference will take the form of several thematically linked panels on Woolf and Beauvoir. Proposals can be for single papers or for group papers or panels, as long as Woolf academics and Beauvoir scholars are involved in every panel. We also welcome proposals of roundtables around a specific subject or book that brings Woolf and Beauvoir together. A publication project will ensue.

Registration fees for the conference are €20 for senior academics (lecturers, professors), but no fees are required for students and PhD candidates. The languages of the conference are English and French, preferably with a concise summary and a presentation in the other language in order to make your contribution accessible to all.

Proposals should be sent to by the 20th June 2022. For 20-minute papers, proposals should be of no more than 300 words and should be accompanied by four keywords and a short bio (200 words), along with an expressed preference for attending the conference in person or online. For roundtables, proposals should be of no more than 400 words and should include a short bio of every person involved in the roundtable (no more than 4 people, with a 200-word bio for each speaker). Notifications of acceptance will be sent by 30th June 2022.

Works cited

  • Altman, Meryl. 2020. Beauvoir in Time. Brill.
  • Bellamy, Suzanne. 2020. ‘Woolf and the Post-War Left: Simone de Beauvoir, Hanna Arendt, Legacies and Resonances of Three Guineas’. In Conversas com Virginia Woolf, edited by David Pinho, Maria A. de Oliveira, Nícea Nogueira. Ape’Ku. 262-273.
  • Berman, Jessica, ed. 2016. A Companion to Virginia Woolf. Wiley-Blackwell.
  • Coleman, Lisa. 2014. ‘Woolf’s Troubled and Troubling Relationship to Race. The Long Reach of the White Arm of Imperialism’. In Virginia Woolf and the Common(wealth) Reader, edited by Helen Wussow and Mary Ann Gillies, Liverpool University Press.
  • Crenshaw, Kimberlé. 1989. ‘Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory and Antiracist Politics’, University of Chicago Legal Forum 1 (8), pp. 139-167.
  • Cusk, Rachel. 2009. ‘Shakespeare’s Daughters’. The Guardian, 12 December 2009. [last accessed 19/10/2021 10.55].
  • Dimock, Wai Chee. 1997. ‘A Theory of Resonance’, PMLA 112 (5), pp. 1060-1071.
  • Gines, Kathryn T. [Kathryn Sophia Belle]. ‘Comparative and Competing Frameworks of Oppression in Simone de Beauvoir’s The Second Sex’, Graduate Faculty Philosophy Journal 1-2, 2014, pp. 251-273.
  • Hengehold, Laura, and Nancy Bauer, eds. 2017. A Companion to Simone de Beauvoir. Wiley-Blackwell.
  • Humm, Maggie. 2021. ‘Realms of Resemblance: Virginia Woolf, Simone de Beauvoir and Maï Zetterling’. In Women Writers and Experimental Narratives: Early Modern to Contemporary, edited by Kate Aughterson and Deborah Philips, Palgrave Macmillan, 125–37.
  • Kirkpatrick, Kate. 2019. Becoming Beauvoir: A Life. Bloomsbury.
  • Marcus, Jane. 2004. Hearts of Darkness: White Women Write Race. Rutgers University Press.
  • Moi, Toril. 1985. Sexual/Textual Politics: Feminist Literary Theory. Methuen.
  • Moi, Toril. 1994. Simone de Beauvoir: The Making of an Intellectual Woman. Oxford University Press.
  • Napolin, Julie Beth. 2020. The Fact of Resonance: Modernist Acoustics and Narrative Form. Fordham University Press.
  • Randall, Bryony, and Jane Goldman, eds. 2012. Virginia Woolf in Context. Literature in Context. Cambridge University Press.
  • Rosa, Hartmut. 2016. Resonanz: Eine Soziologie der Weltbeziehung. Suhrkamp. Translated into English by James Wagner, Resonance: A Sociology of Our Relationship to the World. Polity. 2019.
  • Simons, Margaret A. 2002. ‘Beauvoir and the Problem of Racism’. In Philosophers on Race: Critical Issues, edited by Julie K. Ward and Tommy L. Lott, Blackwell.
  • Simons, Margaret A., ed. 2006. The Philosophy of Simone de Beauvoir: Critical Essays, Indiana University Press.
  • Snaith, A., ed. 2007. Palgrave Advances in Virginia Woolf Studies. Palgrave Macmillan. 
  • Southworth, Helen. 2004. The Intersecting Realities and Fictions of Virginia Woolf and Colette. The Ohio State University Press.
  • Toop, David. 2010. Sinister Resonance: The Mediumship of the Listener. Continuum.
  • Villeneuve, Pierre-Éric. 2002. ‘Virginia Woolf among Writers and Critics: The French Intellectual Scene’. In The Reception of Virginia Woolf in Europe, edited by Mary Ann Caws and Nicola Luckhurst, Continuum, pp. 19-38.
  • Walker, Alice. 1972. ‘In Search of Our Mothers’ Gardens’. In Within the Circle: An Anthology of African American Literary Criticism from the Harlem Renaissance to the Present, edited by Angelyn Mitchell, Duke University Press, 1994.
  • Scientific committee: Isabelle Alfandary (Sorbonne Nouvelle), Marie Allègre (Birmingham), Rossana Bonadei (Bergamo), Claire Davison (Sorbonne Nouvelle), Valérie Favre (Lyon 2), Michela Gardini (Bergamo), Jean-Louis Jeannelle (Sorbonne), Jessica Passos (Northwestern-Sorbonne Nouvelle), Luca Pinelli (Bergamo-Sorbonne Nouvelle), Bryony Randall (Glasgow), Marine Rouch (Toulouse 2).

Organising committee: Luca Pinelli, Jessica Passos, Claire Davison.

For further information do not hesitate to contact us at or /


(Posted 25 May 2022)

II International Postgraduate Seminar in English Literature and Linguistics (IPSELL)
Facultad de Filosofía y Letras, University of Granada, Spain. September 30th, 2022
Extended deadline for abstracts: 29 July 2022 (included)

The II International Postgraduate Seminar in English Literature and Linguistics (IPSELL) organised by the Master’s in English Literature and Linguistics of the University of Granada aims to provide a forum where postgraduate students/researchers can present the results of their current research projects (preferably MA dissertation or early PhD work). This event intends to allow master’s and early career research students to share their research interests with national and international young scholars and get acquainted with the critical visions and methodological approaches that will be leading academic research in the years to come. IPSELL welcomes submissions reporting original research results related —though not restricted to— any of the following academic interests:


  • Comparative Literature
  • Contemporary Literature
  • Cultural Studies
  • Ecocriticism
  • Gender Studies, Feminisms, Masculinities, LGTBQ+ Studies
  • Literary Translation
  • Disability Studies
  • Postcolonial Studies


  • Adaptation Studies
  • Computational linguistics
  • Corpus Linguistics
  • Genre analysis
  • Pragmatics and Discourse Analysis
  • Psycholinguistics
  • Second Language Acquisition
  • Sociolinguistics
  • Stylistics

IPSELL will be held face-to-face at the Facultad de Filosofía y Letras of the University of Granada on September 30th, 2022. Please, it is advised to wear a mask in interior spaces for shared use, especially when safety distance cannot be guaranteed. We encourage the use of hand sanitizers available at our facilities. Ventilation will be ensured in premises and interior spaces. The presentations will be grouped into theme sessions based on the research field and they will be presented in parallel sessions. Each presenter will be given 10 minutes to present their work.


Seminar fees: FREE for both presenters and attendees.
Registration: Both presenters and attendees must REGISTER HERE by September 10th, 2022.


All abstracts need to meet the following requirements: 300 words in English (excluding references), typeset in Times New Roman, 12pt, 1.15 spacing. Please use THIS TEMPLATE to ensure that all abstracts follow these requirements. Name the attachment “LING” or “LIT” according to your field, followed by the author’s initials. Abstracts should contain thesis statement, aims, critical approach, methodology, analysis, results, and conclusions. Abstracts must be uploaded HERE by July 15, 2022 (included). Participants will be notified during the second half of July, 2022.

If you have any queries, please contact us via the following email address:


Organising Committee

  • Lucía Bennett-Ortega
  • Adrián Castro Cortés
  • Elena García-Guerrero
  • Carmen Hidalgo-Varo
  • Fernando Martín-Villena
  • Jorge Montaño Mojica

Scientific Committee

  • Carmen Aguilera-Carnerero
  • José Luis Arco Tirado
  • Margarita Carretero González
  • Mercedes Díaz Dueñas
  • Carlos Márquez Linares
  • María Elena Rodríguez Martín
  • Adelina Sánchez-Espinosa

For more information, updates and queries, do not hesitate to follow us on social media! @IPSELL_UGR


(Posted 22 June 2022)

Calls for papers – Conferences taking place in August 2022

“Archipelagic Memory: Intersecting Geographies, Histories and Disciplines”
University of Mauritius, 2 – 4 August 2022
Deadline for proposals: 20 March 2022

Archipelagic Memory: Intersecting Geographies, Histories and Disciplines
University of Mauritius, 2 – 4 August 2022 

Confirmed keynote speakers

  • Ananya Jahanara Kabir, King’s College London
  • Stef Craps, Ghent University
  • George Abungu, Archaeologist and International Heritage Consultant
  • Anwar Janoo, University of Mauritius
  • Ari Gautier, Novelist

The concept of the “archipelago” has been discussed and deployed by historians, social scientists, literary and cultural studies scholars since the 1950s to dismantle linear narratives of historical, national and cultural development; to resist the taxonomy of centre-periphery; to emphasise shared human experiences premised on relation, creolisation and cultural diversity; and to inspire research and creative projects tracing discontinuous yet interlinked geographies over a planetary scale. 

Taking the Indian Ocean as a principal site for investigating new meanings and experiences of the archipelagic, the conference will marshal and build upon the different strands of archipelagic thinking already engendered by the Caribbean world to explore connected histories across oceans and seas, and to instigate a theoretical dialogue on memory-production encompassing the Indian, Atlantic, Pacific and Southern Oceans and their articulated spatiality. What has been enabled and what has been precluded by thinking primarily through the model of the Caribbean archipelago and its anti-mimetic patterns of repetition and difference? What has not yet been thought of archipelagically? What if ethnic, national and geological borders are in conflict with each other, resulting in fractured archipelagic identities? How does the sea function as an imagined space that reduces or entrenches geographical and affective distance? How, indeed, does the sea enable archipelagic relations?

Simultaneously, the conference addresses the possibilities offered by an archipelagic approach to memory, one that is mobile and dynamic as much as entangled, even surpassing island and archipelagic spaces. If the past is memorialised as archipelagic, as a series of fragmentary geographies, cultures and histories converging in a fluid space that might also act as a symbol for other connections, how can archipelagic memory enhance traditional practices of articulating the past? How can archipelagic mnemonic projects be multidirectional, reparative and committed to justice, instead of competitive, suppressive or destructive? In light of the global Covid-19 pandemic, the tightening of national borders, and the formation or solidification of ‘social bubbles’, international corridors and archipelagic-like clusters, in what ways can archipelagic thinking help us reconfigure future trajectories in individual, collective, as well as national identities?

We welcome paper and panel proposals from scholars at any point of their academic career addressing the theme of archipelagic memory. Suggested topics for papers include, but are not limited to:

  • Archipelagic epistemologies
    • The memorialisation of transoceanic connections, transnational movements and displacement, and cosmopolitan cultural entanglements in the archipelagic mode
    • New and old meanings of ‘archipelagic thinking’ in the humanities and social sciences and critical archipelagic methodologies for memory studies
    • The archipelago and postcolonial, heritage and memory studies
  • Archipelagic memory practices
    • The thematic and symbolic dimension of archipelagic memory 
    • Performative memory-making in and across archipelagos 
    • Museums, mnemonic centres, non-canonical and disobedient archival practices: orality, musicality, embodied knowledge, the senses
    • Textual and symbolical translation, cultural borrowing and divergence
  • Archipelagic memory spaces
    • Ships, shorelines, port towns and other places where archipelagic memory is inscribed 
    • Isthmuses, canals, peninsulas, and their role in increasing the sense of the archipelagic
    • National, ancestral, and imaginary homelands as archipelagic memory palimpsests
    • Trans-oceanic identification across islands and archipelagos; archipelagos as continents, continents as archipelagic
  • History, trauma, and archipelagic memory
    • Human (e.g. slavery, indenture, genocide, the Holocaust) and natural catastrophes (e.g. storms, cyclones, tsunamis, diseases, climate change) in archipelagic spaces 
    • Ways of remembering and moving beyond past conflicts and collective traumas across oceans and continents
    • Vestiges of the colonial past in the postcolonial archipelagic present
  • Memory and politics in the archipelago
    • Bi- or multi-lateral relations between archipelagic states, small island nations, and established or emerging continental powers
    • Maritime and territorial claims and their impact on regional stability and peace-keeping
    • Activism and its implications in the building of an archipelagic future 

We invite contributions in English and French for 20-minute papers. Please send a 300-word abstract, accompanied by a 100-word bio-note, to: We also invite proposals for panels of 3 papers. Panel proposals must include: a panel title and short description; a 300-word abstract for each presentation, accompanied by a 100-word bio-note.

Deadline for proposals: 20 March 2022
Notification of acceptance: 31 March 2022

For more information and regular updates, please visit the conference website,  or contact us at 

Conference Organisers: Sraddha Shivani Rajkomar (University of Mauritius); Luca Raimondi (King’s College London/University of the Witwatersrand); Linganaden Murday (King’s College London/University of Mauritius). Conference Administrator: Rosa Beunel (King’s College London).

Archipelagic Memory – Call for Papers.docx

(Posted 19 February 2022)

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

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


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


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

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

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

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

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

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


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



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

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

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

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

(posted 10 April 2021)


Calls for papers – Conferences taking place in July 2022

“Transitions” – 30th Conference of the Polish Association for the Study of English.
Institute of English Studies, Jagiellonian University in Kraków, Poland; 1-3 July 2022
Deadline for proposals: 31st March 2022

For last year’s words belong to last year’s language
And next year’s words await another voice.
T.S. Eliot, Four Quartets

As PASE prepares to hold its anniversary conference, we would like to invite the participants to reflect upon the theme of transitions.

Like all anniversaries, our thirtieth annual gathering is an opportunity to look both back and to the future, to reflect on what has been and what is likely to come, and also to think about the function of English Studies at the present time. The fact that PASE 2020 had to be postponed and so the thirtieth conference is going to take place in the organisation’s thirty-first year is just one of the numerous symptoms of the peculiar time we live in. It is certainly a time of transitions, in many senses of the word, and in many walks of life, with our academic institutions having undergone particularly profound changes. However, the end of the first three decades of the Polish Association for the Study of English may also mark the beginning of something new. Taking our cue from Tom Stoppard’s Rosencrantz and Guildenstern Are Dead – we can “look on every exit being an entrance somewhere else.”

We welcome papers on literature, language, and culture that address questions broadly related to the theme of transitions. Topics may include but are not limited to:

  • beginnings and endings
  • changes, alterations, and transformations
  • thresholds, turning points, and critical junctures
  • transitoriness and the state of in-betweenness
  • critical engagement with the past, reform and revolution
  • redefinitions of concepts and theories, paradigm shifts
  • the search for new ideas, approaches, and methodologies

Information about the conference will be posted on a dedicated website:

Proposals for twenty-minute papers (150–200 words), with short biographical notes (up to 100 words), should be uploaded to the conference website by 31st  March 2022. A link to the registration platform will be available on the website from  1st  March 2022. Notifications of acceptance will be sent by 20th April 2022.

The following panels have been proposed:

  • The Robinsonade: Transits and Transitions
  • Beyond the Anthropocene: Post-Anthropocentric Approaches in/ to Literature, Visual Culture and Theory  
  • Brexit: Transitions to New Literary and Cultural Perspectives
  • The Myths of Modernism / Modernism and Myths: Then and Now
  • Littoral Modernisms: From the Centre To Peripheries
  • Adaptation as Transition/Transition as Adaptation

If you wish to take part in one of the panels, please contact the panel coordinators before registering for the conference (more information on the conference website).

To contact the Organising Committee, please write to 

Conference fees:

  • PASE members: 400 PLN
  • non-PASE members: 500 PLN
  • PhD students, PASE members: 300 PLN
  • PhD students, non-PASE members: 400 PLN


Institute of English Studies, al. Mickiewicza 9, 31-120 Kraków. This conference is planned as an on-site event. Participants will be welcome to attend the conference reception, which will be sponsored by PASE, to celebrate its anniversary.

Conference Advisory Board:

  • Dr hab. Monika Kusiak-Pisowacka, prof. UJ
  • Prof. dr hab. Elżbieta Mańczak-Wohlfeld
  • Prof. dr hab. Zygmunt Mazur
  • Dr hab. Andrzej Pawelec, prof. UJ
  • Dr hab. Magdalena Szczyrbak
  • prof. UJ Dr hab. Władysław Witalisz, prof. UJ

 Organising Committee:

  • Dr hab. Katarzyna Bazarnik, prof. UJ 
  • Dr Izabela Curyłło-Klag
  • Mgr Aleksandra Kamińska
  • Dr hab. Bożena Kucała, prof. UJ 
  • Mgr Krystian Piotrowski


(Posted 19 January 2022)

“Cultural Studies and the Nonhuman Turn” – Workshop, Technische Universitaet Dresden, Germany. 01-02 July 2022
Registration: 15 May 2022

Cultural Studies and the Nonhuman Turn
Workshop, TU Dresden, 01-02 July 2022

In recent years, there has been a pronounced (re-)turn to questions of ontology, matter and realism in the humanities and social sciences. While theoretical formations such as actor-network theory, object-oriented ontology, the various manifestations of speculative realism or varieties of new materialism should by no means be conflated, what they have in common – and what they share with other, sometimes related, intellectual developments like affect theory, animal and plant studies or digital media theory – is their profound challenge to human exceptionalism. Taken together, these approaches have productively been described as constituting a ‘nonhuman turn’ which “is engaged in decentering the human in favor of a turn toward and concern for the nonhuman, understood variously in terms of animals, affectivity, bodies, organic and geophysical systems, materiality, or technologies” (Richard Grusin). How do these important theoretical developments affect cultural studies as an intellectual and political practice? And how does cultural studies relate to them in turn? More specifically, where are possible points of interconnection or cross-fertilization, and what does the necessary work of articulation entail? What novel questions or fields of investigation and intervention can be opened up for cultural studies? Which new concepts, ideas and arguments promise to be fruitful? How do the respective genealogies of cultural studies and the approaches associated with the nonhuman turn relate to one another; what parallels, affinities or entanglements can be identified? What are sources of friction, contradiction or antagonism?

It is questions such as these that we want to address with our workshop. Our goal will be to create and explore encounters, dialogues, and contact zones between cultural studies on the one hand and the more recent intellectual trends and movements on the other, and to investigate the (theoretical, methodological, political) potentials and opportunities as well as tensions and conflicts connected with this. We thus invite contributions that focus on theoretical and methodological issues rather than, say, readings of cultural artifacts (or if the latter are featured, they should mainly be used for the purpose of tackling the former). We envision a gathering of a rather informal, productive and creative atmosphere (more ‘workshop’ than ‘conference’) and hence welcome papers that need not necessarily be fully ‘rounded’ and ‘finished’ scientific pieces, but can very well be of a fragmentary, ‘work/thought-in-progress’ type. If desired, other formats besides the traditional 20-minute slots will be possible as well (shorter ‘impulse talks’, thematic discussion forums, …).

We heartily welcome anyone interested in participating in the debate! To register, please send an email to the organizer ( by 15 May (there will be no fee). If you want to share your thoughts in a talk or another form of contribution, please send a few lines indicating what you will be talking about to the same email-address by 9 May.

CfP – Cultural Studies and the Nonhuman Turn

(Posted 12 February 2022)

The Uses of Form: Theory – Methodology – Pedagogy
A Digital Workshop, 1 & 2 July 2022
Initial proposal deadline: 18 March 2022. Extended deadline: 8 April 2022


  • Initial proposal deadline: 18 March (extended to 8 April)
  • Acceptance Rejection: 1 April (extended to 11 April)
  • Prerecorded papers / texts deadline: 3 June
  • Papers will be made available to participants two weeks before the workshop.

Workshop schedule (CET, Berlin/Paris/Amsterdam):

  • Friday, 1 July: 9.30 – 15.30h
  • Saturday, 2 July: 9.30 – 13h

Call for Papers

What is form and what does it do? Why does it matter to ask these questions and what is the role of form in literary studies? Questions like these continue to preoccupy literary scholars and in more recent years, following an increasing concern with cultural studies methodologies and interdisciplinary approaches, new formalisms have emerged. They have broadened their definitions to incorporate forms outside of literature, and are concerned with the material, political, social dimensions of form alongside its aesthetic affordances. Building on Caroline Levine’s new formalist conception of form, we understand form broadly as “an arrangement of elements—an ordering, patterning, or shaping”. By drawing on Caroline Levine’s definition we hope to understand the various uses of form(s) and how they interact with one another in order to produce (often unexpected) political effects. 

Workshop Format: For this interactive, collaborative workshop we invite participants to consider what it means for us to pay renewed attention to a broad definition of form in literary studies. We are hoping for presentations that focus on the theoretical, methodological and pedagogical elements of new formalism(s) and, rather than focusing on individual readings of literary or cultural works, use them as case studies to illustrate or exemplify these broader considerations. Instead of expecting fully rounded contributions, we are looking for work-in-progress papers that allow us to think through and discuss the challenges and opportunities of new formalist approaches in an informal and productive workshop space (rather than a more rigid conference-style event). For this purpose, papers will be pre-recorded and made available to participants two weeks before the workshop, so that we can use the workshop time for discussions.

We invite proposals for 10-minute workshop papers within the following three sections:

  • Theorising New Formalism
    • For this section, we invite papers that consider form and formalist approaches from a theoretical perspective. This includes diachronic perspectives that take into account the long tradition of formalist reading practices and suggest ways of mobilising them to develop new formalism(s), as well as synchronic approaches that look at the diversity of formalist approaches such as strategic formalism, speculative formalism, historical formalism or activist formalism.
    • Equally, we are interested in critical forays into the connection between new formalism(s) and reading practices such as postcritial reading, distant or surface reading, and reparative reading. Other possible topics include looking at the future of formalism(s) in and beyond literary studies and the innovative theoretical perspectives that develop new formalism(s) further.
  • Applying New Formalism
    • The methodological uses of new formalism(s) are still underexplored despite the breadth of theorisations. What are the opportunities, challenges, and limitations of new formalist methodologies in our research?
    • For this section we are looking for papers that discuss how participants apply new formalist methodologies in innovative and constructive ways in their research projects, including PhD dissertations. In particular, we are interested in the reading practices it engenders or transforms, the value of close reading and the portability of form. How do new formalist approaches that highlight forms’ portability transform our methodologies and foster new ways of reading literature, for example in the development of transhistorical, transnational or transmedial projects?
  • Teaching New Formalism
    • In literary and cultural studies, the distinction between theory and methodology is often blurry. Classroom discussions often allow only a limited amount of intense close reading  in favour of broader political discussions which can result in a disconnect for students between theory and method, and between literary studies and politics.
    • For this section we invite papers on how we can teach new formalism(s) and incorporate formalist pedagogies into literary studies curricula. What is the “pedagogical potential” of new formalism(s)? How can new formalist methodologies help us integrate literary analysis and politics as vital elements of literary scholarship more productively and fully? How do we teach attention to form that considers the interaction between political and aesthetic forms? 

Possible topics for all sections include but are not limited to:

  • new genre studies, genre theory & an attention to forms and their portability
  • different reading strategies: close reading, distant reading, surface reading, deep reading
  • formalism(s) and suspicious or post-critical reading
  • digital humanities methodologies and form
  • potential for transhistorical projects – portability across time, vs historicist approaches
  • comparative analyses, transnational approaches – portability across space (e.g. Friedman)
  • intersectionality and form, e.g. queer of colour formalism // the affordances of form for queer studies/analyses
  • decolonising approaches to form
  • differences in approaches to form generated in different geographic cultures // geographies
  • ‘close reading’ new media forms and new formalist methodologies
  • pedagogical reflections on methodology from a diachronic and synchronic perspective
  • best practice examples of teaching new formalist theories and methods

Please submit a 300-word proposal and short author bio (3-5 sentences) to Julia Ditter ( and Anne Korfmacher ( by 18 March 2022. Please indicate the section in which you would like to present when sending in your proposal. We particularly encourage submissions from PGR and ECR colleagues, and from people who identify with groups that are currently underrepresented in literary studies.

The short 10-minute papers must be submitted as text or presentation (with subtitles or transcript) before the workshop by 3 June 2022 and will be made available in a password-protected space to all participants two weeks prior to the online workshop.

To get the most out of the online workshop and to generate a productive discussion, we hope that attendants will participate in the full workshop where possible. We will plan a number of comfort breaks and children and companion animals are very welcome! If you have any accessibility needs, please let us know.

For more information about the workshop visit our website at

CfP The Uses of Form – extended

(Posted 24 February 2022)

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

Confirmed Keynote Speaker: Bernardine Evaristo

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

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

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

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

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

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

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

(posted 12 November 2021)

Calls for papers – Conferences taking place in June 2022

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

Conference website:

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

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

The following keynote speakers have accepted to join us:

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

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

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

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

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

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

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

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

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

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

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

(posted 10 April 2021)

“Disaster Discourse: Representations of Catastrophe” – the 23rd Annual International Conference of the English Department of the University of Bucharest
University of Bucharest. Bucharest, 2-4 June 2022
Extended deadline for proposals: 1 May 2022

The English Department of the University of Bucharest invites proposals for the Literature and Cultural Studies section of its 23rd Annual International Conference:

Disaster Discourse: Representations of Catastrophe
To be held online, 2–4 June 2022

Keynote speakers:

Dr. Nina Mickwitz (University of the Arts London)
Dr. Rareș Moldovan (University of Cluj)
Prof. Sascha Pöhlmann (University of Innsbruck)
Prof. Nicolas Tredell (University of Sussex)

At this stage of the twenty-first century, the actuality, imagining, anticipation and recollection of a multiplicity of present, past and potential future disasters (for example, climate change, earthquake, fire, flood, famine, mass death, pandemic, war) permeate daily experience, amplified and disseminated through global media that transmit words and images almost instantly. What are the ways in which we now represent disaster verbally and in other forms that mix words with visual and aural images or eschew language, such as films, comics, video and installation art, painting and music? How might these relate to earlier representations (in, say, predigital times)? What effects might current disaster discourse have in shaping perceptions of and responses to catastrophe? Does disaster discourse exacerbate catastrophe, or can it offer catharsis and healing? Can it envisage alternatives to living in a constant state of emergency and what might such alternatives be? Many urgent and intriguing questions are raised by this discursive mode, which seems omnipresent in our current era.

Disaster studies is a growing discipline that ranges from abstract considerations of the definitions and dynamics of disaster (for example, differentiating disaster from “accident”, “natural” disaster from human-made disaster) to the formulation of approaches to disaster preparedness, mitigation, impact assessment, response and recovery and management that have immediate practical applications (see, for example, Michael K. Lindell, “Disaster Studies” (2013); Handbook of Disaster Research (2018), edited by Havidán Rodríguez, William Donner and Joseph E. Trainor; and Disaster Studies: Exploring Intersectionalities in Disaster Discourse (2020), edited by Janki Andharia).

The examination of factual and fictional representations of disaster in words and visual images makes a crucial contribution to those studies and such representations can be studied by means of the concepts and methods developed for the theorization and analysis of elite and popular literary and cultural texts—and, reciprocally, the study of such texts can modify those concepts and methods.

Seminal texts in the study of disaster discourse include Susan Sontag’s essay “The Imagination of Disaster” (1965) and Maurice Blanchot’s L’Ecriture du désastre [The Writing of the Disaster] (1980), and the twenty-first century has generated studies that focus on one or more particular periods and/or genres, such as Romanticism and Disaster (2012), edited by Jacques Khalip and David Collings; Hilary L. Chute’s Disaster Drawn: Visual Witness, Comics, and Documentary Form (2016); America’s Disaster Culture: The Production of Natural Disasters in Literature and Pop Culture (2017), edited by Robert C. Bell and Robert M. Ficociello; Eva Horn’s The Future as Catastrophe: Imagining Disaster in the Modern Age (2018) [originally Zukunft als Katastrophe (2014)], trans. Valentine A. Pakis; and The Experience of Disaster in Early Modern Literature, edited by Sophie Chan (forthcoming, 2022).

We invite papers that explore the modes and implications of all and any kind of disaster discourse from the present or past in verbal, visual and aural forms – such as literary fiction, genre fiction, the graphic novel, comics, poetry, documentary, film, photography, painting, sculpture, installation art, music, social media posts – examining the ways in which they are generated, the media they employ, the signifying systems they use, the imagery on which they draw, their audiences, their historical, cultural and social contexts, and the further discourses they generate.
Papers may focus upon individual works or bodies of work and may also explore more general issues around conceptualizing, defining and theorizing disaster drawn from aesthetics, ethics, literature, philosophy, psychology, political thought, science, anthropology, sociology, theology, the arts, and any other relevant discipline.
Possible topics may include (but are not limited to) the following:

➢ Definitions of disaster (e.g., differentiating it from “accident”; dividing into “natural” and “[hu]manmade”)
➢ Impacts of disaster (e.g., physical, psychological, cultural)
➢ Social dimensions of disaster (e.g., in regard to class, community, ethnicity, gender)
➢ Rhetorics of disaster (the different ways in which it is spoken and written about, e.g., the kind of imagery used, the function of clichés, the issue of whether words can ever be adequate to the disastrous event)
➢ Disaster in history and historiography (e.g., the tension between documentary sources and narrative pressures)
➢ Disaster and scientific discourse (e.g., the relationship of disaster discourse to popularized and professional scientific ideas)
➢ Disaster and agency (perpetrators, accomplices and victims of disaster)
➢ Disaster and theology (e.g., the theodicean problem of vindicating God in light of the existence of evil; the idea of disaster as divine punishment [the Biblical Flood])
➢ Mythologizing disaster (from ancient literature to modern folk myths)
➢ Disaster and emotion (e.g., shock, excitement, grief, mourning)
➢ The aesthetics of disaster (e.g., the ancient Greek idea, in Aristotle’s Poetics, of catharsis (purging); the distinction between two modes of aesthetic experience in Edmund Burke’s A Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful [1797])
➢ Remembering disaster (public and private modes of remembrance and commemoration)
➢ Disaster at one’s fingertips (the effects of the almost instant transmission, sharing and amplification of disaster news on social media)
➢ Genre and disaster (e.g., tragedy; documentary; can disaster ever be (partly) written as comedy?)
➢ Disaster in literary and popular fiction (e.g., war novels, science fiction)
➢ Panels and bubbles: disaster in comics and graphic novels
➢ The rhythms and metres of disaster: engaging with disaster in poetry
➢ Theatres of disaster: is it possible adequately to put disaster on stage; what are the ways of trying to do so?
➢ Cinemas of disaster: ways of figuring disaster on film
➢ Camera eye: still photography and disaster
➢ Discord and concord: engaging with disaster in music
➢ Disaster in popular culture
➢ Anticipating disaster
➢ Living through disaster
➢ Recovering from disaster
➢ Transcending disaster
➢ Perspectivism / point of view: looking at disaster from different angles (or from clashing positions)
➢ Interdisciplinary approaches to disaster

Conference presentations should be in English, and will be allocated 20 minutes each, plus 10 minutes for discussion. Prospective participants are invited to submit abstracts of up to 200 words. Proposals should be in .doc or .docx format, and should also include (within the same document) name and institutional affiliation, a short bio (no more than 100 words), and e-mail address. Proposals for panel discussions (to be organized by the participant) will also be considered.

A selection of papers from the conference will be published in University of Bucharest Review (ISSN 2069–8658) – listed on Erih Plus, Scopus, EBSCO (Literary Reference Centre Plus), CEEOL and Ulrichsweb. See the guidelines for contributors at

Deadline for proposals: 1 May 2022
Please send proposals (and enquiries) to .
Conference fee: 30 euro (or 150 lei if paid in Romanian currency).

For further details and updates, see: .

(Enquiries regarding the Theoretical and Applied Linguistics section of the conference, which will be running at the same time, should be sent to

We look forward to receiving proposals.

Organizing and Selection Committee:

Dr Alina Bottez
Dr Dragoș Manea
Dr Andrei Nae
Dr Andreea Paris-Popa
Dr Andreea Popescu
Dr Oana-Alis Zaharia

Advisory Board:

Dr Nazmi Ağıl (Koç University, Istanbul)
Prof. Bart Eeckhout (University of Antwerp)
Prof. José Manuel Estévez-Saá (University of A Coruña)
Dr Felicity Hand (Autonomous University of Barcelona)
Prof. Carl Lavery (University of Glasgow)
Prof. Thomas Leitch (University of Delaware)
Dr Chris Louttit (Radboud University, Nijmegen)
Prof. Domnica Rădulescu (Washington and Lee University, Lexington)
Prof. Kerstin Shands (Södertörn University)
Prof. Nicolas Tredell (University of Sussex)


(Posted 11 January 2022, Updated 25 April 2022)

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

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

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

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

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

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

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

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

(Posted 8 November 2021)

“Metalinguistic Markers: Emergence, Discourse, Variation” – International Conference
“Alexandru Ioan Cuza” University of Iași, Iași, Romania, 8-9 June 2022
Aabstract submission deadline: 1 April 2022

International Conference 

Metalinguistic Markers: Emergence, Discourse, Variation
8th-9th June 2022

“Alexandru Ioan Cuza” University of Iași (hybrid or online, depending on the pandemic conditions)

Conference organized within the research project “Metalinguistic Markers between Lexicon, Grammar and Discourse. A Diachronic Approach”, funded by a grant of the Romanian Ministry of Research, Innovation and Digitization, CNCS/CCCDI – UEFISCDI, project number PN-III-P4-ID-PCE-2020-1505, within PNCDI III

Since Rey-Debove’s seminal studies (1978) on metalanguage, autonymic connotation and metalinguistic verbs, Authier-Revuz’s research (e.g. 1995) on autonymic modalization and what she calls the “boucles réflexives du dire”, or even the work of Steuckardt and Niklas-Salminen (dirs) (2005) on gloss markers, metalinguistic markers have been the subject of ongoing research in linguistics. Indeed, the metalinguistic activities that these markers refer to are an essential feature of language functioning. These activities are various operations such as reformulating, defining, naming, designating, terminological borrowing, correcting, approximating, exemplifying, or the so-called “modalisation du dire en discours second”.

Within the framework of our research project, “metalinguistic markers” are considered in a very broad sense as referring to the different illustrations of the reflexivity of natural languages, manifested by what Authier-Revuz calls « non-coïncidences du dire », whether they are phrases concerning language use (metalinguistic markers, in a narrow sense), the act of saying (meta-enunciative markers) or even discourse itself (metadiscursive markers).

Among these metalinguistic phrases, those being formed with a saying verb have been and continue to be accounted for in several works dealing with the study of these phrases, in a single language (see, for instance, Rouanne & Anscombre, 2016; Gómez-Jordana & Anscombre (eds), 2015; Modicom, 2020) or in several languages, within a comparative or a non-comparative perspective (cf., for example, Lansari, 2020; Camus et al. (dirs), 2020; Petraș (ed.), 2019). Metalinguistic markers have been especially considered in relation to the operations they mark, such as reformulating (cf., for example, Gülich & Kotschi, 1983; LeBot et al. (dirs), 2008) or approximating (cf., for example, Mihatsch, 2010; Berbinski, 2019). 

Whether they are lexemes or phrasemes, including parenthetic constructions, or even “metadiscursive comments”, markers or particles, these phrases present various degrees of lexicalization and grammaticalization / pragmaticalization, this property being reflected in the approaches dealing with their emergence (see, for example, Dostie, 2004; Vincent and Martel, 2001). More broadly, studying the way in which these expressions evolved provides elements that shed light on the relationship between lexicon, grammar and discourse (Dostie and Lefeuvre (dirs), 2017).

The conference organized by the team of the research project “Metalinguistic Markers between Lexicon, Grammar and Discourse. A Diachronic Approach” intends to question, among other things, the semantic-pragmatic functioning of metalinguistic markers in different types of discourse, their relationship to variation, as well as the mechanisms of their emergence, using oral and / or written corpora. Papers may concern one particular language or propose contrastive approaches involving two or more languages. More specifically, the works of the conference aim to provide answers to questions such as: what are the properties of the lexemes that are likely to form metalinguistic markers? How could the existence of similar syntactic configurations in different languages be explained? What are the points of resemblance/dissemblance of the mechanisms involved in their emergence in various languages? Could some universal grammaticalization models, common to several languages, be set up? What are the processes involved in the translation of these markers from one language to another? Could the translation process lead to the emergence of some new markers in the target language?, etc.

Contributions related but not limited to the following research areas and topics are welcome:

  • metalinguistic markers and types of discourse (literary, scientific, journalistic, didactic, etc.). Papers should aim at establishing connections between a particular phrase and a specific type of discourse and at identifying, where appropriate, the textual / discursive environments that trigger the emergence of a particular metadiscursive expression (cf., for example, the “opaque words” of Niklas-Salminen, 2010). Comparisons may be carried out between different types of discourse from the point of view of the use of metalinguistic markers;
  • diachronic approach of metalinguistic markers. Apart from the mechanisms of their emergence in a given language, the discussion will focus on the changes in use or frequency that metalinguistic markers can undergo in diachrony (cf., for example, Opperman-Marsaux, 2016; Steuckardt, 2015); 
  • metalinguistic markers and variation. Papers could also focus on identifying factors of variation (regional, situational, social) in the use of the markers, in both written and oral discourse; 
  • metalinguistic markers and language acquisition. Comparisons can be made between the metalinguistic operations accomplished by means of the various markers studied in different types of discourse and the metalinguistic activities involved in the process of acquisition of a given language (cf., for example, Gombert, 1990; Gomila, 2011).

Languages of communication: French and English. 

Keynote speakers:

  • Wiltrud Mihatsch, University of Tübingen
  • Laurence Rouanne, Complutense University of Madrid


Authier-Revuz, Jacqueline (1995), Ces mots qui ne vont pas de soi. Boucles réflexives et non-coïncidence du dire, Paris, Larousse.
Balaţchi, Raluca-Nicoleta (à paraître), « Marqueurs (méta)discursifs et stratégies traductives : dis donc et disons à l’épreuve de la traduction littéraire », CONCORDIA DISCORS vs DISCORDIA CONCORS: Researches into Comparative Literature, Contrastive Linguistics, Cross-Cultural and Translation Strategies, 13-14/2021.
Berbinski, Sonia (2019), De l’approximation. De « à peu près » à « cam așa ceva », Berlin, Peter Lang.
Camus, Rémi, De Vogüé, Sarah, Sitri, Frédérique (dirs) (2020), Corela, HS 31 (Métalinguistiques. Frontières, passages, dissensions), 
Dostie, Gaétane (2004), Pragmaticalisation et marqueurs discursifs. Analyse sémantique et traitement lexicographique, Bruxelles, Editions Duculot.
Dostie, Gaétane, Lefreuvre, Florence (dirs) (2017), Lexique, grammaire, discours. Les marqueurs discursifs, Paris, Honoré Champion.
Gombert, Jean-Emile (1990), Le développement métalinguistique, Paris, Presses Universitaires de France.
Gómez-Jordana, Sonia, Anscombre, Jean-Claude (éds) (2015), Langue française, 186 (Dire et ses marqueurs).
Gomila, Corinne (2011), Parler des mots, apprendre à lire. La circulation du métalangage dans les activités de lecture, Berne, Peter Lang. 
Gülich, Elisabeth, Kotschi, Thomas (1983), « Les marqueurs de la reformulation paraphrastique », Cahiers de linguistique française, 5, p. 305-351.
Lansari, Laure (2020), A Contrastive View of Discourse Markers. Discourse Markers of Saying in English and French, Cham, Palgrave Macmillan.
LeBot, Marie-Claude, Schuwer, Martine, Richard, Élisabeth (dirs) (2008), La reformulation. Marqueurs discursifs – Stratégies énonciatives, Rennes, Presses de l’Université de Rennes.
Mihatsch, Wiltrud (2010), „Wird man von hustensaf wie so ne art bekiff?” Approximtionsmarker in romanischen Sprachen, Frankfurt am Main, Vittorio Klostermann.
Modicom, Pierre-Yves (2020), « Commentaire métalinguistique et partialité du dire : enjeux de la classification opérationnelle de quelques marqueurs discursifs en allemand », Corela, HS 31 (Métalinguistiques. Frontières, passages, dissensions), 
Niklas-Salminen, Aïno (2010), « La définition dans le cadre de la glose spontanée », Publifarum, 11 (Autour de la définition), url:, consulté le 25/11/2021.
Opperman-Marsaux, Evelyne (2016), « Dis/dites-moi, dis/dites donc : la naissance de deux marqueurs discursifs en français (XVe-XVIIIe siècles) », in Rouanne, Laurence, Anscombre, Jean-Claude (éds) (2016), Histoires de dire. Petit glossaire des marqueurs formés sur le verbe dire, Peter Lang, Bern, p. 229-247. 
Rey-Debove, Josette (1997 [1978]), Le métalangage. Étude linguistique du discours sur le langage, Paris, Armand Colin.
Rouanne, Laurence, Anscombre, Jean-Claude (éds) (2016), Histoires de dire. Petit glossaire des marqueurs formés sur le verbe dire, Peter Lang, Bern.
Steuckardt, Agnès (2015), « Histoire de quelques correctifs formés sur dire », Langue française, 186, p. 13-30. 
Steuckardt, Agnès, Niklas-Salminen, Aïno (dirs) (2005), Les marqueurs de glose, Aix-en-Provence, Publications de l’Université de Provence. 
Petraș, Cristina (éd.) (2019), Studii de lingvistică, 9/2 (Les expressions métadiscursives dans les langues romanes : aspects syntaxiques, pragmatiques et sociolinguistiques),  
Vincent, Diane, Martel, Guylaine. (2001), « Particules métadiscursives et autres modes langagières : des cas de changement linguistique », TRANEL, 34/35, p. 141-152.
Vlad, Daciana (2019), « Proposition parenthétiques à fonctionnement métaénonciatif en français et leurs équivalents roumains », in Cécile Avezard-Roger, Céline Corteel, Jan Goes et Belinda Lavieu-Gwozdz, La phrase. Carrefour linguistique et didactique, Artois Presses Université, p. 109-127.

Guidelines for contributors

Contributors are invited to submit an abstract (in French or English) of about one page, references included. The authors’ names and affiliations should be mentioned. Abstracts should be sent by April 1st, 2022 to and

A selection of the papers presented at the conference will be published by an international publisher. 


  • December 10, 2021 – first call for papers 
  • January 20 2022 – second call for papers 
  • April 1st, 2022 – abstract submission deadline 
  • April 15, 2022 – notification to contributors 
  • June 8-9, 2022 – conference

Organizing committee

  • Cristina Petraș, Alexandru Ioan Cuza University of Iași
  • Sonia Berbinski, University of Bucharest / Alexandru Ioan Cuza University of Iași
  • Daciana Vlad, Université of Oradea / Alexandru Ioan Cuza University of Iași
  • Raluca Balațchi, Ștefan cel Mare University of Suceava / Alexandru Ioan Cuza University of Iași

SECOND CALL FOR PAPERS_Metalinguistic markers

(Posted 9 February 2022)

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

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

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

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

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

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

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

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

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

(Posted 21 July 2021)

“Beginnings” – the 15th annual NFEAP summer conference
Norwegian Forum for English for Academic Purposes, Oslo Metropolitan University (OsloMet), Oslo, Norway, 9-10 June 2022
Deadline for abstracts: 15 March 2022

We are pleased to announce the 15th annual Norwegian Forum for English for Academic Purposes summer conference, which will take place on Thursday the 9th and Friday the 10th of June 2022 at Oslo Metropolitan University (OsloMet), Oslo, Norway.

The theme for the 2022 conference is Beginnings.

To write is to begin. No matter how experienced the writer, one must always begin, and begin again. And perhaps no writer – whatever their experience – is ever entirely safe from the anguishing feeling of beginning for the first time, regardless of how many times they have begun before. NFEAP this year takes the opportunity to think about all the beginnings that take place in academic writing and development – the beginning of a text, the beginning of a sentence, the beginning of a seminar, of an undergraduate degree, of an academic career. What do we, as EAP practitioners, have to say about the many beginnings of academic development, the drafts and redrafts, false starts, beginner’s luck?

We welcome work that tackles any kind of academic beginning, in relation to EAP theory and practice. We invite proposals that explore EAP concepts; EAP training methods, principles, practices and research; needs analysis, syllabus and materials design, teaching strategies and methodological issues; group/interdisciplinary teaching; critical EAP; e-learning and technology; academic identities; academic literacies; any other relevant topics. 

Plenary speakers:

Please submit your abstract of no more than 300 words by March 15th, 2022 by following this link. The standard length for presentations is 30 minutes (20 minutes for presentation, plus 10 minutes for discussion). You will be notified of the outcome of the review process by April 1st 2022.

Ann Torday Gulden Scholarship

Ann Torday Gulden has been, for many years, a tireless and vital advocate for EAP in Norway, and this scholarship is named in her honour. This annual scholarship contributes up to 5000 NOK to the expenses of an EAP teacher or researcher to come to the conference and present their work. We seek to support work that is distinctive and original and that exemplifies innovative approaches to EAP theory and practice. It is open to all, but we particularly encourage graduate students and early career researchers to apply – please check the box in the submissions form if you would like to be considered for the scholarship.


The 2000 NOK conference registration fee includes refreshments and lunch for both days of the conference and the conference dinner on Thursday evening.

Please note that the NFEAP is a not-for-profit network and we are not in a position to assist with conference travel or subsistence.

We would like to thank you in advance for your contribution to the 15th NFEAP summer conference and look forward to having the opportunity to discuss and disseminate your work.

Important dates

  • Registration opens: March 2022
  • Deadline for abstracts:  15 March 2022
  • Notification of acceptance: 1 April 2022
  • Conference programme available: mid-April 2022
  • Deadline for registration: 20 May 2022
  • NFEAP conference 2022: 9th-10th June 2022

We very much hope that NFEAP 2022 will be an in person, face to face conference, and that is what we are planning at the moment. But if increased restrictions on travel or gatherings make that impractical, we will move to an online format.

(Posted 26 January 2022)

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

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

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

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

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

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

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

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

Possible topics and approaches may include:

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

(Posted 10 September 2021)

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

The Conference Secretariat,
Ahwaz 61335-4619 Iran

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

Website: WWW.LLLD.IR


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

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

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

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

(Posted 17 November 2022)

“Body Building / Building the Body in Literature” Conference.
OVALE, Junior Research Group (Sorbonne Université), Paris, France. 11 June 2022.
Deadline for abstracts: 15th April 2022.

Abstract : 400 words + mini bio-bibliography
Deadline : 15th April 2022
Notification of acceptance : end of April
Contact :

If the term bodybuilding as it is commonly used today refers to the development of muscles for competitive and aesthetic purposes, ‘bodybuilders’ were originally workers in automobile factories in charge of constructing the vehicle’s body at the end of the 19th century. The idea of bodybuilding would then pass from the world of automobile manufacturing to often extreme strengthening of muscles. First cast as a part of freak shows showcasing muscle men or strong men weightlifting for entertainment, the discipline gained popularity after the Second World war – especially in the United States – and now takes on a new level in the social media era in which looks and appearance play a central role. The very term bodybuilding implies that one’s body is not a given but part of a process, as it is being constructed and worked on. All in all, it is the product of efforts steered towards the cult of a muscled body whose  aesthetic cannot help but remind us of the Ancient Greek ideal physique (kalos kagathos). This body – especially the masculine or male one – becomes the centerpiece of a spectacle or a show. If the competitive disciplineof bodybuilding is the first thing that comes to mind when thinking about this word, the interpretation of the term is open to more than one aspect regarding the body: the literary body, the body of the text, the body politic, the corpus, etc. The idea of bodybuilding questions the construction of body and bodies. We will thus speak about body building, separating the terms to better confront them and open them up to various interpretations.

The idea of body building is a multi-faceted  and cross-disciplinary one. If the body is indeed its central tenet, the concept does invite one to play with the boundaries of what defines a body and to (re)consider one’s situation in relation to it. Precariousness, vulnerability, which can go as far as dismemberment and destruction can be lines of thought to ponder over the body. Yet one can reflect upon it in the light of its rematerialization, be it metaphorical by means of literature, or practical by means of technology and science (from cosmetics to prosthetics). All in all, transformed or frozen, constructed, deconstructed, or de-constructed, the body becomes a continual process, always transitioning towards something else, gestating, always in the making

Axes of research

Writing the body in literature 

How to write, describe and stage the body in literary works? Evoking bodies is certainly a pivotal challenge for writers: though silent and invisible on the page, conveying its image can become somewhat of a Sisyphean enterprise. Constantly metamorphosing, the protean body as an object of writing seems difficult to inscribe in the body of the text as much as in the general corpus. The description of body or bodies does however seem to be a literary staple within the scope of the readers’ expectations. From the character’s accoutrements ? to the (sometimes erotic) catalogue of its features or from the individual to the crowd, the writer’s building of a body questions the idea of embodiment. Be that as it may, this presence / absence of the body in literature is still challenged in theatre, a genre which births the text as incarnated through the body, its voice and its presence.

Building the body in literature 

The body is constructed and reconstructed in poetry – the blazon in the Renaissance voicing the writer’s adoration for it – or in novels – the realist novel being first among them. However, the first science-fiction novel, Mary Shelley’s Frankenstein, is certainly the one which first anticipates transhumanist and eugenicist issues at the heart of mid-20th century dystopias as well as speculative fictions which present their readers with hybrid bodies. Noticeably, contemporary and postmodern literature gives unparalleled tools to writers for them to model the body after unique expressions of new subjectivities. Be it sick, in pain, atrophied, ageing, misshapen or on the contrary healthy, unimpaired, strong, lively, the building of the body then operates within the same mechanical logic that is behind body building. When mankind becomes in charge of its own (re)birth and own identity, body building questions the embodiment of gender and sexuality in the flesh.

Building the body politic in literature

Indeed, literature does not limit itself to the writing and representation of physical bodies being built: it also shows how the body is built and modelled through ideological and sociohistorical dynamics. Thus, Foucault defines the body as a biopolitical matter, set at the crossroads between knowledge, power and desire. In his wake, Body Studies strive to demonstrate the way power dynamics determine the body and its representation, particularly its social, gendered, racial and sexual fabric. As such, the way literary discourse is part of this biopolitical building of the body is at the centre of our reflections. A space to navigate and challenge dogmas and norms, literature becomes a playing field for a transgressive (re)building(s) of the body. Reflecting on body politics also means reinterpreting the phrase ‘body building’ in its urban and civic meanings.

Literature as body

One must consider a final meaning to the idea behind the phrase ‘body building’: the building of the literary body of work, that is to say the body of the text itself. Stemming from the working body of the writer, texts constitute their own body in a singular manner that is worth exploring. How does one build a literary body, from the first drafts to the final publication? How to define and delineate the body of the text, starting with its unique textual and material aspects? The materiality or even corporeality of the written corpus is indeed at the core of those questions.

Cross-disciplinary aspects

The –ing ending to the verb to build instructs us to consider the construction or deconstruction of the body as a continuous process. Building the body or bodies is then a matter of development unfolding in time. The topic of bodybuilding invites itself to the interpretation of transformations involved in the process of the corporeal construction rather than to the final result, to the gestation as a whole rather than the event of the birth.

If OVALE is particularly interested in literature, the concept of  bodybuilding resonates with other art forms and enables the development of a dialog between them, hinging around a few cross-disciplinary issues.

  • Sculpture always seems to have played a pivotal role in the construction of bodies, however disincarnated they may be. The body is modelized, idealized, frozen in a 3D construction; and goes from researching the most perfect model in the tradition of Ancient Greece to pared-down, sinewy sculptures whereby the body is seen as desegregating (Giacometti)
  • Performances or happenings also come to mind, as they only exist through the body of their performers: they are using their body to make the artistic event come forward. Similarly, the reconstruction of one’s own body through artistic happenings is something of interest, for example in carnivals, drag queens and kings performances, freaks shows and cross-dressing. The building and rebuilding of the body are thus at the very centre of issues of individual and social identities.

In our contemporary times especially, photography and cinema put debates about the gaze laid on the body to the forefront, as it is built through frames and shots. The choice of the gaze, be it female or male, interrogates the settings of how spectacle builds and monstrates the body: its is shown, unveiled, sometimes concealed. Last but not least, building also refers to the city and its buildings, or rather its constructions (works). Again, the grammar behind the deverbal noun ‘building’ implies that those buildings are always part of a process and never cease to transmute. What is the body of a building? How does individuals’ bodies make one with that of the city?

Editorial committee

Line Cottegnies,
Frédéric Regard,
Alexis Tadié,
Alice Clabaut,
Marie Duic &
Quitterie de Beauregard


Abirached R., La Crise du personnage dans le théâtre moderne. Paris : Grasset, coll. Tel, 1994.
Artaud A., Le Théâtre et son double. Paris : Gallimard, 1985.
Bakhtine, Mikhaïl. L’oeuvre de François Rabelais et la culture populaire au Moyen Âge et sous la Renaissance. Paris : Gallimard, 2008.
Braidotti, Rosi. The Posthuman. Cambridge : Polity Press, 2013.
Brooks, Peter. Body Work: Objects of Desire in Modern Narrative. Cambridge : Harvard University Press, 1993.
Butler, Judith. Bodies That Matter. New York : Routledge, 1993
———. Gender Trouble. New York ; Londres : Routledge, 1999.
Cregan K., The Theatre of the Body: Staging Death and Embodying Life in Early-Modern London. Turnhout : Brepols Publishers, 2009.
Corbin, Alain. Courtine, Jean-Jacques et G. Vigarello, Georges. Histoire du corps, Paris, Seuil, 2006
Doyle, Laura. Bordering on the Body: The Racial Matrix of Modern Fiction and Culture. Oxford : Oxford University Press, 1994.
Fahy T. R., King K., Peering Behind the Curtain: Disability, Illness, and the Extraordinary Body in Contemporary Theater. New York ; Londres : Routledge, 2016.
Fausto-Sterling, Anne. Sexing the Body : Gender Politics and the Construction of Sexuality. Première édition. New York : Basic Books, 2000.
Fintz, Claude. ‘Les imaginaires des corps dans la relation littéraire’. Littérature n° 153, no. 1 (2009) : 114–31.
Foucault, Michel. Histoire de la sexualité, tome 1 : La Volonté de savoir. Paris : Gallimard, 1994.
———. La Naissance de la biopolitique. Cours au Collège de France. Paris : Le Seuil, 2004.
Genette, Gérard. Seuils. Paris : Éditions du Seuil, 1987.
Grotowski J., Vers un théâtre pauvre. Lausanne : La Cité, 1971.
Haraway, Donna J. ‘A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century’. In Simians, Cyborgs and Women: The Reinvention of Nature, 149–81. New York ; Londres : Routledge, 1991.
Hillman, David, and Ulrika Maude. The Cambridge Companion to the Body in Literature. Cambridge : Cambridge University Press, 2015.
Jouvet L., Le Comédien désincarné. Paris : Flammarion, 1954.
Kristeva, Julia. Pouvoirs de l’horreur : essai sur l’abjection. Collection ‘Tel quel’. Paris : Éditions du Seuil, 1980.
Lanser, Susan S. ‘Sexing the Narrative: Propriety, Desire, and the Engendering of Narratology’. Narrative 3, no. 1 (1995 ): 85–94.
Laqueur Thomas, La fabrique du sexe. Essai sur le corps et le genre en Occident, Paris, Gallimard, 1992 (éd. orig. : New York, 1990).
Le Breton, David. Signes d’identité. Tatouages, piercings et autres marques corporelles, Paris, Éditions Métailié, 2002.
Markotić, Nicole. Disability in Film and Literature. Jefferson : McFarland, 2016.
Mulvey, Laura. ‘Visual Pleasure and Narrative Cinema’. In Feminism and Film Theory, Constance Penley., 57–68. New York : Routledge, 1988.
O’Quinn,. Daniel et Tadié, Alexis, Sporting cultures, 1650-1850, University of Toronto Press, 2018.
Pluchard, François. L’Art corporel, Paris, Limage 2, 1983.
Préjean Marc, Sexes et pouvoir. La construction sociale des corps et des émotions, Montréal, Les presses de l’université de Montréal, 1994.
Salzman E. and Desi T., The New Music Theater: Seeing the Voice, Hearing the Body. Oxford : Oxford University Press, 2008.
Schwarzenegger, Arnold. The New Encyclopedia of Modern Bodybuilding: The Bible of Bodybuilding, Fully Updated and Revised. New York : S&S International, 1999.
Stone, Sandy. ‘The Empire Strikes Back: A Posttransexual Manifesto’. In Body Guards : The Cultural Politics of Gender Ambiguity, Julia Epstein et Kristina Staub. New York : Routledge, 1991
Vigarello, Georges. Le sentiment de soi: histoire de la perception du corps, XVIe-XXe siècle, Paris, Éditions du Seuil, 2014
Vigarello, Georges. Histoire de la beauté: le corps et l’art d’embellir de la Renaissance à nos jours, Paris, Seuil, 2004

(Posted 6 June 2022)

Religious Totalitarianism, Utopic and Dystopic Inclusive/Exclusive Communities
Sapienza Symposium, Department of European, American and Intercultural Studies,Rome, Italy, 16-17 June 2022
Deadline for proposals 15 March 2022

Social integration is a process through which societies can promote their values, institutions, and relations. It helps people to engage in social, economic, cultural, and political life which are grounded on dignity, equality, and equity. Through social integration, governments foster societies that are safe, just, and stable. In these types of societies, there is no space for discrimination or violence, but everything is based on solidarity, security, and participation of all people, including disadvantaged and vulnerable groups. Social inclusion is a process through which equal rights for all are ensured. Each individual has his/her own right to achieve his/her own full potential despite his/her background.  Social inclusion helps people to actively participate in all aspects of life; i.e., economic, social, civic, or political activities. “An inclusive society is a society that over-rides differences of race, gender, class, generation, and geography, and ensures inclusion, equality of opportunity as well as capability of all members of the society to determine an agreed set of social institutions that govern social interaction” (Expert Group Meeting on Promoting Social Integration, Helsinki, July 2008). The World Summit for Social Development (Copenhagen 1995) defines an inclusive society as a “society for all in which every individual, each with rights and responsibilities, has an active role to play”. To have an inclusive society, religious diversity, social justice, freedom of thoughts, and care for vulnerable and disadvantaged groups must be respected. By embracing religious diversity, racial diversity, and various groups of people, tolerance will be increased in the society and inequality will be reduced. People have the right to education, to political participation, and above all to take part in a political process. In an inclusive society, each individual can engage in the process by which society is managed, ordered, and represented.

Moreover, each individual has the right to basic education, public space, facilities, and information. An inclusive society respects diversity and cultural pluralism. By respecting diversity, an inclusive society avoids labeling, categorizing, and classifying people.

While an inclusive society respects diversity and multiculturalism, exclusive society values specific groups, cultures, races, or languages. In an exclusive society, people do not have the right to actively participate in social activities or to have the right to speak. People might even lose their access to education, decent work, land, or any other kind of opportunities. Dreams of inclusive communities have proven attractive to many people from politicians to sociologists to psychologists to writers and religious visionaries. While inclusive societies embrace all religions, some regimes consider one religion as the only truth and the whole community faces territorialization of faith and each individual cannot practice what he believes in. Religion plays a myriad of roles in shaping a community; utopian communities in which a religion unifies all people and sets peace among them or a dystopian community where the regime sets its oppressive rules by claiming to follow Holy books.

Some novels, deal with religion and its dystopic misuse which leads to exclusive societies; one can mention Ray Bradbury’s Fahrenheit 451 (1953), John Wyndham’s The Chrysalids (1955), and Margaret Atwood’s The Handmaid’s Tale (1985). Besides dystopic novels, there are some utopic novels which focus on religion and building an inclusive society, among those novels one can mention Robin Jenkin’s The Missionaries (1957), Iain Banks’ Culture series, Tobias Jones’ Utopian Dreams (2007), and David Bramwell’s The No9 Bus to Utopia (2014). In our upcoming conference, we intend to focus on these dystopic and utopic novels which mainly focus on the effect of religion in creating inclusive/exclusive communities. We are largely affected by politics, religion, and ideologies. While feminism, linguistics, psychoanalysis, and sociology studies, on these and similar novels, are flourishing, the examination of religion and its importance to creating inclusive/exclusive communities is being neglected. In our conference, we intend to focus on the role of literature, language, and media in portraying dystopic and utopic inclusive/exclusive communities with an eye on the role of religion. The conference aims at populating this specific area of studies by attracting contributions that analyze, from the point of view of religion, the texts and media which deal with creating inclusive/exclusive communities.

We invite graduate & postgraduate students interested in these issues to join us in the reconsideration of any of the following:

  • Religion and comparative literature
  • Dystopic and utopic literature and religion
  • Inclusive/exclusive communities in movies, and tv series
  • Literature as a means of creating inclusive communities
  • Social media and inclusive/exclusive communities
  • Language, religion, and inclusive/exclusive communities
  • Etc

Papers are welcomed from but are not limited to:

  • World Literature
  • Cultural Studies
  • Translation studies
  • Linguistics
  • Religious studies
  • Political studies
  • Media studies
  • Comparative studies

Proposals for each individual paper should be approx. 300 words long. Please send also a 200- word bio for each participant. Please send your proposal by 15th March 2022 to:
Each presentation should not exceed 15 minutes followed by 5 minutes of Q and A.

The registration fee for each participant would be 60 Euros.

The keynote speakers of the event are:

  • Elena Lamberti: Associate Professor in Anglo-American literature, Università di Bologna
  • Daniel    A.    Finch-Race    FHEA:     Assistant     Professor     in     Geography     (RTDa ‘Green’),  Università di Bologna

(Posted 15 December 2021)

Coaching-oriented Online Resources for Autonomous Learning
University of Chemistry and Technology, Prague, Czech Republic, 16 – 17 June 2022
Extended deadline for submissions: 25 May 2022

We cordially invite you to join the international conference CORALL – Coaching-oriented Online Resources for Autonomous Learning. The conference will take place in person at the School of Business UCT Prague, 16 -17 June 2022. This meeting of scholars, researchers, and educators will offer a unique opportunity to discuss the current trends in collaborative interdisciplinary learning and teaching


  • Prof. David Little, Trinity College Dublin
  • Lenka Zouhar Ludvíková, PhD., Mendel University Brno

We are inviting participants to submit papers on the following topics: • Approaches to learner autonomy

  • Autonomous learning skills in online environments
  • Collaborative autonomy
  • Coaching-oriented language learning
  • Assessment and learner autonomy

Registration: You can register and/or submit abstracts for a 15-minute presentation (180 – 200 words) including a short academic bio (80 – 100 words) via the following REGISTRATION FORM

Deadline for submissions: 25 May 2022

The conference is part of the Erasmus + CORALL – Coaching-oriented Online Resources for Autonomous Learning 2019-1-HU01-KA203-061070 project which covers the conference fee.

For more details about the conference, please see the conference website.


University of Chemistry and Technology, Building A, Technická 5, Prague 6, Czech Republic.


  • Magda Matušková (
  • Hana Pavelková (
  • Martin Štefl (

(Posted 21 June 2022)

Learn To Change – International Symposium On Participatory Pedagogy
University of Chemistry and Technology, Prague, Czech Republic. 16 June 2022,
Extended deadline for submissions: 25 May 2022

We cordially invite you to join the international symposium LEARN TO CHANGE – INTERNATIONAL SYMPOSIUM ON PARTICIPATORY PEDAGOGY. The symposium will take place in person at the School of Business UCT Prague, 16 June 2022. This meeting of scholars, researchers, and educators will offer a unique opportunity to discuss the current trends in participatory pedagogy and collaborative interdisciplinary learning and teaching. 

Keynote: Daniel Libertin (C3 Prague, Creative Code and Content Agency) 

We are inviting participants to submit papers on the following topics: 

  • Participatory Pedagogy 
  • Digital storytelling and sustainability pedagogies 
  • Digital collaborative pedagogies for the Covid era and beyond 
  • Learner-centred and participatory approaches to fostering sustainability competencies Multidisciplinary co-creation networks 
  • Collaborative digital storytelling for sustainable change 

Registration: You can register and/or submit abstracts for a 15-minute presentation (180–200 words) including a short academic bio (80–100 words) via the following REGISTRATION FORM

Deadline for submissions: 25 May 2022 

The symposium is part of the Erasmus + Learn to Change – Collaborative Digital Storytelling for Sustainable Change 2020-1-FI01-KA226-HE-092760 project which covers the conference fee. For more details about the symposium, please follow: Learn to Change Symposium website

Venue: University of Chemistry and Technology, Building A, Technická 5, Prague 6, Czech Republic. 


  • Magda Matušková ( 
  • Hana Pavelková ( 
  • Martin Štefl (

(Posted 21 April 2022)

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

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

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

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

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

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

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

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

We welcome proposals from the following areas of study:

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


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

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

(Posted 25 October 2021)

“Visual Storytelling: From the Mural to the Digital” – International Conference
University of Aveiro (Portugal), 30 June – 1 July 2022
Deadline for submissions: 31 March 2022

International Conference
Visual Storytelling:  From the Mural to the Digital
University of Aveiro (Portugal), 30 June – 1 July 2022

Organized by the Centre for Languages, Literatures and Cultures (CLLC), University of Aveiro, and the Centre for Intercultural Studies, Porto Accounting and Business School, Porto Polytechnic (CEI-ISCAP, P.PORTO)

We now live in a predominantly visual culture. Whether it be computer operating systems, with their visual equivalents for what for most of us are largely incomprehensible processing or algorithmic functions, or the wordless assembly procedures for an IKEA flatpack, we tend to take in the world and process it through images. This is not to deny the longevity and remarkable inheritance of oral traditions – only to say that the cave paintings and ancient runes have been there from the start too. Indeed, what does it mean to talk of “imagery” in writing except to suggest that the function of these verbal usages is to invite pictures in the head, pictures that may have a greater vitality than the words themselves. Conversely, when it comes to images, Eco claims, we are in the presence of macroscopic blocks of texts, whose verbal equivalent is not a simple word but a description, an entire speech, or even a whole book. 

Within this framework, visual culture is recurrently used as an epithet to describe our contemporary condition, deeply immersed in the world of images. Contemporary urban landscapes have become communicational ecosystems of visual languages made up of graffiti, street-art, advertising, signs, and propaganda. The central role of audiovisual technologies and media are one possible explanation for this state of affairs, along with the growing aestheticization of everyday life via social media, and a frustration with established avenues to expression and presence. Images and visual communication are the ideal means to construct narratives and confer symbolic meanings to the world, something well-understood by power brokers everywhere, from religions to authoritarian regimes, from people who want to sell things to us to people who want to tell things to us. 

The art of written storytelling from early literatures to the present day has been well covered in studies from the field of narratology. What this conference proposes is to participate in the current global conversation on storytelling through image from the modern period to the present and on into the future. 

Digital cultures are carrying us forward at a dizzying pace, and some of the anchorage provided by the written and spoken word may be loosening rapidly. Nicholas Mirzoeff speaks of a visualization of existence, already claiming before the end of the 20th Century that “modern life takes place onscreen […] seeing is not just a part of everyday life, it is everyday life” (An Introduction to Visual Culture. Routledge, 1999). 

But visual storytelling is not the invention of the present, nor of Europe. From the vivid graffiti found in Pompeii to the scroll narratives in Rajasthan known as Phad paintings, visual figurations of popular culture have always conferred symbolic meanings on the experiences and values ​​shared by  communities. The history of the graphic novel acknowledges forebears such as Hogarth’s series of narrative paintings in the 18thC. One might go on to reference the slideshow and silent cinema, both of which are (or are approaching) over 100 years old.  Victorian genre painting could also be cited, in which artists would attempt to encapsulate by detail and suggestion a dense narrative in a single canvas. Masque, ballet and mime could also be mentioned as forms of expression which use body and movement to convey a story in 3D space. But, it may be argued, it is in the 20th century that the image came into its own. Cheaper and more ubiquitous forms of photography, followed by the possibility of making home movies, and now of making them available for everyone to see, have followed upon greater technical sophistication in mechanical reproduction of the image, as Walter Benjamin noted so paradigmatically, changing the quantity of images we process and the nature of our reaction to them. If you add to this the penetration of the home by television since 1945 and the subsequent penetration of hearth and hand by the personal computer and the smartphone, we have a society which might feel (erroneously of course) that “it has seen it all”, or at least that it has all been made available to be seen if only we had enough life.

In the contemporary iteration of storytelling exemplified by video games the conceptualisation of narrative flared up into a wholesale revisiting of our relationship to stories, particularly when structured by the rules and challenges inherent in game progression. Even if the combat sequence of this controversy has given way to more of a puzzle-solving sequence, the issue of the significance of narrative remains distributed throughout video game studies like a health bar in constant need of attention.

The presumption behind the cryptic set of illustrations for descaling your coffee machine are that anyone anywhere can decode contemporary sign systems. The utopian elimination of writing may be further evidenced in the global sharing of popular culture references which are overwhelmingly visual. Even The Lord of the Rings is now more Peter Jackson’s construction of Tolkien the philologist’s text for most people; and arguably so now is any written text once it is transformed into a movie. Lolita is as much Sue Lyons’s sunglasses as it is Nabokov’s prose.

At the same time, local cultural variations and rerouting of these shared visualities both draw on and resist the presence of largely Western imageries and imaginaries. From Brazilian Hugo Canuto’s launching off Jack Kirby’s Avengers illustrations to animate the syncretic curating of West African mythologies in his Contos dos Orixás graphic novels, to the use of Indian pictographic traditions to tell the story of the abduction of Sita in Samhita Arni and Moyna Chitrakar’s Sita’s Ramayana, to the large number of children’s books which tell the stories of indigenous peoples with recourse to their traditions of line and colour palette, the availability of distinctive variants is larger than we might think in any medium we care to consider.

When we speak of visual culture and visual storytelling, we are referring to a system made up from a combination of universes and sub-universes, with their agents, objects and specific processes of production, dissemination, and reception. It is not a static system, but one whose constant renewal results from the rate at which its agents and technological processes change. It is also a worldview, a particular way of perceiving and portraying reality, that is not only connected to forms of seeing, but also to modes of representation which appeal to different languages, cognitive levels and sensory models. We may even admit the existence of diverse visual microcultures that correspond not so much to different social groups as to different moments of social life, aesthetic and ideological proposals, interests and intentions, which present alternative, though not necessarily antagonistic, ways of seeing and representing the world. 

It is therefore proposed to hold an international conference on Visual Storytelling to continue the conversation on how the forms and techniques of artistic, technical and commercial production are evolving from primordial instances to modern articulations of visual narrative expression. Visually narrated stories are embedded in networks of political, economic, ideological and social circumstances, far too often hardly detectable, even by those who draw, paint, photograph or write (and live) under their influence. They have also been reinvented as profitable cultural symbols of territories dominated by tourism and globalization, very distant from their origins. Whatever we look at involves affect, according to James Elkins. How this affect is evoked, gestured to or animated must be of interest to analysis if we are not to be carried along by the multiple narrative forms proposed to us, invited by us and forced onto us.

Papers are accordingly invited on specific aspects of the following topics, in rough chronological order:

  • Stage and live performance narratives
  • Visual storytelling in traditional arts and crafts
  • Storytelling in the plastic arts
  • Narrating the landscape: from recording travel to the age of Instagram
  • Museums, physical and virtual 
  • Photographic narrative forms
  • Cinema – from the silent days to modern digital and CGI forms
  • Graphic Novels 
  • Comic Books and comic strips
  • Cartoons
  • Children’s books
  • Television – entertainment, news media and the use of the image
  • Music videos – narrating the song
  • Storytelling in advertising and marketing
  • The campaign video
  • Visual Narratives on/of the city: graffiti and street art
  • Video Game narratives
  • YouTube and online filmmaking
  • Graphic fan fiction
  • The business of visual storytelling

We welcome submissions in English, by the 31st March 2022, to be sent to Professors David Callahan ( and Clara Sarmento ( with the following information:

  • Title;
  • Author(s), institutional affiliation, contact email(s);
  • Conference topic (see list above);
  • Abstract (200 words);
  • Bionote (100 words).

Registration fees:

  • 100 euros – employed academics 
  • 50 euros – graduate students
  • Registration is free for members of CLLC, U.Aveiro and CEI, ISCAP-P.PORTO

Confirmed keynote speakers:

  • Hanna Musiol, Norwegian University of Science and Technology, Trondheim 
  • Miguel Sicart, IT University of Copenhagen, Denmark

(Posted 27 January 2022)