Calls for contributions to volumes and special issues of journals – Deadlines April to June 2024

Literary Journalism / Creative Non-Fiction in East-Central Europe.
Deadline for abstracts: 30 April 2024.

Volume edited by

  • Dr György Túry, Associate Professor, Budapest Metropolitan University Research Fellow, Corvinus Institute for Advanced Studies, Corvinus University of Budapest
  • Dr Rob Alexander, Associate Professor, Brock University, Past President, International Association for Literary Journalism Studies


Abstracts are invited for a proposed collection on Literary Journalism/Creative Non-Fiction in East-Central Europe. The volume takes as its central concern the current shapes and forms of what is variously called literary journalism, creative non-fiction, creative documentary narrative, or reportage (among other terms) in the region. We have already received preliminary interest from an academic publisher.

Geographically we define East-Central Europe as the world region that lies between Germany and Russia, south of Scandinavia and north of Greece and Turkey. Many of the countries in the region are now full members of the EU and NATO, some are candidate countries, and all of them share a common heritage of once belonging to the Communist world during the second half of the 20th century. 

We look forward to receiving abstracts for proposed chapters that chronologically focus on the 21st century and contemporary developments, motifs, and trends, but we will also consider contributions that provide a somewhat broader historical context for specific works, authors, national genre genealogies, etc. Chapter proposals focused on the transition era (late 1980s, early 1990s) and the post-socialist era (mid 1990s to mid 2000s) are also welcome. Similar to our geographically flexible definition of the region, we also have a broad conception of who could count as an East-Central European author. We would consider authors, groups of authors, or schools that i) originate in the region, ii) are/were working in the region; iii) originally publish(ed) their work in regional languages, in regional forums (newspapers, magazines, books, blogs, online forums, etc.). Proposals on internationally unknown or little-known authors, traditions, or even national genre genealogies are especially welcome.


  • Please submit abstracts of 500 – 600 words no later than April 30, 2024. After reviewing the chapter proposals, we will invite contributions. Deadline for completed chapters will be Nov. 15, 2024.
  • Final essays should be between 9,000 and 12,000 words, including notes and references and be argumentative rather than descriptive in approach. 
  • Authors whose works are included in the volume will be responsible for i) submitting English language proofread chapters and ii) clearing all permissions for the re-use of third-party material.  

Contact details

Address abstracts to:

More in the original CFP inserted below.

(Posted 15 February 2024)

Open Cultural Studies: Critical Plant Theories And Cultures: Exploring Human And More-Than-Human World Entanglements.
Deadline for proposal submissions: 30 April 2024.

Open Cultural Studies ( invites submissions for a topical issue “Critical Plant Theories and Cultures: Exploring Human and More-than-human World Entanglements”, edited by Professor Peggy Karpouzou and Dr. Nikoleta Zampaki (National and Kapodistrian University of Athens, Greece).


A post-anthropocentric approach on studying the plants marks the so-called “vegetal turn” under which it is argued that plants are agents of senses, intelligence, and consciousness, communicate with each other by being multi-voiced agents, remember, make choices and move. They possess agency and psychology that has been studied in various literary and cultural texts highlighting that plants also raise ethical concerns, such as the cultural repercussions of genetically modified organisms and moral implications of “plant sentience.” Considering “plant sentience” and eventually granting rights to the more-than-human world can be seen as a manifestation of a post-anthropocentric way to promote solidarity and “[…] negotiation of appropriate human-plant relationships.” (Hall, “Plant Autonomy and Human-Plant Ethics,” 2009: 180). This approach to the study of plants is also articulated in terms of a ‘return’ to the indigenous and religious practices of the past but also encourages present and future thinking about digital plant ecologies, bio-informatics or smart bio-cities that incorporate plants in dwelling, architecture, etc. Moreover, fields like digital plant ecologies provide a common starting point for interdisciplinary and multi-/inter-/trans-cultural collaboration in cultural heritage, area/regional and education studies. Finally, exploring plants in terms of ‘‘who’’ are and not ‘‘what’’ involves a bio-centric ethics of care and the activity of imagining and creating new worlds and more sustainable futures.

In this special issue, we will discuss critically the necessity to rethink plant life, its presence, role, and impact on various aspects of our human and non-human world by initiating an interdisciplinary dialogue, whereby different terrains of Humanities would learn from each other to think about, imagine and describe vegetal life with critical awareness.

Potential topics could be but not limited to:

  • Critical plant theories and cultures
  • Plants in Environmental Humanities and Posthumanities
  • Plants in gender studies
  • Plants in popular culture and folk studies
  • Plants in narratology and storytelling
  • Plants in global literature (poetry and prose)
  • Plants in world philosophy and ethics
  • Plants in bioethics and genetic engineering
  • Plants in biopolitics and Medical Humanities
  • Plants in Energy Humanities and petrocultures
  • Plants and environmental justice
  • Digital plant ecologies / plants in Digital Humanities, code studies, programming languages, Bio-informatics
  • Plants in visual studies and film studies
  • Plants in music studies and dance studies
  • Plants in media and communication studies
  • Plants in aesthetics and art(s), e.g. bio-/eco-art, AI art, cyborg art, etc.
  • Plants, biomimicry, architecture and design studies
  • Plants in spatial, regional and area studies
  • Plants in urban studies, smart cities and citizenship
  • Plants in religious studies
  • Plants in postcolonial and indigenous studies
  • Plants in memory studies
  • Plants in linguistic studies
  • Plants in food studies
  • Plants in cultural heritage and cultural policy
  • Plants in education studies
  • The future of Plant Humanities


Submissions will be collected by April 30, 2024 via the on-line submission system at

As the article type, choose: “Critical Plant Theories and Cultures”.

Website address

Contact details

Further questions about this thematic issue can be sent to

  • Professor Peggy Karpouzou ( and
  • Dr. Nikoleta Zampaki (

In case of technical problems with submission, please write to

(Posted 11 March 2024)

ARIEL: A Review of International English Literature. Decolonizing Museums, Collections and Archives in Postcolonial and Indigenous Literatures in English.
Deadline for proposal submissions: 1 May 2024.

Issue edited by: Guest editor : Laura Singeot (Université de Reims Champagne-Ardenne, France)


Considered now to be colonial institutions since their creation, museums have always followed European colonial aspirations and exhibited Indigenous cultures. As Barbara Black explains: “The museum served to legitimate Britain’s power at home and across the globe. It grew complicit with British imperialism, housing the spoils of colonization and guarding the growing perimeter of the British empire” (On Exhibit, U of Virginia P, 2000, p. 11). Colonial museums were perceived as shrines or mausoleums, used to preserve cultures that according to the developing discipline of anthropology were on the brink of extinction. Objects were collected and displayed as tokens of those cultures. They were studied by the European scientific community, hastening cultural dismantling and loss as objects were extracted from their communities of origin and deprived those communities of their material culture. What Linda Tuhiwai Smith wrote concerning the archives in Decolonizing Methodologies can be extended to the museum and its collections: “The archive not only contains artefacts of culture, but is itself an artefact and a construct of culture” (Decolonizing Methodologies, Zed Books, 2021, p. 58). As “artefacts and constructs” of European culture in colonial times, museums and collections entailed the tokenization and commodification of Indigenous cultures and legitimized the European cognitive and epistemological empire.

Recent studies have explored representations of museums, collections, and archives in Victorian literature, but very few have focused on contemporary postcolonial and Indigenous literatures in English. This special issue of ARIEL examines how postcolonial and Indigenous writers have been writing about museums and collections and how they have been reinventing archival methods. Contemporary literature exposes and displays the museum’s colonial roots, while placing the original processes of alienation, displacement, trauma, and commodification at the centre of knowledge creation. On the one hand, these literary works investigate the museum as it was first conceived, highlighting its limitations, and, in some cases, its perduring coloniality. On the other hand, these literary works imagine the future of the museum, restoring Indigenous voices and narratives to the centre of curatorial practices.

We invite articles offering transdisciplinary, diachronic, or comparative perspectives on this topic. Contributors may want to consider literary works through the prism of visual studies, history, or even anthropology, while drawing strongly on museum as well as Indigenous and post/decolonial studies. Authors can consider a wide array of genres (novels, short stories, comics/graphic novels, poetry, theatre). Possible topics of articles may include but are not limited to the following:

  • The representation of museums/ collections/ archives in literature: diachronic representations from colonial beginnings to post/decolonial critique; from national and collective museums to individual or domestic collections and archives; collective or individual histories of loss and contemporary reappropriations and empowerment through literature; figures of the artist/ collector/ curator/ archivist in literature, or the author as a curator/ collector/ archivist.
  • Literature as a museum: literature that displays the representations of the Other and offers a reflection on the colonial museum; literature as a historiographic method reinforcing or competing with museums; the contemporary rewriting of the Other as object or as specimen displayed in Victorian museums; contemporary critiques of museums and anthropology; Indigenous literature as an alternative to the colonial museum.
  • The literature of display: the ekphrastic dimension of literature; the depiction of tangible and intangible heritage; the taxonomic dimension and curatorial practices of literature; inspiration from objects or texts held and stored in museums or in archives; the reappropriation of art practices in literature.
  • A literature of multiple returns: literary depictions of the repatriation of objects, human remains, and stories; the dynamics of fragmentation, decontextualization and recontextualization of objects and archival texts in literature; commodification, construction of authenticity and remediation.
  • Writing Indigenous epistemologies and knowledges: Indigenous or post/decolonial reappropriations in literature; literary representation as knowledge and political claim; the Indigenous or post/decolonial rewriting of archives; Indigenous archives and the question of counter-archive.

Please submit a 300-500 word abstract together with a short biographical note (no more than 100 words) to the guest editor, Laura Singeot at by May 1, 2024. Full essays (6000-9000 words) will be due by November 1, 2024. 


  • May 1, 2024: proposal submission composed of a 300-500 word abstract together with a short biographical note (no more than 100 words)
  • November 1, 2024: Submission of full essays (6000-9000 words) 

Website address:

Contact details

Submissions should be sent directly to the guest-editor: Laura Singeot at

Read more in the original CFP below.

(Posted 2 March 2024)

Open Library of the Humanities Journal, Special Issue: Poetry off the Page – Intersecting Practices and Traditions in British Poetry Performance.
Poetry Off the Page Blog.
Deadline for submissions: 10 May 2024.

Poetry Off the Page is the first, open access, peer reviewed collection to explore and promote a wide  range of critical perspectives on recent developments  in British and Irish poetry performance and spoken  word theatre. The collection is committed to  publishing innovative and critically informed research on all aspects of oral poetry performances produced  between 1960 and the present day. Poetry Off the  Page publishes articles that apply contemporary methodologies and theoretical approaches to the study of anglophone poetry performance. It aims to promote research that examines anglophone poetry performance from a wide range of  perspectives including poetry performance as cultural activism and social practice; poetry  performance as critical methodology and theoretical lens; the impact and aesthetics of sound,  body and voice; and the role of audience, location and context(s) in spoken word  performances. 

Under the editorship of Prof. Andrea Brady (Queen Mary London), Prof. Peter Howarth  (Queen Mary London) and Dr. Helen Thomas (University of Vienna), and published by the Open Library of Humanities Journal (Editors-in-Chief, Dr. Caroline Edwards and Dr. Rose  Harris-Birtill; Managing Editor, Dr. Simon Everett), Poetry Off the Page: Intersecting  Practices and Traditions in British Performance Poetry will explore the dynamic ways in  which contemporary poetry performance in Britain has intersected with, crossed genres and  transformed established forms of British performance practice and traditions. 

We welcome innovative, scholarly articles and invite contributions that are engaging, substantially researched and thought-provoking. Articles from researchers of all career stages  are welcome, and we especially encourage submissions from scholars around the globe. All submissions will be double-anonymously peer reviewed and assessed by external readers

Submission Guidelines 

All manuscripts must be submitted to the editors at for initial assessment. Please provide the following as part of your submission: Title, abstract (250 words), short bio (100 words), up to 6 keywords, article (max. 8,000 words, clearly identifying source texts/recordings & methodologies/critical approaches), references, list of figures, acknowledgements & declaration of interest statement. Should your manuscript be taken further by the editorial team, any rights that are required for works reproduced in your research that are not cited or referenced from freely available sources will need to be included with the permission of the copyright holder. The permissions (and any associated costs) for the reproduction of these works will be the author’s responsibility to obtain. Word Length for Critical Articles: 8,000 words (excluding references).

Deadline for Submissions: 10 May 2024:

Reference Style: Harvard Author Guidelines:

Contact Details: If you have any queries, please contact The editors aim to respond to submissions within two months of receipt. Inclusivity Poetry Off the Page is committed to publishing work that advocates social justice,  equality, diversity and inclusion.


The ‘Poetry off the Page’ blog ( is dedicated to  original poetry performance research, with a focus on theory and methodology. The PoP blog  provides a space for researchers to present new ideas, apply and/or question existing  methodologies and theoretical approaches, and analyse new developments in the field such  as performance analysis and historiography, archiving audiovisual files, authorship and  performativity, archiving, (re)mediation and mediatization, interviewing, and the interface  between poetry performance studies and theory. Sample analyses are welcome where they  serve to illustrate observations on theory or methodology. 

The PoP blog is edited by the Poetry off the Page team at the Department of English and  American Studies at the University of Vienna.  

Contributions are licensed under a Creative Commons Attribution 4.0  International License and are also published with a DOI on Phaidra, the  University of Vienna’s research repository. 

If you would like to submit a guest post for consideration, please include 

  • Your personal contact details  
  • Title of your blog post 
  • Short abstract (max. 50 words) 
  • Short bio (100 words) 
  • Up to 5 keywords 
  • An open source or royalty and copyright free image for your post (ca. 1600×400 pixels; please include credits) 
  • Your article (1,000–3,000 words) formatted using MLA 8 style  
  • Please ensure that your blog post clearly identifies your source 
  • texts/recordings, AV links, relevant methodologies/critical approaches, references and acknowledgements. 

Call for Submissions:

Please email your text to


(Posted 17 February 2023)

Translation Times. Texts, Contexts And Environments – Bucharest: Pro Universitaria.
Deadline for submissions: 21 May 2024.

Editor(s): Titela Vîlceanu, Yves Gambier, Ramunė Kasperė, Nadina Vișan 


“There is a danger (or an illusion) of conceptualising translation (and the translator) in monolithic or universal terms, by giving priority or even exclusive domination to our own concept” (Gambier, 2018: 19). Acknowledging the complex and changing nature of translation practices and translation studies, we have to note that translation has become ambiguous, and that this ambiguity reverberates on other related concepts such as text and context / environment. “In three decades, a new work environment has shaken up the translator’s world. New types of translators are emerging, with a new hierarchy between them, in parallel with a multiplication of labels created for translation” (Gambier and Kasperė, 2021).


  • Manuscript submission: 21 May 2024
  • Peer review notification of authors: 21 June 2024 
  • Submission of revised version: 28 June 2024 
  • Editing and proofs to be checked: 28 August 2024 
  • Publication: 30 September 2024

See the Instructions for Authors below.

Contact details

Professor hab. Titela Vîlceanu, PhD
Department of British, American and German Studies,
Faculty of Letters,
University of Craiova (Romania)

Read more:

(Posted 18 February 2024)

The Afterlives of British Drama and Performance: Adaptation and Appropriation in 21st Century.
Deadline for proposal submissions: 31 May 2024.

The relationship between theatre and adaptation & appropriation has a long and evolving history. Since Ancient Greek playwrights, the site of drama has been bound up with repetition, recreation, re-presentation, revision, transition, rewriting, reinterpretation, re-telling, etc. process. In 21st century, this desire to move forward not only stimulates the afterlife of narratives but also flourishes a variety of theories and performances that appear to arouse academic interest in the field which is inclusive in the widest sense: “… inside the theatre and beyond it, in site-specific, promenade and immersive contexts, and in libraries and galleries; … performed solo, in huge multi-company collaborations, and with no ‘actor’ at all; … which are technologically sophisticated, and others with little or no mediation of this kind; … which are highly physical, and those which place puppets amongst the human cast …” (Babbage, 2018, p. 2*).

This book aims to gather together new and original studies on the issues, theories, practices, and perceptions which are based on adaptation and appropriation as a concept, theory, performance, etc. that characterize British theatre in the 21st century. 

Submission Details:

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 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 7 style.

Please email questions and submissions to the editor Dr. Uğur ADA:

Submission Deadlines:

  • Abstract/Chapter Due: 31 May 2024
  • Notification of Acceptance: 15 June 2024
  • Receiving Full Drafts of Chapters: 5 September 2024
  • Finalized Full Drafts of Chapters: 30 September 2024

More in the original CFP attached below.

(Posted 20 June 2024)

Lexis, Journal in English Lexicology. Issue 24: “25 Gender and Lexicon”.
Deadline for proposal submissions: 31 May 2024.

Issue edited by Dr Frédérique Brisset and Pr Corinne Oster (University of Lille, France)

Issue theme presentation 

This issue of Lexis welcomes contributions, either theoretical articles or case studies, on issues relating to the construction of grammatical gender in lexicology (morphology, morpho-syntax, semantics) and lexicography, as well as to the semantic and ideological significance of gender systems in English or various other languages, as long as they include a comparative and/or translational approach with English. 

The present call for papers invites researchers to study the ways in which gender is expressed in the lexicon from an inter/transdisciplinary perspective. All theoretical frameworks are welcome, and papers may be written in English or French. Analyses may draw on morphology, semantics, phonology, sociolinguistics, stylistics, lexicography and translation studies, among others. Case studies may apply to fictional or non-fictional texts and utterances.


  • January 2024: Call for papers
  • May 31 2024: Deadline for submitting abstracts to Lexis via the journal’s submission platform
  • July-August 2024: Evaluation Committee’s decisions notified to authors
  • November 15 2024: Deadline for submitting papers via the journal’s submission platform (Guidelines for submitting articles:
  • November and December 2024: Proofreading of papers by the Evaluation Committee
  • January 2025: Authors’ corrections
  • February 1 2025: Deadline for sending in final versions of papers

Website address

Contact details

(Posted 20 January 2024)

Hybridity and Women’s Writing in Eighteenth-century Britain.
Deadline for submissions: 30 June 2024.

Guest Editors: Francesca Blanch-Serrat, Paula Yurss Lasanta 


In the last four decades, hybridity has become an umbrella term encompassing a variety of disciplines, including biology, linguistics, postcolonial studies, media studies, and cultural studies. Particularly within literary studies, genre hybridity refers to the blending of themes, forms, and other elements from different genres—a practice with a long and fruitful history as old as literature itself. As a hybrid field itself, literature cannot be extricated from “extraneous elements” such as the sociopolitical context, class, age, or gender. According to Behling’s formulation, the hybrid genre exists as a site for identity negotiation and resistance. In this sense, the hybrid genre allows for the assertion, reconsideration, and articulation of women’s identities. In women’s writing, it becomes a strategy and a vehicle for intellectual contemplation and expression. 

Indebted to the hybridity of genre in the early modern period, the eighteenth century saw a blossoming of hybrid texts fostered by new forms of circulation and the growing literary market. Authors “experimented with hybrid combinations to a degree previously unrecognized”, and women writers in particular, often excluded from intellectual debates because of their gender, not only experimented with blending different genres but also challenged conventional notions of authorship and literary authority to navigate the constraints imposed on them. Examples of hybridity can be found in the blending of biography and fiction in Romantic novels by Mary Wollstonecraft, Mary Hays, Mary Robinson, and Mary Shelley4, as well as in genres such as the travelogue, the sentimental periodical, the agricultural tour, the cookery book, or the memoir, and other examples of life writing. 

By examining eighteenth-century women’s writing through the lens of hybridity, Hybridity and Women’s Writing in Eighteenth-Century Britain seeks to illuminate new pathways for understanding and appreciating the complexities of women’s literary production during this era. 

Located in the intersections of gender, genre, and hybridity, the editors of this volume seek contributions that explore the various ways in which women writers asserted, reconsidered, and articulated their literary identities within the socio-cultural milieu of the eighteenth century through hybrid texts. Special attention will be given to lesser-known case studies and we extend our invitation to submissions that engage with a wide range of hybrid genres, including but not limited to the novel, autobiography, periodical essay, travelogue and poetic forms. We welcome interdisciplinary approaches that enrich our understanding of literary studies, such as history, philosophy and other relevant disciplines. 

Topics of interest may include, but are not limited to: 

  • Life writing across genres. 
  • Hybrid identities: queer identities, ethnicity, interfaith relations, women and the empire, etc. 
  • Hybrid genres: the agricultural tour, the travelogue, etc. 
  • Women’s literary authority and the hybrid form. 
  • Genre hybridity in women’s scientific writing: botany, astronomy… 
  • Memory and narrative truth (Intersection between fact and fiction). 
  • Genre and political discourse (The political function of literary genres). 
  • Cultural purity and hybridity in historical contexts. 


Proposals for articles (in the form of an abstract of about 250 words) must be submitted before 30 June 2024. The selected proposals will be announced by late July. Please submit your proposals to: and 

Completed articles with a maximum length of 8,000 words, including footnotes, must be submitted by November 31, 2024. Articles will include a short biography, an abstract (80-130 words) and 5–10 keywords. Contributors should follow the Brepols Guidelines for Authors. 


Papers will be published in Hybridity and Women’s Writing in Eighteenth-century Britain (Autumn 2025), as part of the book series Early Modern Women Writers in Europe: Texts, Debates, and Genealogies of Knowledge, published by Brepols Publishers. 

Please note that the essay submission date and publication schedule are tentative and subject to change, depending on the peer reviewing progress.

For further details, see the original CFP below.

(Posted 25 April 2024)