Debating the Afropolitan
An issue of volume 21 of EJES
Deadline for proposals: 31 October 2015

The editors of EJES are issuing calls for papers for the three issues of the journal to be published in 2017. Potential contributors are reminded that EJES operates in a two-stage review process, the first based on detailed proposals (up to 1,000 words), and the second on full essays. The deadline for proposals for this volume is 31 October 2015, with delivery of completed essays by 31 March 2016.

Guest editors:  Emilia María Durán-Almarza (Oviedo), Carla Rodríguez González (Oviedo), Ananya J. Kabir (King’s College London).

In her 'Bye-Bye, Babar (Or: What is an Afropolitan?)' (2005), Taiye Selasi introduced the term 'Afropolitan' as a coinage that aims at capturing the embodied experiences of a younger generation of African diasporic subjects living in contemporary world cities. Since then, the term has been claimed by many who have identified themselves with the realities Selasi depicts in her essay, while it has also been challenged by others for its alleged class, racial, and ethnic bias, and even by its purported complicity with cultural commodification processes. In the light of these debates, the issue will explore Afropolitanism as a framework for the analysis of contemporary phenomena affecting those subjects and subjectivities that emerge at the intersections of African and urban materialities. It will do this by examining a variety of cultural, linguistic and literary expressions of Afropolitan populations of the post-1960s generations in European contexts. We seek contributions that analyse the complex interactions of race, ethnicity, gender, class, or age in the formation of contemporary Afro-diasporic subjectivities, as well as their intersections with spatial/material issues. Topics might include but are not limited to:
• Configurations of Afro-diasporic materialities in contemporary cultural representations
• Challenges and alternatives to ‘Afropolitanism’: theories, politics, identities
• Socio-economic, cultural and emotional networks in the (re)production of Afro-diasporic identities and identifications
• Intersections of gender, post-/ de-colonial and urban/spatial studies
• Afropolitan performances: drama, rhythms, visualities, discourses and styles
• Literary, linguistic and performative (re)creations of Afro-diasporic materialities
• The Afropolitan as a ‘cosmopolitan’ figure: challenges and potential
Detailed proposals (up to 1,000 words) for essays of no more than 7,500 words, as well as all inquiries regarding this issue, should be sent to all three editors:
More information about EJES.
(posted 27 January 2015)

Feminist Interventions in Intermedial Studies
An issue of volume 21 of EJES
Deadline for proposals: 31 October 2015

The editors of EJES are issuing calls for papers for the three issues of the journal to be published in 2017. Potential contributors are reminded that EJES operates in a two-stage review process, the first based on detailed proposals (up to 1,000 words), and the second on full essays. The deadline for proposals for this volume is 31 October 2015, with delivery of completed essays by 31 March 2016.

Guest editors:  Anna Kérchy (Szeged) and Catriona McAra (Leeds College of Art)

This issue seeks to explore intermedial interactions between literary and visual representations of the female body. Disrupting the contours of discipline and medium, the feminist project has radicalised text/image relationships in myriad ways, working with both contemporary examples and re-readings of the past. In the tradition of empowering marginalised other(ed) perspectives, Feminist Interventions in Intermedial Studies will seek to promote new methodological approaches that, going beyond the simple context of hegemonic domination, perform an interdisciplinary union of semiotics and corporeal feminism, of literary theory and readings in visual arts, and of iconography and revisionary interpretations of literature. Papers might, for example, explore how the semioticisation of female bodies affects the somatisation of texts and images; or offer a gender-sensitive analysis of topics like the role of illustrations, pictures collaged inside literary texts, the figurativeness of lyrical language, or the rhetorics of visual culture. We particularly welcome essays that deal with intermedial body politics in connection with the critique or negotiation of Englishness or of ideas and representations of Europe within Anglophone cultures and contexts.
Topics might include but are not limited to:
• Feminist practices, aesthetics and collectives
• Artists/writers who use literature/art in gendered ways
• Body Art/body politics
• Corporeal narratology/Corpusemiotics
• Feminist treatments of intermedial theory
• Gender-conscious narrative/poetical reinterpretations of ekphrasis, hypotyposis, synesthesia, iconotext, paratext, etc.
• The embodied reader/spectator and feminine subjectivity
• Feminist embodiments of analogue/electronic transmissions of knowledge
Detailed proposals (up to 1,000 words) for essays of no more than 7,500 words, as well as all inquiries regarding this issue, should be sent to both editors:
More information about EJES.
(posted 27 January 2015)

Getting and Spending
An issue of volume 21 of EJES
Deadline for proposals: 31 October 2015

The editors of EJES are issuing calls for papers for the three issues of the journal to be published in 2017. Potential contributors are reminded that EJES operates in a two-stage review process, the first based on detailed proposals (up to 1,000 words), and the second on full essays. The deadline for proposals for this volume is 31 October 2015, with delivery of completed essays by 31 March 2016.

Guest editors: Silvana Colella (Macerata), Brecht de Groote (Leuven), Frederik Van Dam Leuven)

Building on the achievements of the New Economic Criticism, literary critics have continued to expand our understanding of the many points of contact and separation between literature and economics. The present issue aims to push this established scholarship into new directions. It seeks to explore new approaches and methodologies and thus to shed light on some of the many connections between literary texts and, to use William Wordsworth's words, 'Getting and Spending'. While contributions are sought on literary and cultural texts from any historical period, the editors particularly welcome proposals that deal with the New Economic Criticism in European contexts.
Topics might include but are not limited to:
• The literary representation of economic concepts
• The translation, adaptation and retranslation of economic texts and motifs
• The image of the economist, industrialist or speculator in literature
• The image of the poet or artist in political economy
• Representations of 'economic women'
• Competing economic ideologies and their literary treatment: mercantilism, capitalism, socialism
• The rhetoric and poetics of economics: metaphor, anthropomorphism, ambiguity
• The ethics and aesthetics of economics: sympathy, trust, moral sentiments, consumption, desire
• Stereotypes in economic representation: intersections with nationalism, racism, anti-Semitism
• Literary responses to economic events
• Literary patronage
• The literary text as a commodity
Detailed proposals (up to 1,000 words) for essays of no more than 7,500 words, as well as all inquiries regarding this issue, should be sent to all three editors:
More information about EJES.
(posted 27 January 2015)

Sharing the Planet
A special issue of Caliban
Deadline for papers: 15 December 2015

We invite contributions for a special issue of Caliban, "Plančte en partage/ Sharing the Planet" to appear in June 2016. We encourage prospective contributors to submit papers by December 15, 2015. Papers should comprise not more than 30000 characters (MLA presentation). They should be sent to Aurélie Guillain (, Wendy Harding ( and (Françoise Besson ( Papers must sent to the three editors.
"Sharing" comes from the Old English sceran meaning to cut or split something into parts. So sharing the planet means first of all dividing it, tracing borders and boundaries with the intention of taking possession of it to convert it into private or public property thanks to a form of birthright that gives humans precedence over other species. Can we get beyond this premise so as to imagine and put into practice another form of sharing? The Cartesian view of man as "master and possessor" of nature has been analyzed as an example of the dualistic naturalism that divides subject from object, human from non-human, and mental from material domains and that characterizes a specifically Western ontology (Descola). But if we replace the vision of man as nature's master and possessor by that of "master and protector," do we still manage to escape that vision of the world in which the non-human is reified and considered as property to share?
What might it mean in theory and practice to treat non-humans (animals, vegetals, places) not as objects to share but as beings with whom to share? We can find numerous works of fiction that show how naturalistic and animistic visions coexist and come into conflict within a single text, just as they can coexist within one individual's experience (as Descola himself suggests). Fiction or memoirs seem like privileged sites not only to observe situations of companionship, symbiosis, or parasitism (whether or not mutualistic) between humans and non-human species, but also to initiate, beyond the pathetic fallacy, thought experiments that imagine what it might mean, including in terms of politics, to "think like a mountain" and thus to share the planet with that mountain, to take up Aldo Leopold's phrase and initiative.
The issue of sharing also raises the question of what it is that should be shared by all members of a community. Thus, at the end of the nineteenth century a division was made between ordinary places and sanctuaries, as we see, for example, in the history of the National Parks, especially in the U.S.A. Certain places and certain natural resources are then treated as common or public property and are spared the systematic exploitation of nature. But is this a way to guarantee environmental justice? Or is it, on the contrary, a way to create environmental hotspots or wilderness temples, the better to forget about environmental problems elsewhere (Cronon), notably in the places occupied by the economically dispossessed?
In the English-speaking world writers relay these questions and debates, but it is important to notice that most of the time within their writings certainscarcely modified natural sites are envisioned as sanctuaries and continue to play a central role and to be associated with an emotional or sacramental experience that the writing itself transforms and circulates as an intangible form of property.
Finally, the appropriation of land by colonizers or by the political forces that follow and organize that appropriation puts into play a concept of sharing that is both unequal and "leonine" in its principle. Moreover, the spoliation of native lands by multinational companies reveals not only an unequal power dynamic, but also a conception of resource allotment in which the land is res nullius, not common property but something that belongs to no one and is therefore available for an economic system geared to productivity. Literature can play a crucial role in the representation and critical understanding of this kind of sharing, notably in the case of protest writings like those of biologist and veterinarian, Wangari Maathai, Nobel Prize winner in 2009, who relates Jean Giono's widely diffused Provençal tale, The Man Who Planted Trees, to the African context.
(posted 12 July 2015)

European Writers in Exile
Deadline for abstracts: 15 December 2015

We seek essays of 5,000 to 6,000 words for an anthology that explores the work of some of the more popular and/or influential European writers in nineteenth, twentieth- and twenty-first-century exile.  The volume will become a part of a popular literary series published by a major press.

While we understand the term "exile" to refer typically to European writers who have either been forced to leave their home country or region or chosen self-exile, this term need not be defined so narrowly. That is, various countries in Europe have long been both a refuge for people and writers from many countries and, as a continent, a strife-torn region which has forced many to flee within the continent or beyond it.
Thus, in our view, the phrase "in exile" involves writers moving across borders in multiple directions and for multiple reasons, including for reasons of duress (official or personal) or personal quest. Besides the famous exilic Paris years before, between, and after the world wars, you might consider Irish writers, from James Joyce to Colm Toibin; to German writers (especially those of the German exilliteratur) such as Thomas Mann, Lion Feuchtwanger and Stefan Zweig; French writers who had to escape yet further south to escape the Vichy government, including Andre Malraux and Andre Gide. Neither should we forget the many Russian writers who have been in exile from their homeland during one or more historical eras, including Pushkin, Lermontov, Turgenev, Dostoevsky, Bunin, Khodasevich, Tsvetaeva, Pasternak, Nabokov, Mandelshtam, Solzhenitsyn, and Brodsky. Naturally, writers from east-central Europe (the Balkans and more), including Witold Gombrowicz, Paul Goma, Milan Kundera, Monica Lovincescu, Milo Crnjanski, Herta Müller, or even, perhaps, the "internal exile" of Imre Kertčsz. Of course, this is necessarily a partial list and we urge you to consider other relevant, well-known European writers who may have voluntarily or involuntarily left their home countries (or been forced underground) for a significant period of time to write in cultural exile.

In line with the expectations of the Critical Insights series, we seek essays that:
1. Provide undergraduate and advanced high school students with a comprehensive introduction to works and aspects of European writers in exile that they are likely to encounter, discuss, and study in their classrooms;
2. Help students build a foundation for studying the works and aspects in greater depth by introducing them to key concepts, contexts, critical approaches, and critical vocabulary found in the scholarship relating to European writers in exile.
This collection of transnational, globalized European literature studies envisions understanding the intersection of our contemporary world and various writers in exile in new cultural, historical, spatial, and epistemological frameworks.  How does literary production in an increasingly globalized world--when seen from exile--affect a view back towards a country or region left behind?  Or, conversely, how does exile push a writer to look outward to new (trans-) nationalized space(s)?  How does (do) your chosen text(s) construct meaning at/in/against the context of a globalized, dehumanizing, suffocating, and endless movement of goods and services and ideas across significant regional and international boundaries? These and other questions are important to investigate about European writers in exile and, taken in sum, we intend to have a academically rigorous, interesting, and cohesive volume on the topic.

The volumes follow a uniform format, including four original introductory essays as follows:
* a "critical lens" chapter (5,000 words; offers a close reading of the topic embodying a particular critical standpoint)
* a "cultural and historical context" chapter (5,000 words; addresses how the subject at hand influences the theme(s) of European writers in exile across different time periods and cultures, as well as what makes the concept relevant to a contemporary audience)
* a "compare/contrast" chapter (5,000 words; analyzes the topic of European writers in exile with regard to two or three different works, or authors, with some reference to the similarities and differences of their exile experiences contrasted with author(s) who did not leave their home country.)
* a "critical reception" chapter (5,000 words; surveys major pieces of comment or criticism of the topic and the major concerns, or aspects, that commentators on the topic have attended to over the years)
The book will also include ten chapters that analyze the themes that pervade the experience of European writers in exile and focus specific attention on some of the best works and/or authors in the "genre."  Each essay will be about 5,000 words. Together, these chapters will offer readers a comprehensive introduction to the essential themes that arise from the lives and works of American writers in exile and reflect major critical approaches to the topic.

Writers are expected to center their essays on works, topics, and critical approaches that are commonly studied, or perhaps should be, at the advanced high school and undergraduate levels and are representative of foundational and mainstream critical discourse about European writers in exile. Topics and critical approaches should be neither dated, nor so cutting edge as to risk becoming dated in 5-10 years.
For the introductory critical reception and cultural/historical context essays, writers should not devote their essays to selective critical approaches or contexts. Rather, the introductory critical reception essay should offer readers a comprehensive overview of the body of criticism or comment on European writers in exile, and the introductory cultural/historical context should consider a variety of contexts in which the topic is commonly situated.  If you wish your proposal to fulfill one of these overarching thematic goals, please say so in your communication to us.

Abstracts of about 500 words & CV by December 15, 2015 to:
Jeff Birkenstein, Ph.D., & Robert Hauhart, J.D., Ph.D.
Saint Martin’s University
5000 Abbey Way SE
Lacey, WA  98503

To the extent that you are working on author(s) that would be relevant to this volume, and have an interest in our CFP, please contact us to discuss the possibilities.
The co-editors have extensive editorial experience (see, including successful preparation of the companion text Critical Insights: American Writers in Exile (forthcoming 2015), to be released by Grey House/EBSCO shortly.
Completed first drafts of around 5,000 words by February 20, 2016.
(posted 14 November 2015)

The (Female) Body: New Encounters/Readings in British Fiction
Revista Canaria de Estudios Ingleses
Deadline for the submission of manuscripts: December 2015

The Revista Canaria de Estudios Ingleses is preparing a special issue for Spring 2016: "The (Female) Body: New Encounters/Readings in British Fiction".
This is the first time our academic journal will dedicate a monographic number to these concerns pertaining to the female body and its overlapping, inter-disciplinary dimensions in contemporary British literature by women writers. Both guest editors teach English literature at the University of la Laguna and are members of the IUEM (Institute of Women's Studies of the University of La Laguna), and one of thier most cherished areas of attention lies in the continuous interest that 21st-Century approaches to the (female) body has shown, which unleashes a bulky body of questions, not only intent on pursuing the long raised issue of 'what is a body?' but also posing inquiries into a wide spectrum of aspects creeping into discourse. These may elaborate on representational rituals concerning how the body is presented and represented, or whether/what/how it represents us, the embodying of (self-)experience and (self-re)cognition, body (il)legibility, being-having-inhabiting a body, body control, bodily deviations and disabilities, aging bodies, corporeal discourses and its transformative potentials, literary bodies, imagined or virtual corporealities, body textualities and the engendering of the female body in literary genre..., to bring out but just a few.
Literary narrativizings of the female body have proved significantly responsive to its transformative potentials. This issue aspires to rethink the female body in contemporary British women's literature as a site of creative contesting of essentializing discourses which frequently inscribe their ideologies on gendered corporealities by presenting them as tangible, self-evident truths, usually (under)valued, circumvented or placed at the borderline of representation, knowledge, voice and agency in Western dominant discourses. Instead, these new proposals of literary stylizations of the female body aim at creative rewriting, remapped localities and empowered transgressions, which may include gender and trans-gender figurations, whether in canonic or popular literature, or genre typologies mutating "corporeally" as they break free from customary narrative legibility and open ground for new representations of the body and bodiliness in customary discourses about women’s bodies. We thus intend this issue to become a meeting point for your contribution within these suggested topics, or any other hopeful delineations of identity via the female body in British women’s literature.

The deadline for the submission of manuscripts would be by December 2015 (approximately 7500 or 8500 words, conforming to the latest MLA Style Manual guidelines) and the article would be submitted to the double blind-peered review system. Please, contact us for the guidelines for publication.

The Revista Canaria de Estudios Ingleses is published twice yearly, in April and November by the University of La Laguna. As of this year, RCEI will be published in an on-line version, following current trends in journal publication. It is scanned, indexed, or abstracted by the Annual Bibliography of English Language and Literature, Current Contents, Linguistics and Language Behavior Abstracts, MLA International Bibliography, and Ulrich's International Periodical Directory, among others. Authors may republish their own material, if such republication provides due acknowledgement.

For further inquiries  please write us to:
- <> (MŞ del Pino Montesdeoca Cubas)
- or <> (MŞ José Chivite de León).
(posted 24 April 2015)

Film adaptations of Victorian and Edwardian Novels and Short Stories
Cahiers victoriens et édouardiens 82
Deadline for proposals: 31 December 2015

Chief editor: Luc Bouvard
The reasons for the great success of Victorian and Edwardian novels for producers, screenwriters, film directors, actors and spectators are many. The first that comes to mind is the international popularity of the source materials from Wuthering Heights to Dr Jekyll and Mr Hyde through Tess or Howards End. The other reasons for this predestination of Victorian and Edwardian texts to be adapted to the big or small screen are now well known: theatrical adaptations previous to film; Eisenstein's theory according to which such a novelist as Dickens could have invented the fundamentals of cinema; the novelists' (such as Conrad) and directors' (such as Griffith) common wish to make the reader and spectator see what they have imagined; the importance of illustrations accompanying those texts.
Adapters have a vast range of possibilities from the most faithful transpositions in mini-series, which the BBC still deems a viable and advisable model, to the substantial changes in space-time contextualisations (21st-century South Africa or Toronto for new versions of Oliver Twist for instance), through to stunning modifications concerning the ending or the "moral" of the story. These alterations are to be considered as the visible tip of the adaptive iceberg. There are in fact many different ways of revisiting the source texts and it is the aim of this new volume to allow new analyses to emerge.
Contributions could focus on the newly acquired type of gender relationships (feminist and neo-feminist approaches), on the space-or time-shifts from hypo- to hyper-texts (cultural studies) or on a new narratological point of view in the transposition process (narratological and intermedial studies). Comparing and ranking adaptations according to their fidelity to the source text is really not on the agenda and simply accounting for what has been lost or gained in the adaptation process is not enough, but rather a close analysis of what the interpreting third party has wished to throw into relief will be necessary.
Thanks to the processes of renewal, critique, extrapolation, popularization, transculturalization (Robert Stam), this appropriation will be seen from the more positive angle of the inflections brought to the initial text and of the renewed relevance of the work and its author's ideas and preoccupations, thus avoiding fixation and "museification". In the introduction to her book Adaptation Revisited (2002), Sarah Cardwell drew a parallel between the Darwinian definition of the term « adaptation » and the film and television adaptive practices, thus suggesting that one had to adapt or perish. If the well-known reception theory may also be used, we shall most particularly encourage more recent intermedial types of analysis. The studies may be grounded in McFarlane's 1995 neo-structuralist comparative methodology, in Sarah Cardwell's 2002 pluralist approach as well as in Linda Hutcheon's fundamental 2006 A Theory of Adaptation. Finally, the cross-fertilization between cinema and the other arts (intericonicity) and interfilmicity itself may also be useful to sustain these analyses.
Suggested bibliography :
CARDWELL, Sarah. Adaptation Revisited: Television and the Classic Novel. Manchester: Manchester UP, 2002.
ELSAESSER, Thomas & Malte HAGENER. Film Theory. An Introduction Through the Senses. Routledge, 2009.
HUTCHEON, Linda. A Theory of Adaptation. 2nd revised edition. London: Routledge, 2012.
MCFARLANE, Brian. Novel to Film: An Introduction to the Theory of Adaptation. Oxford: OUP, 1996.
NAREMORE, James (ed.). Film Adaptation. London: The Athlone Press, 2000.
STAM, Robert and Allesandra RAENGO. Literature and Film; A Guide to the Theory and Practice of Film Adaptation. Oxford: Blackwell, 2005.
Please send your submissions to
Deadline for submissions : December 31st 2015.
(posted 4 September 2015)

Feminism and orientalism
Imaginaires, Winter 2016, University of Reims
Deadline for proposals: 15 January 2016

This issue of Imaginaires will be dedicated to the study of British women travellers in the East, their accounts, their stories and their lives. The approach will be transversal (historical, sociological, literary).
The orientalists, who were translators, adventurers, archaeologists, artists or writers embarked on the Oriental adventure, broke off their ties with their native country; some joined the secrets services and others decided to remain in the East. A few women took part in this mainly masculine circle, some were wives or sisters, and others only in search of adventure as artists or travellers.

To what extent were these women seeking independence, leaving and sometimes renouncing the West? What kind of discourse did these Westerners adopt facing the Orient? Did the orientalist vision reflect incomprehension, blindness, or envy and curiosity?
This issue of Imaginaires seeks to reflect on these British women, from the XVIIIth to the XXth century, who experienced an Oriental adventure and were transformed by this 'elsewhere'. What kind of voice did they choose? How did they look at this Other? And what description did they give of Oriental women? What did they see in the mirror of the Orient? What kind of Oriental experience did they have? What were their travelling conditions?
In this issue, we exclude the Far East. We propose to explore the lives of these women, cut off from the Western society, who fled the British institutions, the class system and the strictness of English morals, in order to free themselves from a straightjacket.
The word 'feminism', used at the end of the XIXth century, was associated with the protest movement of women and was often rejected by these travellers. However, these eccentric and free-minded women set themselves free thanks to their travels.
Some lines are suggested in this study:
- Literature and exile.
- The Foucaldian dialectics of Knowledge and Power.
- The in-between state.
- The concept of nomadism introduced by Gilles Deleuze.
- Orientalism and imperialism in Edward Said's founding works.
- Feminism.
The studies will go from travel stories and letters to biographies. They will also include the works of these women (translations, studies, archaeological discoveries, paintings, photographs). Various aspects of the Orient - sometimes a reason for escape, sometimes an attraction toward the Other - will be questioned. These orientalist visions could give rise to various micro-analyses. What is, in the end, these women's point of view?

Imaginaires is the review of the CIRLEP (Centre Interdisciplinaire de Recherches sur les Langues et la Pensée), at the university of Reims. Please send your abstracts, in English or French, accompanied by a short biographical note by January 15th 2016 to:
Laurence Chamlou
(posted 7 October 2015)

Celebrating Kingsley Amis
Deadline for proposals: 30 January 2016

A collection of essays.
Editors:  Merritt Moseley (University of North Carolina, Asheville), Dieter Fuchs (Vienna University), Wojciech Klepuszewski (Koszalin University of Technology)

Kingsley Amis is predominantly famous for Lucky Jim, published in 1954, which remains a much-cherished classic, reprinted regularly and translated into many languages. This was, in fact, Amis's first published novel, as prior to writing Lucky Jim, he had written The Legacy, which remained unpublished. It seems that the title of his first, and failed, literary attempt, paradoxically heralded a long literary career, with a whole range of novels, poems, short stories, non-fiction, and other works. As a result, two decades after Kingsley Amis's death, we can reflect upon 'the legacy' of one of the most distinguished English writers of the 20th century.
Much has been written about Kingsley Amis and his oeuvre, be it in the form of numerous reviews, critical articles, and, most importantly, monographic volumes written by eminent scholars. What should also be mentioned are works of a biographical nature, the monumental biography and the edition of Amis's letters, both by Zachary Leader, being the case in point. However, Kingsley Amis's heritage is so rich and inspiring that there is still room for scholarly and critical analysis, room to discuss perspectives and voices.
The aim of the volume is manifold and comprises predominantly Amis's literary works, all genres included, but also Amis’s non-fiction, letters, and memoirs. A full picture of Amis and his achievement would not be comprehensive without including the people who influenced his life and works, such as his friend, Philip Larkin; his second wife, Jane Howard, also a writer; and  his son, Martin Amis, who became  an acclaimed writer himself.
Possible areas comprise the following:
-Amis as a poet
-Amis and academic fiction
-Amis in non-fiction
-Amis and The Angry Young Men
-Amis and women
-Amis the critic
-Amis in letters
-The Bond Amis
-Amis in film
-Amis and friends
-Amis and America
-Amis and son
-Amis on Amis
-Amis in translation
-Amis and SF
-Amis and crime fiction
-Amis on ageing
-Amis on drink
-Amis and politics
-Amis in biographies
-Amis and the English language
However, any relevant contribution in the context of Kingsley Amis, his life and his works, is most welcome.

Please send a short proposal by 30 January 2016:
(posted 12 November 2015)

Emotional Geographies: Gender, Affect, and Urban Space in Post-1945 Translocal Literary and Visual Texts
Deadline for proposals: 30 January 2016

An edited volume. Editors:
Ágnes Györke, Senior Lecturer, University of Debrecen, Department of British Studies
Imola Bülgözdi, Senior Lecturer, University of Debrecen, North American Department

Affect studies has emerged as one of the most productive fields of analysis since the turn of the 21st century. Following in the footsteps of Teresa Brennan and Eve Kosofky Sedgwick, for instance, a number of scholars have explored the function of affect and emotion in literature, culture and social life. Relying on psychoanalytical as well as social theories, the "affective turn" has contributed to cultural studies in many ways: books focusing on gender, emotional politics, transnationalism, the moving image, political engagement and leadership theories from the perspective of emotion, empathy and affect were published, among many other studies that investigate the role of emotion in social life.
Few critics, however, have investigated the intersections of emotion and location, particularly, urban space, in literary and visual texts. Henri Lefebvre has famously claimed that space expresses social relations, but does it also express emotional geographies? Can we talk about an urban sensitivity, as Heiko Schmid assumes, which provides a more sophisticated framework for city studies than Georg Simmel’s famous notion of the blasé attitude, for instance? Can we read the moving image as a map that connects affects and space? 

Our volume aims to explore these issues: we invite papers that investigate the affective dimensions of space in various post-1945 cultural contexts. We are particularly interested in comparative and cross-geographical analyses and encourage contributors to focus on the emotional geographies of iconic cities.
Contributors are invited to explore one of the following themes:
East-Central Europe as textual and spatial boundary
Translocal empathy
The place of trauma and aggression
Urban geographies of sexuality
Desire, utopia and the city
Emotional border crossings
Crime, guilt and the city
Emotional geography of eating practices
Obsession, addiction and city life
Nostalgia and urban memory
Marginalisation, exclusion and the city

Proposals are welcomed for papers within the field of literature, film, music, and the visual arts.
Abstracts of no more than 500 words are due by January 30, 2016 and notification of selection will be made by February 15, 2016.
Final papers of 7000-8000 words are due by May 30, 2016.
Please send the abstract and your CV of no more than 3 pages to:

For more information on the Gender, Translocality and the City Research Group follow the link:
(posted 27 November 2015)

Word and Text - A Journal of Literary Studies and Linguistics, VI (2016)
Deadline for proposals: 31 January 2016

Western thinkers have long been fascinated by the possibility of creating new forms of organic and inorganic life. In Plato, Homer and Aristotle we read of the living bronze and gold statues modelled by the master craftsman Daedalus and the divine blacksmith Hephaestus, while in Ovid's tales it is Pygmalion that fashions himself an ivory girl to love. Marking the beginnings of science fiction, Mary Shelley's Frankenstein imbues a patchwork monster with the breath of life, a fictional Thomas Edison creates what he believes to be the perfect female android in Tomorrow's Eve, and in Karel Čapek’s play from 1920, the Rossum factory churns out hundreds of thousands of robots that are indistinguishable from human beings. Influenced by Darwin’s revolutionary understanding of the notion of species and evolutionary change, other writers chose to turn their attention towards the human species itself and began to reflect on the possible evolution of the human into new forms of being. H.G. Wells contemplated the possible degeneration of man into creatures that descended from, but could no longer be recognised as, human, while in The Coming Race Edward Bulwer-Lytton created an elaborate fictional world in which mankind is succeeded by highly-technologised creatures whose capabilities far exceed those of Homo sapiens. In their dreams of extending the experience of human life to objects that were previously inanimate and in their portrayal of mankind as containing the germs of its own otherness, these texts disturb essentialist conceptions of the human and pre-empt our contemporary fascination with the figure of the posthuman.

Over recent decades several theorists have utilised the notion of the posthuman to describe a new phase in the history of humanity -- one that has evolved out of man’s extended relationship with technology. In her now famous ‘Cyborg Manifesto’, Donna Haraway describes a new form of life emerging out of the congress of man and machine; a “joint kinship” that defies the perceived boundaries between the organic and the inorganic, the human and the non-human. N. Katherine Hayles, meanwhile, argues that the human is being transformed into “an amalgam, a collection of heterogeneous components, a material-informational entity whose boundaries undergo continuous construction and reconstruction” (How we Became Posthuman). Under the banner of transhumanism, other thinkers have foretold of the coming of a technological singularity that will utterly transform the nature of the human species.

In distinction to these visions of the 'post' or 'after' of the human, a number of other theorists have chosen to use posthumanism to investigate more specifically how our perception of the human has been transformed and to recognise that what we have defined as human has always been inherently other. Whereas some theorists have chosen to write about a ‘post-’ to the human, others have sought to articulate what they conceive of as the 'post-' of humanism. Bringing these two positions together, the notion of the posthuman prompts us to think of that which comes 'after' the human or humanism, while also inviting us to look back upon the evolution of the human, of language and of technology, or, as Cary Wolfe describes it, "the prosthetic coevolution of the human animal with the technicity of tools and external archival mechanism […] all of which comes before that historically specific thing called "the human"" (What Is Posthumanism?).

Marked by a curious temporality, the posthuman "comes both before and after" (What Is Posthumanism?; my italics) the human and humanism and prompts us to look backwards and forwards to our past and our possible futures. The title of this journal issue adds one more layer to this temporal deferral, inviting contributors to think about how contemporary theories of the posthuman are pre-empted by philosophical, literary and scientific works from earlier periods. Contributors are invited to look back upon works from the past that project themselves into imagined futures, other past texts that in their old age reveal the germinal roots of a more contemporary understanding of the human, or perhaps contemporary texts that seek to inscribe the posthuman into our human past.

In one sense, then, this issue seeks to explore a genealogy of posthumanism, tracing its roots and origins into the past. In addition, however, it invites us to question the very notion of genealogy itself. The conflation of the two prefixes 'proto' and 'post' may be understood as an invitation to reflect more closely on how the temporal ambiguity opened up by our use of the term 'posthumanism' is inherent to any possible thinking of it. According to R. L. Rutsky, "the posthuman cannot simply be identified as a culture or age that comes 'after' the human, for the very idea of such a passage, however measured or qualified it may be, continues to rely upon a humanist narrative of historical change" ('Mutation, History and Fantasy in the Posthuman'). If one is to truly speak of -- or speak as -- the posthuman, then this must necessarily entail a new understanding of time and history. By drawing attention to the strange temporality of a 'post' that is always already a 'proto' -- and a 'proto' that is always already a 'post' -- the title to this issue urges us to rethink the very notions of human temporality, evolution, history and genealogy.

We invite contributions related, but not limited to, the following:
• Past literary, philosophical, religious and scientific texts that speak of the future of the human, the possibility of human obsolescence, or, indeed, the promise of a higher order of human being;
• Philosophical, literary and scientific works whose representation of the human pre-empts that of current posthumanist thought;
• Contemporary texts that seek to rewrite or reinterpret the past through the lens of posthumanism;
• Explorations of how the origins of the human species, of technology, and of language may be rethought through understandings of posthumanism;
• A rethinking of the notions of temporality, evolution, genealogy and history from the perspective of posthumanism.
We welcome interdisciplinary approaches, ranging across critical theory, literary and cultural studies, linguistics, as well as other disciplines in the humanities and the sciences. Contributors are advised to follow the journal’s submission guidelines and stylesheet. The deadline for abstract submission is January 31, 2016. Please send 1,000 word proposals to the editor of the volume who will answer any queries you may have. Articles selected for publication must be submitted by April 30, 2016. All submitted articles will be blind-refereed except when invited. Accepted articles will be returned for post-review revisions by June 30, 2016, and will be expected back in their final version by September 30, 2016 at the latest.
Proposals and articles should be sent as attachments to <>
(posted 25 March 2015)

Lolita at 60
A thematic issue of Miranda
Deadline for proposals: 31 January 2016

It has been sixty years since Lolita first appeared in its green-clad double volume in 1955 in Paris, published by Maurice Girodias (Olympia Press). During those six decades, the nymphet that Nabokov carved out of American poshlust made her way through all the clichés of magazines and tabloids, but also through the history of literature and the history of language (one can now look up the noun "Lolita" in dictionaries). Lolita also shaped a very specific way of being a reader, mainly because of its intertextual layering which plays with the stereotypes of Romantic poetry and detective novels, and because of its very unique narrative stance and traps. This way of being a reader has in its turn influenced writers, as can be traced in the novel’s numerous ripples in contemporary literature.

Yet, what could one hope to say about Lolita that has not been said in six decades of criticism, annotations and commentaries?
As Brian Boyd states in his 2008 essay "Lolita: What We Know and What We Don't" (Cycnos, Volume 24 n°1), critics have probably not yet unraveled all the threads of the delicate and intricate weave of the text: "There is much, much more we need to learn about Lolita", Boyd claims.

This publication in Miranda (a peer-reviewed e-journal, following the double blind review standard) edited by the French Vladimir Nabokov Society thus offers to commemorate the sixtieth anniversary of Lolita with papers focusing on new readings or elements of research so far unknown or not yet exploited by critics. Contributors are invited to explore the following aspects, provided they deliver fresh elements and/or analyses:
- the context and history of the composition, publication and translation(s) of the book throughout the world;
- the reception of the novel throughout the years: censorship, misreadings, and (mis)appropriations of the nymphet figure in popular culture;
- resurgences and re-uses of the novel’s plot, characterization, or narrative stance in contemporary literature;
- any other unstudied or under-analyzed aspect of the text (annotation and interpretation of a specific motif, or of a large-scale feature).

Paper proposals must be submitted by January 31, 2016 at the latest.
Participants will be notified by February 15, 2016 whether their proposal was accepted.
Completed papers will be due at the latest on May 31, 2016, so that the double-blind peer-reviewing process can begin.
Important: please note that acceptance of a proposal does not necessarily entail its publication, since the final publication in Miranda will depend upon the peer-reviewing procedure.
500-word proposals accompanied by a short bio should be sent to by January 31, 2016.
(posted 30 November 2015)

Literature and Arts
Poli-femo (IULM University, Milan)
Deadline for propals: 1 February 2016

We welcome articles that focus on, but are not limited to, the following topics:
Topics and areas for research that may be covered will therefore take into consideration:
Theoretical and methodological openings and perspectives
- Convergences between literary texts and artistic media: hybridization and duality
- Literary creation arising from an extraliterary artistic element
- Works of art as mediators for writers
- The signifiers of artistic media within a literary text
Other related topics proposed by those who wish to collaborate in the volume will be seriously evaluated by the Scientific Committee, in order to expand the exploration undertaken in the current issue of the Journal.

Submission Guidelines.
If you are interested in contributing please submit an abstract (min. 10/max. 20 lines) and a short Curriculum Vitae by February 1st, 2016 to
Authors will be notified by February 19th, 2016 and each accepted paper will have to be submitted (in either Italian, English or French) by June 1st, 2016.
All contributions will be subject to a double blind peer review.

The issue, edited by Prof. Lorenzo Finocchi Ghersi and Dr. Laura Gilli, will be published in December 2016.
Read the full call for papers
(posted 30 September 2015)

ESP in Iran
A special issue of The Journal of Teaching English for Specific and Academic Purposes
Deadine for proposals: 1 February 2016

The Journal of Teaching English for Specific and Academic Purposes announces the call for papers for the first 2016 special issue: ESP in Iran. The focus is on representing rich and diverse practice and research of English for Specific and Academic Purposes and the related fields. We hope to present the exquisite, scholarly work conducted in this country, which at the same time encompasses the specifics of the given environment, yet transcends it to universally applicable teaching and learning skills in this particularly demanding field of ELT.

We invite scholars affiliated with institutions in Iran and elsewhere with the hands-on experience or research related to Iran, to contribute to this issue.

The guidelines for contributions are available on the Journal site

The call for papers will be open until February 1st, 2016.
It is our intention and hope that issues like this one will become our regular practice in our attempt to thoroughly represent this ever growing, ever more relevant, and already enormously rich area of language study.

Special issue editors:
Reza Dashtestani (University of Tehran, Iran)
Seyed Mohammad Alavi (University of Tehran, Iran)
Majid Nemati (University of Tehran, Iran)
Nadežda Stojković, Editor-in-Chief
(posted 30 November 2015)

An issue of Antae
Deadline for submission: 29 February 2016

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

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

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

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

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

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

antae is an international refereed postgraduate journal aimed at exploring current issues and debates within English Studies, with a particular interest in literature, criticism and their various contemporary interfaces. Set up in 2013 by postgraduate students in the Department of English at the University of Malta, it welcomes submissions situated across the interdisciplinary spaces provided by diverse forms and expressions within narrative, poetry, theatre, literary theory, cultural criticism, media studies, digital cultures, philosophy and language studies. Creative writing is also accepted.
(posted 18 November 2015)

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

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

The Human is now inviting submissions for a special issue to be published in June 2016. The special issue will be devoted to the performance of masculinities on film in all of its diverse forms and multiplicity of cultural, social and historical situations. Interdisciplinary approaches are encouraged, as are treatments that deal with global (both Western and non-Western) film or that bridge East and West. Less-covered subjects are most welcome.
Areas of inquiry can include documentary, feature film, short film, and/or animation, focusing attention on the visual landscape of masculinity in world cinema and exploring the social, political and economic value of masculinities within global film production.
Successful submissions will demonstrate originality, rigor and persuasive argumentation. View further details on the journal's website:
Completed essays of 4500-5500 words should be submitted no later than March 1, 2016, to guest editors, Robert Mundy and Jane Collins at:
(posted 9 October 2015)

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

Special Issue Editor: Matthew J. Smith

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

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

We invite essay submissions that question and explore the sacramental, incarnational, or eucharistic aspects of texts or performances from any historical moment.
Submit essays (6,000-9,000 words) to Matthew Smith at by June 1, 2016.
Christianity & Literature is a peer-reviewed journal published by SAGE.
(posted 4 November 2015)

Permanently Valid Calls for Papers

The Journal of Cultural Mediation

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

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

For further information, contributors are encouraged to read the guidelines of the journal, given on our website:
March 31st: call for abstracts
April 15th: notification of acceptance
June 15th: paper submission
September 30th: call for abstracts
October 15th: notification of acceptance
December 15th: paper submission
(posted 16 February 2012)

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

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

This dossier devoted to the Brontës intends to analyse the works through the perspective of influence and three different fields of research can thus be considered:
-    influences on the Brontës
-    the idea of influence in the Brontës’ works
-    the Brontë influence on the writers of the 19th, 20th and 21st centuries.
Please send your proposals (one A4 page maximum) to Dr. Élise Ouvrard <>.
Accepted articles will be published in the thematic dossier "The Brontës and the Idea of Influence" on the website of LISA e-journal:
(posted 10 January 2008, updated 3 November 2010)

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

Submissions are continuously accepted.
Are literary scholars and critics supposed to voice their view on normative questions within their academic writings? How far should world views, political opinions and evaluations enter into the scholarly and critical work with literary texts? Is it even possible to exclude such judgements from literary studies? How and why do different traditions of literary studies treat these problems divergently?

Submissions are expected to refer to previous contributions to this controversy by Peter J. Rabinowitz and Marshall W. Gregory, which can be found here:
and here:
Please contact the editorial office for further details at
(posted 10 February 2011)