Books and Special Issues of Journals
Representations of the
global economic crisis
Vol. 12 of Journal Culture, Language and Representation
Deadline for proposals: 30
Culture, Language and
, ISSN: 1697-7750, seeks contributions for its
next volume to appear May 2014.
"Given that representation conditions our responses and interpretations
of events, at present, the attempts to control the symbolic space of
discourses about the crisis is dominated by the struggle between the
institutional and financial powers, and a number of counter-discourses
that dispute such a space. The former appeal to regain their hegemonic
place and lost credibility. The latter emerge from social movements
like Occupy Wall Street, Arab Spring, 15-M, etc., that contest those
narratives with grassroots intervention. In such a light, the
representations of the crisis can be regarded as the ground where the
ethical discourses that have become urgent and relevant are being
articulated at the social symbolic level
Contributions are welcome that tackle the representation of the global
economic crisis from a cultural perspective in the Arts, film,
literature, journalism, as well as the linguistic, socio-economic,
political, community, or other, dimensions.
Areas of interest would include, but are not limited to:
- The role of emerging
social movements in shaping alternative discourses.
- The mutation of millenarist or War on terror discourses to collude
with institutional narratives about the crisis.
- The resurgence of popular genres (catastrophe, terror, science
fiction, children's tales) as symptom of social unrest and instability.
- Discourses of realism and reality as opposed to narrativization.
- The language of the media and politics in dealing with the crisis.
- The representation of the crisis as trauma.
approx. 7000 words should be sent to the Editors:
- either as an attachment
to Jose R. Prado <firstname.lastname@example.org>.
- or through the OJS platform in which the journal is included.
Deadline for submissions:
30 October, 2013.
(posted 24 April 2013)
Mendacity in Early Modern
Literature and Culture
Volume 19 of EJES
Deadline for proposals: 31
Guest Editors: Ingo Berensmeyer and Andrew Hadfield
Studies of early modern English literature and culture have rarely
explored discourses and practices of lying and deception. This issue
will therefore seek new ways of discussing the complex relationship
between truth and falsehood, aiming to rethink the social, cultural and
epistemological underpinnings of mendacity in early modern England (c.
1500-1750). While truth-telling is often assumed to be a universal
paradigm (as attested by the Gricean maxim of quality), the codes of
truth and lying are subject to historical change. What might appear to
be an egregious falsehood at a particular time might seem relatively
benign at another. In early modernity, what were the cultural norms of
truthfulness and lying, and on what basis were they constructed? What
were the consequences when someone did not share the assumed common
project of truth-telling and deliberately tried to avoid telling what
they knew to be the truth, or to claim as true what they knew to be
false? What were the pragmatic (legal, political, social or
gender-based) strictures on mendacious discourse, and which media, art
forms or genres were exempt from these strictures?
Contributions may explore but are not restricted to topics such as the
• discursive and/or
epistemological foundations of truth and lying in early modern culture
• lying in particular genres, discourses, media or art forms;
• particular cases of deception, fraud and slander;
• mendacity and religion;
• early modern popular culture and journalism, censorship;
• crime and fear.
Detailed proposals (500-1,000 words) for articles of c. 5,000-6,000
words, as well as all inquries regarding this issue, should be sent to
both the guest editors:
• Ingo Berensmeyer
• and Andrew Hadfield <email@example.com>.
Please note that the deadline for proposals is 31 October 2013, with
delivery of completed essays by 31 March 2014.
Volume 19 will appear in 2015.
(posted 25 February 2013)
Volume 19 of EJES
Deadline for proposals: 31
Guest Editors: Virginia Richter (Bern) and Pieter
The notion of "the creature(ly)" has historically played a decisive but
under investigated role in negotiating the flexible borders between the
supernatural and human and animal life. This issues proposes to focus
on the literary, cultural, and material histories of the creature(ly).
It wants to contribute to a more nuanced understanding of the contested
zone where the natural and the supernatural meet in the modern age; it
also aims to develop the notion of the creature(ly) as a powerful tool
for future analyses of the affects, affinities, and anxieties that have
marked this zone since the advent of modernity, and especially since
Contributions can explore, but are not restricted to:
• how the notion of the creature(ly) has shaped and reflected changing
gender relations and legal institutions of personhood, and has cut
across the binary human/animal.
• the affinities between the notion of the creature(ly) and the
diachronically related term "creativity," which places the notion at
the heart of modern conceptions of authorship and anxieties about
• the religious resonances in the notion of the creature(ly); its
relation to religious notions of Creation and the Creator and political
• postcolonial and gender dimensions of the ways in which the notion of
the creature(ly), like that of the monstrous, has historically served
to police the borders of Western subjectivity.
• the relations between animal, human, and supernatural life in popular
culture and children’s literature.
• the ways in which these relations have been shaped (and often
triggered) by scientific discourses and practices, and have been
sedimented in a broad range of material practices (like zoos).
Detailed proposals (500-1000 words) for articles of c. 5000-6000 words,
as well as enquiries about this issue, can be sent to the guest editors:
• Virginia Richter
• and Pieter Vermeulen <firstname.lastname@example.org>.
Please note that the deadline for proposals is 31 October 2013, with
delivery of completed essays by 31 March 2014.
Volume 19 will appear in 2015.
(posted 25 February 2013)
Poetics and Partition
Volume 19 of EJES
Deadline for proposals: 31
Guest Editors: GJV Prasad, Stephanos
Bapsi Sidhwa, author of the South Asian partition classic Ice-Candy Man
aka Cracking India,
has famously said 'memory demands poetic license'. This issue invites
contributions that work to develop a 'poetics' of partition by
considering the licentia poetica
of the diverse literary and cultural productions relating to the
partitions of South Asia and Cyprus. Both South Asia and Cyprus
experienced partitions and exchanges of populations in their
transitions from British colonialism to post-colonial nation-states,
yet have seldom been studied in counterpoint in the same
The issue thus queries: how is cultural memory formed in the afterlife
of a partition, and what is the role of post-memory and prosthetic
memory? How do people remember the world prior to partition, and how
does this process shape possibilities for the future? What is the
relationship between nation-state forms of memory, diasporic
imaginaries, and cultural and personal memory for the victims of
partition? What license has been taken and to what effect to re-imagine
ways of being in the world in film, fiction, poetry, memoir, and
testimony and how do these unsettle ideas and feelings of home/land,
nation and community, or other ways of belonging?
Contributions may focus on either of the regions; transregional and
comparative perspectives are also welcome. Please note that the
deadline for proposals for all issues of this volume is 31 October
2013, with delivery of completed essays by 31 March 2014. Volume 19
will appear in 2015.
Detailed proposals (500-1,000 words) for articles of c. 5,000-6,000
words, as well as all inquiries regarding this issue, should be sent to
both guest editors:
• GJV Prasad <email@example.com>
• andStephanos Stephanides <firstname.lastname@example.org>
Please note that the deadline for proposals is 31 October 2013, with
delivery of completed essays by 31 March 2014.
Volume 19 will appear in 2015.
(posted 25 February 2013)
Christopher Marlowe at 450
An Anniversary Special Issue of Early Modern Literary Studies
Deadline for proposals: 1 November 2013
will be a significant year of early modern literary anniversaries. The
450th anniversary of Shakespeare's birth is certain to attract a
significant degree of popular and scholarly attention, but his is not
the only milestone of note; 2014 will also mark the 450th anniversary
of the birth of Shakespeare's exact contemporary, Christopher Marlowe.
In order to recognise this occasion, we invite contributions to a
special anniversary issue on Marlowe, which will be published in 2014.
We welcome contributions on any aspect of Marlowe studies, but topics
to be addressed might include:
• Theoretical approaches to Marlowe based upon recent developments in areas such as gender, race, geography, sexuality, etc.
• The place of Marlowe biography
• Marlowe and editing/textual criticism
• Marlovian afterlives
• Marlowe in performance
• Marlovian genres
• Marlowe's influence
• Marlowe and early modern repertory
• Marlovian poetics
Abstracts should be submitted to Dr Dan Cadman
<email@example.com> or Dr Andrew Duxfield
<firstname.lastname@example.org> by 1 November 2013.
We anticipate a deadline of July 2014 for full submissions.
Early Modern Literary Studies
(ISSN 1201-2459) is an open-access refereed journal serving as a formal
arena for scholarly discussion and as an academic resource for
researchers in the area. Articles in EMLS examine English literature,
literary culture, and language during the sixteenth and seventeenth
centuries; responses to published papers are also published as part of
a Readers' Forum. Reviews evaluate recent work as well as academic
tools of interest to scholars in the field. EMLS is committed to
gathering and to maintaining links to the most useful and comprehensive
internet resources for Renaissance scholars, including archives,
electronic texts, discussion groups, and beyond. For further details
(posted 8 October 2013)
Muslim identity issues in
literature and film
of Contemporary Literature
Deadline for full papers:
15 November 2013
Edited by Cristina M. Gámez-Fernández <email@example.com>
Fiction narratives, films, documentaries and TV series dealing with
Muslim issues have increased notably since the events of 9/11, most of
them with reference to Islamist terrorism. Whether triggered by 9/11
attacks or not, Islamic characters in literature and film often embody
the problematic role of the 'Other' and are usually forced into a
stereotype designed from a Western biased perspective as an epitome of
fundamentalism and hatred versus the civilization and modernity
represented by white, wealthy westerners. Narratives like Hanif
Kureishi's My Son the Fanatic
(1994) and its 1997 film version, Monica Ali's Brick Lane
(2004) and its 2007 film
version, Jonathan Safran Foer's Extremely
Loud and Incredibly Close
(2005) and its 2011 film version, John
Kiran Nagarkar's God Little Soldier
Don DeLillo's Falling Man
Mohsin Hamid's The Reluctant
(2008) and its 2012 film version, Tabish Khair's How to Fight Islamist Terror from the
(2012), or Mohammad Hanif's Our Lady of Alice Bhatti
only some examples of a wider rich literary exploration.
Along with literature, films, documentaries and TV series as Kurbaan
(2009), My Name is Khan
(2010), Saving Face
(2011) or Little Mosque on the Prairie
(2007), among many others, also attempt to offer (or fail to do so) an
insight about the kaleidoscopic and multifold nature of Muslim
identity. Western constructions are also contested and challenged by
intellectuals, academicians and scholars in what has come to be one of
the defining 21st century issues: Fred Halliday's 'Islamophobia
Reconsidered' (1999), Noam Chomsky's The
Culture of Terrorism
(1999), Ziauddin Sardar and Merryl Wyn
Davies' Why Do People Hate America?
(2002), John E. Richardson's (Mis)Representing
Islam: The Racism and Rhetoric of British Broadsheet Newspapers
(2004), Samir Kassir's Being Arab
Robert Fisk's The Great War for
Civilisation: The Conquest of the Middle East
(2007), or Tabish
Khair's Muslim Modernities
(2008) display, inter alia, multifarious approaches to this issue.
The Journal of
(Allahabad, India) seeks contributions for its next issue (December
2013) that will expand our current understanding of the complex nature
of Muslim identities within the international geopolitical and
sociological situation through a variety of critical stances. Prompting
scholars to engage with connections between history, economics,
literature, society, religion, etc., this journal invites articles
devoted to the analysis of how Muslim identities are shaped, dealt
with, investigated and problematized both in narratives and the screen
by fostering multifaceted approaches. Prospective themes are:
- post-9/11 trauma
narratives and film
- Muslim social struggle after 9/11
- fighting stereotypes in the multi-ethnic classroom after 9/11
- re-visiting terrorist tragedies
- radical Islam and the radical ?Other?
- diasporic Muslim identities
- Western vs Eastern victimhood
- collective memory/history
- similarities between Christianity and Islam
- female Islamic identities
- Muslim stereotypes and racial ambiguity in Western nations
- religion-race identity creations by the West
- racism against Middle Easterners
Full papers (4000-7000 words) must conform to the latest MLA style.
Articles must be sent as attachments to <firstname.lastname@example.org>
by 15th November 2013.
(posted 6 March 2013)
Deadlines for proposals: 15 November 2013
This interdisciplinary collection of articles discusses how Shakespeare's Hamlet
has been translated into different languages and cultures at various
historical moments (including our times) and for different purposes:
performance, reading, artistic experimentation, language-learning,
nation-building and personal identity-formation, among many others.
, a central
text not only of the Shakespearean canon but Western culture generally
has travelled in translation worldwide; yet, as Laura Bohannan reminds
us in "Shakespeare in the Bush", the oft-cited universality of the
story may not be more than a myth. There are many Hamlets, and rather
than straightforward replicas of the original (indeed, which one?) they
are texts that carry traces of their own time and place. Hamlets in
different tongues may be seen as significant memory-places and
multi-layered palimpsests. This volume is interested in shedding light
on the many hues and refractions Hamlet
gains in translation and, at the same time, reasons for its transcultural presence as cultural capital.
Contributions are welcome on any aspect of translating Hamlet,
primarily in interlingual contexts (theatrical, literary, scholarly,
retranslations, dramaturgical adjustments, surtitling productions,
translations in manuscripts as well as those canonised and constantly
re-edited, translations from English as well as from relay languages or
indeed translation from English into English, nontranslation or a lack
of translation). Different approaches will be considered:
contextualised case studies (contemporary and historical), overviews
focusing on a particular national culture, comparative articles,
insights into language history, style and translation norms through
Hamlet, gender- or social-class oriented analyses, character-based,
scene-based or motif-based approaches, theoretical explorations,
practitioners' reflections, and so on.
Please email a 300 word abstract accompanied by a short biographical note to the editor, Márta Minier, by 15 November 2013 to:
- <and email@example.com>.
If you have any questions please do not hesitate to contact the editor.
(posted 8 October 2013)
Suspicious Minds: Crime in Translation
JoSTrans, The Journal of Specialised Translation
Deadline for submissions: 30 November 2013
JoSTrans, The Journal of Specialised Translation,
is an electronic, peer-reviewed journal bringing non-literary
translation issues to the fore. Published bi-annually, it includes
articles, reviews and streamed interviews by translation scholars and
The Journal of Specialised Translation a special issue on crime in
translation in July 2014 (issue n°22), guest edited by Karen Seago,
Jonathan Evans and Begoña Rodriguez.
Crime fiction and its translation is experiencing a boom: Scandinavian
Noir and Eurocrime feature regularly on the bestseller lists and in
2005, a special prize for translated crime fiction was created after
the Gold Dagger had been won by non-English language crime
authors three years in a row. Mysteries, thrillers and crime series
occupy a prime spot in film and on television and recent screen
adaptations of classic crime fiction such as Sherlock Holmes are an
indication of our continuing fascination with the genre. But it is not
only in fiction that translation meets crime. The police and the courts
rely heavily on public service interpreters and translators.
Translation itself is criminalised in various ways, e.g. in relation to
copyright infringement, legal proceedings against translators of
‘problematic’ texts and various forms of piracy. This issue aims to
explore the different facets of translation and crime.
Contributions might relate to but are not limited to:
· The characteristics and challenges of translating crime fiction
· The constraints of formula fiction and how they impact on translation
· Transmedial adaptations of crime narratives
· True crime, its translation into text and across languages and cultures
· Specialist knowledge, research and documentation in crime fiction translation
· Subtitling and dubbing thrillers
· Coherence and ambiguity in crime translation
· Crime, translation and the law
· The role of translation and interpreting in criminal justice
· Translation by and for criminals
· Translation as a crime
· Translation and forensic linguistics
· The representation of translation and interpreting in crime fiction and film
welcome contributions of full length papers (between 4k-7k words
including endnotes and references), reviews (500-800 words) and
shorter, more practical pieces for the Translator's Corner section of
The journal style sheet can be downloaded from http://www.jostrans.org/style.php
All contributions will be peer-reviewed.
Please send contributions to guest editor Karen Seago at
<firstname.lastname@example.org> with the Subject line JoSTrans Issue
22 by November 30th, 2013.
(posted 2 September 2013)
Surrealism and the Gothic
Deadline for proposals: 1
seeking to publish a collection of articles examining the connections
between Surrealism and the Gothic. Possible topics of discussion could
include (but are not limited to):
· The influence of Gothic
texts on Surrealist writers and artists (e.g., Walpole and André
Breton; Poe and the Comte de Lautréamont; Poe and Magritte; James Hogg
and André Gide; Matthew Lewis and Antonin Artaud)
· Surrealist elements in the work of Gothic writers and artists
· The legacy of the Surreal in Gothic films and fictions from 1924 to
the present day
· The legacy of the Gothic in Surrealist art and literature
· Romanticism, the Gothic and Surrealism
· More than the sum of their parts: Surrealism and the Gothic
· The Gothic and Surrealism: subcultures or counter-cultures?
· Freud, the Gothic and Surrealism
· De Sade, Surrealism and the Gothic
· The wisdom of madness: insanity in Gothic and Surrealist texts
· Crime as social rebellion in the Gothic and Surrealism
· Women Surrealists and the Gothic
· The function of humour in the Surreal and the Gothic
Please send a 500-word abstract and curriculum vitae to: Professor
Avril Horner, Faculty of Arts and Social Sciences, Kingston University,
Penrhyn Road, Kingston KT1 2EE, United Kingdom. Email:
Deadline for proposals: 1 December 2013.
The official journal of the International Gothic Studies Association
considers the field of Gothic studies from the eighteenth century to
the present day. The aim of Gothic
is not merely to open a forum for dialogue and cultural criticism, but
to provide a specialist journal for scholars working in a field which
is today taught or researched in almost all academic establishments.
Gothic Studies invites contributions from scholars working within any
period of the Gothic; interdisciplinary scholarship is especially
welcome, as are readings in the media and beyond the written word.
For more information on Gothic
, including submission guidelines and subscription
recommendations, please see the journals website:
To view Gothic Studies
online, see here: http://manchester.metapress.com/content/1362-7937
To sign up to alerts for Gothic Studies, see here: https://manchester.metapress.com/content/122707/toc-alert
(posted 15 May 2013)
Diaspora and womanhood: migration, gender and Indian values
A special thematic issue of DESI (Nr 3)
Deadline for proposals: 1 December 2013
The pluridisciplinary peer-reviewed journal DESI
(Diasporas : études des singularités indiennes) is planning a special
thematic issue on the relationships between migration, gender and
Indian values (publication scheduled for Autumn 2014). We are looking
for contributions on the questioning of Indian values (content,
significance, evolution of Indian values in a context of dis- and
re-placement), the place of women and the evolution of changing social
relations in migration and their effects on the definition of these
values. The CFP is destined to young and confirmed researchers from a
wide range of disciplines.
- Anthony Goreau-Ponceaud, Université de Bordeaux IV
- Paul Veyret Université de Bordeaux 3.
Indian cinema and literature bear witness to the multiplicity of
exchanges materializing between India and the West. The most common
theme of these diasporic media remains the encounter between East and
West and its subsequent redefinition of identity; yet, mutations in
Indian society together with the new forms of migration have helped
shape a radically new image of the Indian migrant.
image of the new Indian migrant, in films, fiction, or in anthropology
and geography has morphed into the image of the migrant as actor of
their own migration which is now perceived less as a radical break from
their country of origin than as an opportunity for social and material
improvement (Percot 2005). Change is also present in the "identity of
the purveyors of exoticism: they are no longer exclusively Western but
Indian. Non-resident Indians fabricate it every day from abroad"
(Béneï, 2005). This new form of exoticism is by and large produced by
the community of NRIs who are reinventing new forms of diasporic
imagination together with a redefinition of Indian identity. A perfect
example of such an evolution is the character of the NRI often embodied
by Sharukh Khan in Subhash Ghai’s 1997 Pardes or in Aditya Chopra’s
emblematic DDLJ. These Bollywood films from the 1990s depict NRIs as
British or American-educated cosmopolitans, but whose hearts remain
faithful to Indian tradition. They contribute to the image of a united,
predominantly Hindu, mythical India in which “Indian values” are
paramount. Women seem to be the best “keepers of tradition” and bearers
of "Indian values" in that constant movement of reinvention of
identities from one country to the other.
In diasporic fiction (Jhumpa Lahiri, Chitra Banerjee Divakaruni or Sri
Lankan novelist Roma Tearne) female characters hold particularly
uncomfortable positions at cultural crossroads where the integration of
"non-Indian" values is perceived by the community (within the limiting
frame of an enlarged family) and themselves as the betrayal of
typically "Indian" values: the sense of belonging which is sometimes
conditioned by cultural stereotyping, thus keeping men and women in a
limbo of straight-laced traditions and relationships. In many novels
and in scientific descriptions as well, settling in a Western country
is far from being a factor of emancipation and, on the contrary,
generates new situations where wives are even more dependant on their
These situations must certainly be seen from the broader perspective of
the personal project of migration, generally initiated by men or at
least constructed as such. In the US for example, the migration of
women is more often than not the opposite of a success story, as
Shivali Shah underlined (2004). Highly qualified English-speaking women
who join their husbands (after an arranged marriage) are granted the
H-1B visa for the highly qualified and yet are forbidden to enter the
labor market according to the provisions of the H-4 visa. These "H-4
wives" are therefore particularly vulnerable and sometimes become the
victims of domestic abuse. In this particular case, apparently neutral
public policies have gendered effects and promote situations of
Although the mass migration of males, as in Kerala, has granted
autonomy to the women who remained at home (Gulati, 1993), it seems the
migration of Indian wives to join their NRI husbands has often been the
source of tensions and grievances. Conversely, in the case of Indian
female nurses, Marie Percot (2005) has demonstrated that when the
migration project stems from a desire for social self-improvement and
wider access to consumer goods, daughters and wives long for more
autonomy and more individualism, eventually putting into question
traditional social values.
The thrust of this issue is twofold: first, it aims at questioning the
representations of gender in migration in art, cinema and literary
productions; then, determining the element that modifies in migration
the relationships between the genders and creates an unbridgeable gap
with the Indian model.
All the contributions questioning Indian values (content, significance,
evolution of these values in favour of a multiplicity of dis- and
re-placement), the place of women and the evolution of social rapports
in migration and the effect it has on the definition of these values
will be welcome.
Articles (about 40,000 signs plus illustrations) can be written in French or in English must be sent to both gueset editors:
- Anthony Goreau-Ponceaud <email@example.com>
- and Paul Veyret <Paul.Veyret@u-bordeaux3.fr>.
- 1 December 2013: submission deadline for contribution proposals (250 words with short resume).
- 15 March 2014: Deadline for submission of completed articles to peer-review committee.
- November 2014: Issue Nr 3 of DESI
(posted 16 October 2013)
Caliban and His Transmutations
Deadline for proposals: 10 December 2013
For its half-centenary (1964-2014), Anglophonia/Caliban will be devoted to "Caliban and His Transmutations".
Caliban was founded in 1964 by Professor Victor Dupont. Twenty-four years earlier, in 1940, a review called Français dans la Clandestinité had appeared. When the war was over, some of its founder members started another periodical called Caliban
(1947). In its third issue a journalist, Jean Bensaïd, a member of the
editorial board, wrote that its chronicles aimed at "breaking
conventional thinking… with or without the agreement of any Church". He
signed with his pen name Jean Daniel, which he kept using from then on.
In 1986, another Caliban was
started by Lawrence R. Smith in the United States with the purpose of
challenging the literary formalism that prevailed at that time. In 2010
the review was renamed Calibanonline. It highlighted not only avant-garde literary works, but also paintings, artistic videotapes and musical compositions.
rebellion: he is the slave who won't obey and he will fight for
freedom. On the occasion of the fiftieth anniversary of our own Caliban, its past and present editors wish to pay tribute to that other Caliban,
born in the dark times of the second world war to defend freedom
and literature : Two strands of thought join forces to designate the
same character as the mouthpiece of those who refuse to submit.
Each time Man has given birth to a Caliban that assumed the shape of a
journal, it was meant to express a yearning for liberty in literature
and the arts, or through them, as was the case in the war period.
Maurice Lévy, whose anti-conformism had always been the leaven of his
works, made the choice of that name for our scholarly review,
indicating the orientation he wished to give it. "What could be more
subversive in our world," he enquired, "than intimating to Man that he
is free ? "
From Shakespeare's The Tempest to Aimé Césaire's play, Une tempête,
Caliban lives and transforms himself in the world's literatures. You
find him in African literature, as a symbol of man oppressed by
colonization: "First seen as a figure of dispossession among the
colonized, Shakespeare’s Caliban has evolved into a constant and
complex, if not controversial metaphor in the discourse of African
languages and literatures", Christiane Fioupou writes. "Indeed African
and Caribbean writers have endeavoured to go beyond the threshold of
their political and linguistic situations, appropriating "The Legacy of
Caliban" (John Pepper Clark) -- the legacy of language --, "Caliban's
Curse" and "Caliban’s Gamble" (Niyi Osundare) or disparaging "The
Caliban Complex" (Ayi Kwei Armah), to name but a few titles using
Caliban as a colonial or "post-colonial" icon" (Christiane Fioupou).
The reappropriation of the Shakespearian Character raises some issues,
as Charlotte Bruner rightly points out: "Several recent critics of
African literature have described the African writer as a Caliban; yet
these critics are not only sympathetic but also appreciative of the
very writers they so label. Even more strangely, some of these writers
themselves have accepted the label. Is this act of acceptance a mark of
shame, of defiance, of brutish depravity? Is it perhaps acceptance of
others’ rejection so that subsequent regeneration can occur?"
(Charlotte H. Bruner). Or is it only a way of turning the "Carib Indian
native cannibal" into a "colonized black African slave" in order
eventually to make out of him the "triumphant Third World
An evocation of Caliban is also to be found in Bruce Chatwin's travel writing. "The rhythms of Caliban's monologue in The Tempest
[...] well accord with the crunching of the shale" under an
explorer's feet in Thomas Wharton's Canadian novel Icefields. Ernest Renan has used his name in popular "fantasy" literature. An example is Neil Gaiman's re-writing of The Tempest in Sandman. He is also a character in Roger Macbride Allen's SF novels (Caliban the Robot), as also in Dan Simmons's (Ilium and Olympus). In the realm of painting, Odilon Redon has a canvas entitled "Caliban's Sleep". More recently, in his "Merry Theatre" (Water colour, 2009), Jean-Marc Brugeilles suggests a new approach to The Tempest,
his Caliban having a man's body, an iguana's head, and the ears of a
hare. Caliban opens new vistas towards free poetical images, which may
be an incentive to meditation for the authors of this volume.
Caliban is also found in films with the numerous adaptations of Shakespeare's The Tempest
well as of other fantasy works mentioned above. He is to be found in an
Underworld song, "Caliban’s Dream", and the list of his metamorphoses
does not end here.
In new journals, in literary works around the world, in painting, in
the cinema, in music, everywhere Caliban the slave is ceaselessly
breaking his chains, making audible voices which otherwise would be
stifled or would simply remain isolated.
Proposals for articles for "Caliban and His Transmutations"
should be sent to the editors of the issue, namely those who are or
have been editors and co-editors of Caliban
from the very beginning. We would also like to mention Victor Dupont
who presided over its creation as well as Fernand Lagarde and Maurice
Lévy who, each in his turn, was chief editor.
Proposals (with a maximum of 300 words) should reach the board of editors before 10 December 2013.
Accepted articles (in French or English) should be sent before 1 March 2014.
Our stylesheet will be included with acceptance notices.
We thank you for your contribution.
Françoise Besson (firstname.lastname@example.org);
Philippe Birgy (email@example.com);
Roland Bouyssou (firstname.lastname@example.org);
Jean-Louis Breteau (email@example.com);
Jean-Paul Débax (firstname.lastname@example.org);
Albert Poyet (email@example.com);
Marcienne Rocard (firstname.lastname@example.org).
(posted 2 October 2013)
Television Series and
Narratology: New Avenues in Storytelling
Deadline for proposals: 31
Television has long been considered the visual medium where writers
continue to hold sway over the director/auteur who dominates the silver
screen. For reasons that perhaps stem from the burgeoning industry of
screenwriter's seminars and screenwriting handbooks, increasing
attention has been paid to the structure of television writing:
showrunners like Dan Harmon (creator and once and future showrunner of Community
expose their Propp-like schematics of episode-writing to an avid
audience, while the Sundance channel has followed in the footsteps of
Orange's documentary series Showrunners with its own documentary series
on television writers, The Writer's Room. How does the traditionally
collaborative writing process of the American television series combine
with the auteurist vision of television present since David Chase
and The Sopranos
became a household
The Emmy nominations announced on July 18, 2013, were unusual in
heralding not only the best and brightest in television, but also the
storytelling innovations that television has been showcasing in recent
years. By nominating Netflix's House
whose entire first season was made available on the VOD service,
Hollywood acknowledged the changes in the way television is made,
packaged, and enjoyed: the serialized narratives that have become
relatively standard in recent years no longer require the viewer to
'tune in next week.' Instead, streaming, DVD, and VOD services now
allow for marathon viewings that demand increasingly complex narratives
to satisfy sustained and / or repeated viewings. It seems therefore an
appropriate time to reexamine the narrative strategies employed in a
new golden age for American television.
Topics could include:
*Structure: the television
series has evolved in recent years, both in its beginnings, and its
endings (for example with the generalization of the cold open, or the
efforts made to truly conclude a series rather than have it simply end).
*Defining one's terms: with efforts like Buffy the Vampire Slayer Season 8
(in comic book format) and Richard Castle's Nikki Heat books appearing
in bookstores, where does diegesis end?
*Problems of seriality and television narrative: how has televisions
attitude towards seriality changed, and how does the television writer
satisfy the weekly viewer, the binge viewer, and the repeat viewer? Has
the traditional structure of writing in acts and its perpetuations been
called into question -- for example in premium cable offerings, where
commercial breaks are no longer an issue?
*Frame narratives: to what extent has the return of the often ironic
narrator, from Sex in the City
to Desperate Housewives,
hailed a similarly ironic distance from the diegesis? What has been the
cultural impact of the suggestive use of analepse and prolepse in a
series like Lost?
*Self-referential television: does quality television necessarily refer
to itself, as Robert J. Thompson once suggested, and has this tendency
increased in recent years?
This list is not exhaustive.
Essays in English of between 5,000 and 10,000 words should be submitted
by December 31, 2013 to:
- Georges-Claude Guilbert
- AND Shannon Wells-Lassagne <email@example.com>.
29 July 2013)
Beyond the Grand Tour: Continental Tourism and Travel Writing, 1815-1915
Deadline for submissions: 1 January 2014
re-opening of borders on the Continent in 1814/15, writers flooded the
literary market with works exploring continental tours and experiences.
We invite submissions for a proposed essay collection concerning the
trends and evolutions of travel writing about and within the Continent
during the long nineteenth century. Essays might address gendered
travel, narratives determinedly off the beaten paths, Byronic or other
'celebrity' tourism, commercialization and mass tourism, genre
challenges and boundaries, and the intersections of tourism and travel
in many different avenues. Essays will consider the variety of ways in
which writers responded to the opening of borders and their
accompanying crossings throughout the century, as well as the ways in
which familiarity with such Continental landscapes mutated with the
development of texts and culture at home and abroad.
Authors are invited to submit their essays of approximately 6,500 words, by January 1st, 2014, via email to:
- Dr. Benjamin Colbert <B.Colbert@wlv.ac.uk>
- and Dr. Lucy Morrison <firstname.lastname@example.org>.
Palgrave has already expressed an interest in considering the collection.
All enquiries are welcome.
(poste 7 August 2013)
Transformations: A Journal of Myth and Fairy Tale Studies
Deadline for proposals: 8 January 2014
CFP: We are in the process of establishing a brand new web-based,
peer-reviewed journal in English, in the field of myth and fairy tale
studies. We are currently accepting proposals for the first two issues.
Dealine for proposals: Wednesday, January 8th, 2014
Transformations is designed to explore myth and fairy tale adaptations
published after 1870. The journal's coverage includes modern
adaptations of myths and fairy tales in a variety of print and
cinematic media, regional myths and fairy tales, colonial and
postcolonial interpretations of fairy tale adaptations, myths and fairy
tales as a forum for gender exploration, and comparative studies of
myths and fairy tales. Transformations features English-language
scholarship; however, the scope of the journal is broadly international
and multidisciplinary. Individual papers do not have to address both
myths and fairy tales, although we are interested in the interpretive
intersections between these genre categorizations.
The journal will be published semi-annually in December and June. Each
submitted article will be peer-reviewed by two academic experts
selected from relevant fields of research. Articles should be
5,000-8,000 words in length, including notes and works cited.
The first two issues of the journal will be open submission for any
topic related to myths and fairy tales. Thereafter, the journal will
alternate between an open topic issue in the winter, and a special
issue focused around a particular theme, tale, author, or sub-genre in
the summer. Future special issue topics will include ("Little Red
Riding Hood," Late Victorian Political Myths and Fairy Tales, Myths and
Fairy Tales from India, and Neil Gaiman)
Possible topics for general issues may include, but are not limited to:
- relationships between myths and fairy tales
- literary or film genres in myth and fairy tale revisions
- the politics of myth and fairy tale revisions
- gender in myths and fairy tales
- post-colonial perspectives on myths and fairy tales
- translation and displacement of myths and fairy tales
- history in myth and fairy tale revisions
- myths and fairy tales and modernism/post-modernism
- orality in the rewriting of myths and fairy tales
- narrative patterns in myths and fairy tales
- redefining the subject through myth and fairy tale revisions
- narrative technique and voice
- performing myths and fairy tales
- myths and fairy tales on screen
- myths and fairy tales in new media
- intermedial approaches to myths and fairy tales
500-word proposals should be sent by January 8th 2014 as e-mail
attachments. Please include your full name and institutional
affiliation. Address submissions to the editors:
- Julie Sauvage, University of Montpellier <email@example.com>
- Jacquilyn Weeks, Indiana University/Purdue University, Indianapolis <firstname.lastname@example.org>
(posted 4 November 2013)
Ireland's: languages, translations and identities
A special issue of Studi irlandesi. A Journal of Irish Studies
Deadline for proposals: 15 January 2014
A special issue of the journal “Studi irlandesi. A Journal of Irish Studies” http://www.fupress.net/index.php/bsfm-sijis
edited by Monica Randaccio, University of Trieste, to be released on line by July 2014.
Language can be defined as the ‘battlefield of identity’, a vehicle for
debates concerned, in particular, with cultural identity and political
legitimacy in modern and contemporary Ireland. Language acquired a
primary importance at the time of the ‘language shift’ from Irish to
English and became one of the key elements of cultural discrimination
when the Protestants established themselves as the ruling class and
English as the language of the country. Conversely, the Irish language,
which was part of the fabric of a mythic and glorious Irish past, was
viewed and investigated with mixed feelings by the proponents of
the Celtic Revival. Their political nationalist agenda was, first of
all, the ‘Necessity for De-Anglicising Ireland’ (1892), in Douglas
Hyde’s words, in the attempt to remodel Ireland.
Another view on language is that held by Northern Irish nationalist
propaganda. During ‘the Troubles’, there was a strong link between
Republicans and the promotion of the Irish language. As Sinn Fein
President, Gerry Adams, argued: “the restoration of our culture must be
a crucial part of the cultural struggle the reconquest of Ireland will
begin with the reconquest of the Irish language” (1987). Ideas of
struggle’ and ‘reconquest’ are shown both iconographically and
linguistically in the murals around west and north Belfast.
Language as the ‘battlefield of identity’ is thus historically defined
through binary opposition: English/Irish, Protestant/Catholic,
Nationalist/Unionist, coloniser/colonised. However, the contours of the
language[s] of the tribe’ in twenty-first century Ireland –-- to
paraphrase Brian Friel -- have become more elusive and language has
acquired a wider meaning.
invite contributions addressing language-related topics in an
innovative way, in order to overcome the somewhat static linguistic,
cultural and historical categories of the past. In a multidisciplinary
perspective, contributions are expected to show how language challenges
the canon in order to reveal the connections and divergences between
received forms of national identity and what has been termed by Tina
O'Toole and Jason King “the more complex nexus of Irish, European and
translocational identities” (The Irish Review
Spring 2012). This will generate a different approach to the question
of identity in general (i.e. a gender-oriented perspective on the
notion/icon of Ireland itself), with the consequence of the need/search
for a “new language”, a language of reconciliation, which is also the
expression of the Other.
One of the ways of investigating this multiple cluster of themes is
translation, where the local and the universal are not seen as mutually
exclusive, but interdependent. Thus, translation as the movement
outwards’ broadens the space of experience through communication with
the Other, whereas translation as the ‘movement inwards’ brings the
extraneous material into one’s native language and culture, as Michael
Cronin maintains in Across the Lines: Travel, Language, Translation
(2000). Essays which explore issues of language and translation in modern and contemporary Ireland are welcome.
Topics may include, but are not limited to, the following areas of investigation:
- Varieties of English in Ireland: cultural implications
- Minority languages of Ireland
- Language, identity and globalisation in Ireland
- The language of Irish media and cinema
- Language and gender in Ireland
- Translation and the literary canon
- Translation in post-colonial Ireland
- Translation: present, past and glocal
- The role of translators and interpreters in Ireland
- Irish publishers and translation
- 15 January 2014: send working title and abstract of 500 words to:
Dr. Monica Randaccio
<email@example.com>, Department of Legal, Language,
Interpreting and Translation Studies, University of Trieste
Dr. Fiorenzo Fantaccini,
Department of Comparative Languages, Literatures, and Cultures,
University of Florence <firstname.lastname@example.org>.
•- 31 March 2014: finalize paper for submission to referees.
Articles must comply with the editorial norms and must not exceed 12000
words, including endnotes and bibliography.
All articles are published in English. We strongly suggest paper are revised by a native speaker.
(posted 26 November 2013)
Politics of Place: A Journal for Postgraduates, Issue 02
Deadline for papers: 31 January 2014
|Politics of Place
is a peer-reviewed journal for postgraduates. It publishes exceptional
research focusing on the relationship between culture and spatiality in
works of literature, engaging particularly with issues of nationhood,
community, class, marginality, and the self. The journal places
specific emphasis on the complex interactions between physical
environments and human activity.
Following the release of Issue 01, which developed the theme of "Maps
and Margins", we are now seeking submissions for the second issue which
speak to the theme of "Technology".
It is easy to think that technology now plays a larger part in our
daily lives than ever before. Yet technology, mediating knowledge and
purpose, has accompanied mankind in its development over a much longer
term. In this themed issue, it is from the starting point of the
humanities, complementing and free to problematise scientific enquiry,
that we feel important questions about the nature, relations,
philosophy, and future of technology can be posed. Such questions may
- What does technology help to articulate?
- What are the political and poetic spaces that technology opens?
- How does access to technology affect emotional, spiritual, physical, and economic lives?
- How does technology intercept, and even create, nature?
- What are the technologies of representation?
- What are the technologies of human contact and expression?
- What are the technologies of violence and oppression?
- What is uniquely compelling about technology?
We hope in this issue to facilitate a conversation that draws upon a
diversity of approaches, texts, and ideas to examine the assemblages,
the controversies, and the lived experience of technology in our world.
To be considered for this issue, papers must be received by 31 January 2014.
To find out more about the journal and how to submit, please visit http://www.exeter.ac.uk/politicsofplace
Politics of Place is supported by ECLIPSE (The Exeter Centre for Literatures of Identity, Place and Sustainability).
(posted 26 October 2013)
Sound and Silence
Issue 4 of HARTS and Minds
Deadline for proposals: 17 February 2014
call for papers invites submissions from postgraduates or early career
researchers on the subject of Sound and/or Silence for the fourth
edition of HARTS & Minds, an online journal for students of the Humanities and Arts, which is due to be published in Spring 2014.
Our second edition 'Space and Place' can be found at http://www.harts-minds.co.uk
You can get updates on our journal at http://www.facebook.com/hartsandminds
Submissions should include a short biography at the end and adhere to
the guidelines available on our website and use the appropriate article
All submissions should be sent to <email@example.com> by Monday 17th February 2014.
• ARTICLES: Send us an abstract (300 words) and your draft article (no longer than 6,000 words).
• BOOK REVIEWS: Around 1,000 words on an academic text that deals with
the theme of Sound and/or Silence in some respect. This would
preferably be interdisciplinary, but we will accept reviews of subject
• EXHIBITION REVIEWS: Around 1,000 words on any event along the lines
of an art exhibition, museum collection, academic event or conference
review that deals with the theme of Sound and/or Silence in some
• CREATIVE WRITING PIECES: Original poetry (up to 3 short or 1 long) or short stories of up to 4,000 words.
Subjects may include but are not limited to the following:
• Use of Silence in music, film scores, in performance art, installations;
• Movement and stillness;
• Conveying sound and silence in Art -- the void, colour and sounds/silence;
• Silence and sounds in literatures (English, Global, Comparative);
• The role of silence and solitude in religions: spirituality, memorial, obedience, mantra and hymn;
• Sounds of the urban vs. the rural;
• Changing sounds of musical instruments, the Orchestra, from Church to Chamber;
• Silent histories - the oppressed, the underprivileged, muting, censorship, exclusion;
• The Sound of Revolution;
• The physical loss of voice - the mute, sign language;
• Silence and Sound in relation to madness;
• Noise vs. Sound;
• Comedy and Silence;
• Technologies of sound and silence: Gags and muzzles, weaponry, isolation camps, radios, televisions, gramophones;
• Reading aloud.
Please consider that HARTS & Minds is intended as a truly
inter-disciplinary journal and therefore esoteric topics will need to
be written with a general academic readership in mind.
(posted 21 November 2013)
Neo-Victorian Humour: The
Rhetorics and Politics of Comedy, Irony and Parody
Volume 5 in Rodopi's Neo-Victorian Series
Deadline for proposals: 28
invite contributions on the theme of Neo-Victorian Humour for the fifth
volume in Rodopi's Neo-Victorian Series, to be published in 2015. This
edited collection will examine the manifold modes, functions, and
implications of humour across neo-Victorian media, such as literature,
film, anime, graphic novels, videogames, visual art, performance and
lifestyle (e.g. steampunk). The volume will explore neo-Victorianism in
the light of contemporary aesthetics as the art of indirect speech,
what Umberto Eco famously described as "accept[ing] the challenge of
the past, of the already said” to “consciously and with pleasure play
the game of irony" (Eco, Reflections
on The Name of the Rose,
1994) -- but also to engage in more aggressive games of parody,
aesthetic travesty, confrontation and denunciation. The omnipresence of
a humorous awareness tends to insist on a crucial difference and
distance between neo-Victorianism and its nineteenth-century referent,
thus seemingly arguing against a nostalgic stance. Yet humorous devices
can also be employed to recycle invidious ideologies (e.g. racism,
imperialism, classism, sexism) under the politically correct guise of
comical debunking or subversion, even to the point of carrying forward
a pro-nostalgic agenda. From a technical point of view, humour also
implies the establishment of a complicity with the audience, involving
readers/viewers in complex games that may finally have less bearing on
the diegetic world than on the textual, intertextual and metatextual
nineteenth-century worlds being re-imagined. We encourage chapters to
investigate the inherent contradictions of neo-Victorian humour's aims
and effects, both as a means of self-consciously creative
experimentation and adaptation of historical events, figures, and
artefacts and as a self-defeating nihilistic or anti-historical
topics may include, but need not be limited to the following:
• humour's shaping of
contemporary views of 'the Victorian' and the long nineteenth century
• the postmodern features and implications of neo-Victorian humour
• the technical distancing devices of neo-Victorian humour:
anachronism, parody, comedy, irony, structural counterpoint, double or
multiple narratives, mise en abyme, and all forms of metatextuality
• comic modes, audience complicity, and resistance
• neo-Victorian humour and the Gothic
• the politicisation of neo-Victorian humour
• neo-Victorian humour, empathy, and its limits
• comic innovation and the principle of ironic reprise
• the role of playfulness and narrative games
• ethical and non-ethical humour in neo-Victorianism
• humour's functions within and across neo-Victorian genres and media
• neo-Victorian humour and trauma
• the principle of humour in adaptations and adaptive practice
• neo-Victorianism, symbolic justice, and having the last laugh
Please send 300-500 word
proposals (for 8,000-10,000 word chapters) by 28 February 2014 to the
- Marie-Luise Kohlke
- and Christian Gutleben <Christian.Gutleben@unice.fr>
Please add a short biographical
note in the body of your email.
Completed chapters will be due by 1 September 2014.
(posted 17 June 2013)
"Keep it New": Recent
trends in Experimental Fiction in English
and Text - A Journal of Literary Studies and Linguistics, IV, 1 (2014)
Deadline for article
submissions: 15 March 2014
'Fiction is called
experimental out of despair' (Raymond Federman)
'Literature is news that STAYS news' (Ezra Pound)
literature, in its broadest sense, might be said to ask the following
question: what more can fiction do than it currently does? It is a
consideration that inevitably discloses both a sense of dissatisfaction
with what we have, and a trusting optimism in the future’s ability to
deliver new possibilities. The experimental has connotations of risk,
excitement, innovation, and aesthetic progressiveness, but it also
frequently contains a knowledge of its own possible failure: an
awareness that experiments by their nature might go badly wrong.
Experimental fiction is a series of attempts at change, and yet the
last sixty years of literary history has been marked by an anxiety
about its own possible exhaustion (John Barth). What if all
experimentation has already been tried? Both the experimental, and its
close relation the avant-garde, look forward – a potentially
problematic stance given a contemporary scene that is preoccupied with
its own ‘post’ness. Indeed, as Brian McHale has recently asked, can the
literature of the postmodern be experimental at all?
Both the avant-garde and the experimental thus bear a combative
relation to what has gone before, and to literary history as a whole.
The avant-garde contains the promise of both an aesthetic and a
political radicalness: remembering the term’s military etymology, we
are cognizant of the neo or contemporary avant-garde’s aggressive
potential. Perhaps for this reason, experimental or avant-garde fiction
often rubs people (readers, critics) up the wrong way: it implies
there’s something wrong what we already have, and seeks to usurp it. It
refuses consolation, recuperation, all of the dulling and soporific
effects of traditional narrative, and is subsequently accused,
variously, of self-indulgence, political quiescence and solipsism.
Sometimes it is too political -- the history of the avant-garde in the
twentieth-century, especially French 'literature of commitment'
(littérature engagée) -- and sometimes it is not political enough --
the characterization of experimental writers and audiences as aloof,
anti-reader literary elites. Itself a marginal mode, experimental
literature has obvious affiliations with other types of writing that
have been pushed out, overlooked or ignored by the mainstream, in
particular women’s writing. Nevertheless, as Christine Brooke-Rose has
noted, many experimental novels are 'surprisingly phallocentric'. Does
the stylistically experimental necessarily imply the politically
Experimental as a term is unavoidably evaluative: either as a synonym
for unsuccessful, unreadable, or elitist; or with its positive but
equally problematic associations of progressiveness and intellectual
ambition. In its positive incarnation it contains an implicit
condemnation of everything that is not experimental; it creates its own
version of what it subverts or moves on from, conceiving the
non-experimental as a homogenous mass. Keeping in mind Rita Felski's
warning that those critics 'who proclaim the subversive power of formal
experimentation, fail to consider that the breaking of conventions
itself becomes conventional', we ask whether the paradox inherent in
the canonization of experimental and avant-garde fiction means that
postmodernism has incorporated and recuperated it to the detriment of
experimental literature’s ability to fulfil its remit: that, is, as Eva
Figes put it, 'What matters is that the writer should shock into
awareness, startle, engage the attention: above all that he should not
engage in the trade of reassurance.'
We invite contributions
that will help to negotiate some of these complexities, including from
a specifically linguistic or stylistic perspective. They might include,
but are not limited to, the following:
experimentalism / neo avant-gardism
• Avant-garde genre fiction -- science-fiction, fantasy, horror
• Transgression, subversion, shock: the rise of 'transgressive fiction'
• Apocalypse and/or post-9/11 fiction
• Futurity, possible worlds and new dystopias/utopias
• Videogames into literature : 'ludic literature', ludology and gaming
• Multimodal literature, digital technologies, electronic 'code
poetry', collaborative e-fiction
• Women’s experimental writing and nouvelle écriture feminine
• Visual experimentation, typography and the page as experimental
• Commodification and globalization, experiment as resistance
• Movements, manifestoes and influence -- Oulipo, Surrealism, Dada,
we do not wish to draw up a closed, let alone exhaustive list of
writers whom we see as specifically representative of the above
rubrics, and who would therefore appear as more desirable objects of
analysis, the following will give a reliable illustration of the kinds
of fiction we had in mind under the label "experimental":
- Christian Bök
- Mark Danielewski
- Chuck Palahniuk
- Lawrence Norfolk
- Charles Palliser
- Tom McCarthy
- Nicholas Royle (author of Quilt)
- Will Self
- Lydia Davis
We welcome interdisciplinary approaches, ranging across critical
theory, literary and cultural studies, linguistics as well as other
disciplines in the humanities. Contributors are advised to follow the
journal's submission guidelines and stylesheet.
The deadline for article submissions is 15 March 2014.
Articles should be sent as attachments to:
- or directly to the editors of the volume:
- Julia Jordan (University
- Laurent Milesi (Cardiff University) <firstname.lastname@example.org>
All submitted articles will be blind-refereed except when invited.
Accepted articles will be returned for post-review revisions by 30
March 2014 and are expected back in their final version by 15 April
(posted 14 June 2013)
A special issue of Études écossaises (nr 18, 2015)
Deadline for proposals: 1 June 2014
The 2015 edition of the journal Études écossaises will
be devoted to poetry. Within the research project set by Grenoble 3 -
Stendhal University's Centre d’Études sur les Modes de la
Représentation Anglophone, we intend to focus on the major role that
Scottish poets have played (and still play) at a local level as
national writers, but also, on the wider international literary scene.
A historical overview shows that Scottish poetry is imbued with both
political and poetical concerns and that it is permeated with the
notions of identity, alterity, independence and universality. If most
Scottish poets have written in English since the 17th century, it is
undeniable that a literary counter-movement, originally initated by
Allan Ramsay, soon asserted itself and gave momentum to the cultural
and linguistic originality of Scotland. James Macpherson, among others,
fully understood this potential and offered up to European readers
(Chateaubriand was one of his admirers) his famous Ossian poems. With
the same motivations, MacDiarmid in turn initiated the Scottish
Renaissance movement at the beginning of the 20th century.
By contrast, the work of William Drummond does not deal with Scottish
identity and the sonnets of the "Scottish Petrarch" (as some would have
it) make use neither of dialect nor of nationalist sentiments. Rather,
his poetry and his intellectual attitude constitute an opening of the
frontiers and of the self and, as such, foreshadow the works of James
Thomson -- himself an exile and an architect of the Sublime aesthetic
-- who helped to lay the foundations of British Romanticism with The
Seasons. Robert Burns, despite his propensity for realism and rural
life, also reached across the frontiers of Scotland and became
universally acknowledged as an authentic romantic figure like Coleridge
and Wordsworth. Today, the Franco-Scottish poet Kenneth White, whose
work shows strong concerns for open spaces and nomadism, is yet another
model of opening.
In this way Scottish poetry always oscillates between the local and the
global and its major works seem to celebrate the marriage of politics
and poetics. We welcome papers of different natures -- monographical,
comparative, interdisciplinary, text commentary -- which pay tribute to
any Scottish poets from the 17th century up to the present day.
Papers (5,000-8,000 words) may be submitted in French or in English.
A brief proposal (c. 300 words) should be sent by 1st June 2014. The deadline for finished papers is 1st October 2014.
Contacts : <email@example.com> or <firstname.lastname@example.org>
(posted 22 October 2013)
Valid Calls for Papers
Journal of Cultural Mediation
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
In particular manuscripts
- 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
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
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:
IMPORTANT DATES (Issue 1)
March 31st: call for
April 15th: notification of acceptance
June 15th: paper submission
IMPORTANT DATES (Issue 2)
September 30th: call for
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
in 2004 with the help of Charmian Knight. The issue of
"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
Accepted articles will be published in the thematic dossier "The
Brontës and the Idea of Influence" on the website of LISA
(posted 10 January 2008,
updated 3 November 2010)
Studies and Ethics
of Literary Theory online
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:
Please contact the
editorial office for further details at
(posted 10 February 2011)