Call for papers: Thirteenth Biennial MESEA Conference
Moving Cultures, Moving Ethnicities

Venue: University of Eastern Finland Joensuu Campus, Joensuu

Date: June 12-14, 2024

The MESEA 2024 conference invites contributions that address the diverse layers, definitions, and ‘pathways’ of mobility, including the mobility of people from one place to another, crossings and intersections of cultures, and the formation of hybrid cultural forms. At the same time, mobility, border-crossings, and migration move people emotionally, either directly or through a wide range of cultural representations, and generate various emotional responses ranging from joy and relief to fear, loss and frustration. Affecting both those who travel, those who stay, and those encountered when journeying, such experiences are personal and collective, local and global, theoretical and empirical, and reveal the perplexing nature of mobility, whether this is voluntarily or involuntarily ventured.

Call for papers: Touring Travel Writing III: Between Fact and Fiction

Venue: NOVA FCSH, Colégio Almada Negreiros (Campus de Campolide)

Date: November 9-10 2023

CETAPS (Centre for English, Translation and Anglo-Portuguese Studies, Universidade Nova, Lisbon) and CELIS (Centre de Recherches sur les Littératures et la Sociopoétique, Université Clermont Auvergne, Clermont-Ferrand) once again join efforts and organise this international conference which aims to be a locus of debate on the many facets of travel writing, a research area that has emerged as a relevant topic of study in the Humanities and Social Sciences in the last few decades.

Papers on the following topics are welcome:
Anglophone travel writing on the Portuguese-speaking world
Lusophone travel writing on the Anglophone World
Travelling to write
Travel writing, the novel, poetry and drama
Travel writing as report
Travel and visual culture
Travel writing, Humanities and the Social Sciences
Travel writing, gender and power
Travel writing, (post)colonial discourse and decoloniality
Travel writing and (forced) migration

Travel writing, imagined communities and imagology
Travel writing and tourist culture
Travel writing and (in)tangible heritage
Travel writing and exploration
Travelling as gentrification
Travel writing, censorship and surveillance
Travel writing and (auto)biography
Travel writing and Otherness
Travel writing, politics and ideology
Travel writing and ethics
Travel writing, mobility and conviviality
Maps as travel narratives
Travel, Fantasy, Children’s Literature and Young Adult Fiction
Sound/Food/Smell/Touch/Visual/Ecoscapes in Travel Writing
Travel writing in/as translation
Utopian and dystopian travel narratives
Science and travel writing
History of Travel Writing
Travel writing: theory and criticism
Intertextuality in travel writing
The rhetorics of travel writing
Teaching Travel Writing
Travel Writing and ‘World Literature’

Keynote speakers:
Carl Thompson (University of Surrey, UK)
Catherine Morgan-Proux (Univ. Clermont-Auvergne, France)
Susan Pickford (Univ. de Genève, Switzerland)

Papers and pre-organized panels:
The conference languages are English and Portuguese. Speakers should
prepare for a 20-minute presentation. Please send a 300-word abstract, as
well as a short biographical note (100 words), by September 30th, to:
touringtravelwriting@gmail.com
Proposals for papers and pre-organized panels (in this case, please also
include a brief description of the panel) should include full title of the paper,
name, institutional affiliation, contact details, a short bionote and AV
requirements (if any).
Notification of abstract acceptance or rejection will take place by October 5,
2023.

For more detailed information, click on the link.

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Call for papers: EAAS Conference 2024

1924-2024: The American Immigrant Narrative Revisited

From April 4-6, 2024, the 35th Biennial EAAS-conference, titled 1924-2024: The American Immigrant Narrative Revisited, takes place at Amerikahaus Munich. It is hosted by the Bavarian American Academy (BAA).

With its focus on the immigrant narrative, this conference of the European Association for American Studies seeks to engage with the complicated histories that have shaped the American immigrant narrative in all of its variations across time and from different disciplinary angles. To assess the ambivalent legacies of the American immigrant narrative, this conference calls for an intersectional approach to the topic which also examines gendered regimes of immigration, settler colonialism and often suppressed histories of Indigenous communities, the precarious labor conditions of (im)migrant workers, class restrictions, and sexual exploitation, past and present

We invite scholars interested in exploring these topics to submit their proposals for individual papers or full panels. Proposals can be submitted via our conference tool by September 15, 2023. Notifications of acceptance will be sent out by November 15, 2023.

For more information, click on the link.

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Call for papers: Queen Elizabeth II. Life, Times, Legacies

The reign of the late Queen Elizabeth II (1952-2022) was the longest so far in the history
of the British monarchy. Partly due, without doubt, to its exceptional duration, her
seventy-year reign witnessed momentous events with far-reaching consequences, such as
the end of the Empire; the decline of Britain on the international political scene; the
‘troubles’ and unrest within the British Isles and the prospect of a DisUnited Kingdom;
the emergence and consolidation of popular and youth cultures and the relationship
between the Crown and the media, to name but a few. The period is also of particular
interest for Anglo-Portuguese Studies, as it raises issues such as the political relations
between the two oldest allies during the Salazar/Caetano regime, the official visits, the
impact of World War II, decolonisation, and the Revolution of the 25th April 1974,
amongst others. This International Conference seeks to analyse and assess Elizabeth’s
life, times, and legacies across a broad range of disciplines, themes and topics, such as

The British Monarchy
The British and Other European Monarchies
Monarchy and National Identity(ies)
Monarchy and Republic
British Institutions
Britain and the Emergence of Popular and Youth Cultures
Britain and the Welfare State
Britain in/and Europe
Britain and Brexit
Britain and Portugal: The Alliance during Elizabeth II’s Reign
Britain in/and the World
Britain and the USA: A Special Relationship?
The Queen and the European Monarchies
The Queen: Biographies and Chronicles
The Queen in Literature
The Queen in/and the Visual Arts
The Queen in/and the Media
Screening the Queen: Cinema and Television
Staging and Singing the Queen: Theatre and Music
The Queen and the (Re)Invention of Tradition(s)
The Queen, Memorabilia, and Merchandising
The Queen in/and Fashion
Royal Spaces and Geographies
The Queen in and out of doors: Sport, Animals, and Pets
The Queen and her Royal Residences
The Royal Family: Past, Present (and Future?)
Other

Confirmed keynote speakers:
João Carlos Espada (IEP, Universidade Católica Portuguesa)
John Darwin (Nuffield College, University of Oxford)
Martin Dale (University of Minho)
Pedro Aires de Oliveira (NOVA FCSH)
Philip Murphy (University of London)
Steve Marsh (University of Cardiff)
Teresa Pinto Coelho (NOVA FCSH)

Languages:
English and/or Portuguese

Submissions:
The organisers will welcome proposals for 20-minute papers. Submissions should be sent
by email to elizabeth2legacy@gmail.com including the title of the paper, an abstract
(250-300 words), the author’s data (name, affiliation, contact address) and the author’s
bio-note (150 words).

Deadline for proposals: 15 October 2023
Notification of acceptance: 30 November 2023
Deadline for registration: 31 December 2023

Registration details will be posted online in October 2023
All delegates are responsible for their own travel arrangements and accommodation.
More information is available later at queenelizabeth2024.wordpress.com

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Relational Forms VIII

Love and Sex in Literature and the Arts since the 1960s

12-14 October 2023

an international conference hosted by the

Faculty of Arts and Humanities, University of Porto, Portugal

and organised by CETAPS
Confirmed keynote speakers:
Carol Chillington Rutter (University of Warwick)
Glenn Patterson (Seamus Heaney Centre, Queen’s Univ. Belfast)
Linda Troost (Washington & Jefferson College) and
Sayre Greenfield (Univ. Pittsburgh-Greensburg)

complete CFP here CFP Relational Forms 8

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43rd Meeting of APEAA

Universidade Católica Portuguesa, Lisboa

1-3 june 2023

Culture(s) of the Self

‘The time in which there was such a thing as the Other is over’, announced recently Byung-Chul Han (2016). The philosopher argues that the age-old ‘negativity of the Other’ is now receding in favor of the positivity and proliferation of the Same. Indeed, the disputes resulting in what has come to be known as cancel culture seem to suggest a fear of dissension, an inclination to reduce experience to watchwords, and a reluctance to engage with otherness [in thought, feeling, or experience] in a meaningful and critical way.

It seems uncontroversial that the self is arguably one of the greatest, if not the most formidable, preoccupation of the 21^st century. While the reflection on, and around, ‘identity’ and ‘the self’ is, of course, not new – Augustine’s Confessions (AD 397-400) comes to mind –, one might argue that it was the intellectual and technological events of the last two centuries that brought about what might be described as the vertigo of the self. In different but conflating ways, currents of thought, scientific experiments and practices, political theories, everyday conventions and perceptions have coincided in placing the self at the forefront of debates: Romanticism, psychoanalysis, theory of relativity, (neo)liberalism, the rise of popular culture, the ever growing suspicion towards intellectuals and hierarchies, the breaking down of the distinctions between the public and private spheres, as well as the upsurge of the age of pundits, of my-opinion-is-better-than-your-fact, and the contemporary ‘confessional society’ (Bauman 2011, 84), etc. all seem to have led, and to point, to a centrality of the self in present-day debates and struggles.

Despite the fact that intellectual (and political) movements such as post-structuralism and post-colonialism have been pivotal in questioning the integrity of the self, drawing attention to its heterogeneity, incompleteness, and instability (Hall 1987, Rushdie 1997 and 2013, among others), the idea of the ‘true’ self endures as a lingering, and productive, construct, in the arts, religions, in the socioeconomic and political arena, as one that needs to be discussed.

Because ‘[i]n constructing an identity, one draws, among other things, on the kinds of person available in one’s society’ (Appiah 2005, 21), this conference will be a locus to question the ways in which selves are socially and aesthetically constructed and/or deployed, and to discuss the situatedness of the debates around the self and identity, in the understanding that, as Salman Rushdie famously put it, ‘human beings do not perceive things whole; we are not gods but wounded creatures, cracked lenses, capable only of fractured perceptions. Partial beings, in all senses of that phrase. Meaning is a shaky edifice we build out of scraps, dogmas, childhood injuries, newspaper articles, chance remarks, old films, small victories, people hated, people loved; perhaps it is because our sense of what is the case is constructed from such inadequate materials that we defend it so fiercely, even to the death’ (Rushdie 2010 [¹1991], 12).

Topics

Topics welcomed include, but are not limited to:

• the invention of the ‘I’ in literature: life writing, autoethnograghy, autobiography, memoirs, journals, autofiction, etc.;
• the construction of the self in language, literature, tv, and the arts;
• the self in visual culture: from self-portraiture to the selfie;
• ‘I post, therefore I exist’ – the cultural life of the self(-exposure) in social media;
• the self and its avatars in the production of knowledge [science, gaming, entertainment, etc.];
• (neo)liberalism and self-reliance as a cultural topos;
• post-structuralism and the instability of the self;
• the politics of the ‘I’, the ‘I’ in politics;
• ecologies of the self;
• performing the self: social rituals and restrictions;
• fluid selves and emerging identities;
• mobility, globalization, and self-translation;
• selves in conflict: aggression, violence, and trauma;
• rethinking the ethics of the self;
• self and environment;
• the cult of the self: self-centeredness, narcissism, egocentrism;
• self-care and well-being;
• self-determination, cultural rights, and cancel culture;
• self-reflexivity in critical thought: challenges and aporias.

Papers and panel proposals in the following fields of knowledge are welcome: Literary Studies, Cultural Studies, Post-colonial Studies, Food Studies, Migration Studies, Performance, Film and Theatre Studies, Gender Studies, Translation Studies, Subaltern Studies, Globalization Studies, Film Studies, Linguistics, Discourse Analysis, Language Teaching and Methodology, etc.

Confirmed Keynote Speakers

Eva C. Karpinski (York University | Toronto)

Luísa Leal de Faria (Universidade Católica Portuguesa)

and

Angela McRobbie (Goldsmiths, University of London)

Praticalities

The working languages of the conference are English and Portuguese. Speakers should prepare for a 20-minute presentation followed by Q&A. Please send a 250-word abstract, as well as a brief biographical note (100 words) to cecc.fch@ucp.pt by March 15, 2023.

Proposals should list the paper title, name, institutional affiliation, and contact details. Notification of abstract acceptance or rejection will take place by March 31, 2023.

After having been accepted, participants will be asked to register at the conference and provide some personal details to that purpose, on the CECC website: https://fch.lisboa.ucp.pt/cecc .

Fees:

Early bird

APEAA members (by April 30): €80

Other Participants – €120

Students (ID required) — €30

After April 30 but no later than May 15:

APEAA members – €120

Participants –€180

Students (ID required) – €50

The registration fee includes coffee breaks, plus lunches on Thursday and Friday, as well as conference documentation.

Scientific Committee

Mário Avelar (University of Lisbon)

João Brogueira (Universidade Católica Portuguesa)

Maria José Canelo (University of Coimbra)

Rui Carvalho Homem (University of Oporto)  

Maria Zulmira Castanheira (Nova University of Lisbon)

Jane Duarte (Universidade Católica Portuguesa)

Rita Faria (Universidade Católica Portuguesa)

Carmen Maíz Arévalo (Universidad Complutense de Madrid)

Adriana Martins (Universidade Católica Portuguesa)

Ana Matoso (Universidade Católica Portuguesa)

Paulo de Medeiros (University of Warwick)

Ana Cristina Mendes (University of Lisbon)

Margarida Pereira (University of Minho)

Manuel Portela (University of Coimbra)

Rogério Miguel Puga (Nova University of Lisbon)

 Organizing Committee

Rita Faria

Diana Gonçalves

Alexandra Lopes

Adriana Martins

__________________________________

International Conference on Anglo-Portuguese Studies III: a tribute to Professor Maria Leonor Machado de Sousa, OBE (1932-2021) 

Faculdade de Ciências Sociais e Humanas – Universidade Nova de Lisboa 

Campus de Campolide 

Lisbon, Portugal, 24-26 November 2022 

CETAPS (Centre for English, Translation and Anglo-Portuguese Studies) is pleased to announce its 3rd International Conference on Anglo-Portuguese Studies, a 3-day conference on topics related to Anglo-Portuguese historical, literary and cultural relations. We also welcome papers on Luso-American exchanges, Anglo-Iberian relations and papers that make comparisons and connections between Portuguese-speaking and Anglophone countries. 

Keynote speakers: 

Lara Bule (Independent Scholar) 

Other keynote speakers to be announced 

We look forward to receiving proposals for 20-minute papers, either in English, Portuguese or Spanish. Participants may also want to propose their own thematic panels, to include papers delivered by 3 or 4 participants. 

Submissions should be sent by email to: angloportugueseconference@gmail.com 

Proposals for papers and pre-organized panels (in this case, please also include a brief description of the panel) should include full title of the paper, a 250-300 

word description of the paper, name, institutional affiliation and position, contact details, a short bionote and AV requirements (if any). 

Important dates: 

Deadline for submission of proposals: 15 October 2022 

Notification of acceptance: 20 October 2022 

Deadline for registration: 30 October 2022 (after this date proposals will no longer be considered). 

Registration fee: 80 € (regular registration) 

Student fee: 40 € (ID required) 

Further information will be posted online in September 2022. 

All speakers are responsible for their own travel arrangements and accommodation. Relevant information about hotels will be provided later on the conference website. 

Event website: https://angloportuguese.wordpress.com/ 

Organized by the Anglo-Portuguese Studies research area. 

Executive Committee: 

Maria Zulmira Castanheira 

Rogério Miguel Puga 

Gabriela Gândara Terenas 

Miguel Alarcão 

João Paulo Pereira da Silva 

Isabel Oliveira 

Maria da Conceição Castel-Branco 

Marco Neves 

Administrative support: 

Cristina Carinhas: cetaps@fcsh.unl.pt 

Mariana Gonçalves: cetapsgestao@fcsh.unl.pt 

For further queries please contact: 

cetaps@fcsh.unl.pt 

or 

angloportugueseconference@gmail.com 

or 

mzc@fcsh.unl.pt 

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International Conference

Visual Storytelling:  From the Mural to the Digital

University of Aveiro (Portugal), 30 June – 1 July 2022

https://www.iscap.pt/cei/VS/index.html

Organized by the Centre for Languages, Literatures and Cultures (CLLC), University of Aveiro, and the Centre for Intercultural Studies, Porto Accounting and Business School, Porto Polytechnic (CEI-ISCAP, P.PORTO

We now live in a predominantly visual culture. Whether it be computer operating systems, with their visual equivalents for what for most of us are largely incomprehensible processing or algorithmic functions, or the wordless assembly procedures for an IKEA flatpack, we tend to take in the world and process it through images. This is not to deny the longevity and remarkable inheritance of oral traditions – only to say that the cave paintings and ancient runes have been there from the start too. Indeed, what does it mean to talk of “imagery” in writing except to suggest that the function of these verbal usages is to invite pictures in the head, pictures that may have a greater vitality than the words themselves. Conversely, when it comes to images, Eco claims, we are in the presence of macroscopic blocks of texts, whose verbal equivalent is not a simple word but a description, an entire speech, or even a whole book.

Within this framework, visual culture is recurrently used as an epithet to describe our contemporary condition, deeply immersed in the world of images. Contemporary urban landscapes have become communicational ecosystems of visual languages made up of graffiti, street-art, advertising, signs, and propaganda. The central role of audiovisual technologies and media are one possible explanation for this state of affairs, along with the growing aestheticization of everyday life via social media, and a frustration with established avenues to expression and presence. Images and visual communication are the ideal means to construct narratives and confer symbolic meanings to the world, something well-understood by power brokers everywhere, from religions to authoritarian regimes, from people who want to sell things to us to people who want to tell things to us.

The art of written storytelling from early literatures to the present day has been well covered in studies from the field of narratology. What this conference proposes is to participate in the current global conversation on storytelling through image from the modern period to the present and on into the future.

Digital cultures are carrying us forward at a dizzying pace, and some of the anchorage provided by the written and spoken word may be loosening rapidly. Nicholas Mirzoeff speaks of a visualization of existence, already claiming before the end of the 20^th Century that “modern life takes place onscreen […] seeing is not just a part of everyday life, it is everyday life” (An Introduction to Visual Culture. Routledge, 1999).

But visual storytelling is not the invention of the present, nor of Europe. From the vivid graffiti found in Pompeii to the scroll narratives in Rajasthan known as Phad paintings, visual figurations of popular culture have always conferred symbolic meanings on the experiences and values ​​shared by  communities. The history of the graphic novel acknowledges forebears such as Hogarth’s series of narrative paintings in the 18thC. One might go on to reference the slideshow and silent cinema, both of which are (or are approaching) over 100 years old.  Victorian genre painting could also be cited, in which artists would attempt to encapsulate by detail and suggestion a dense narrative in a single canvas. Masque, ballet and mime could also be mentioned as forms of expression which use body and movement to convey a story in 3D space. But, it may be argued, it is in the 20^th century that the image came into its own. Cheaper and more ubiquitous forms of photography, followed by the possibility of making home movies, and now of making them available for everyone to see, have followed upon greater technical sophistication in mechanical reproduction of the image, as Walter Benjamin noted so paradigmatically, changing the quantity of images we process and the nature of our reaction to them. If you add to this the penetration of the home by television since 1945 and the subsequent penetration of hearth and hand by the personal computer and the smartphone, we have a society which might feel (erroneously of course) that “it has seen it all”, or at least that it has all been made available to be seen if only we had enough life.

In the contemporary iteration of storytelling exemplified by video games the conceptualisation of narrative flared up into a wholesale revisiting of our relationship to stories, particularly when structured by the rules and challenges inherent in game progression. Even if the combat sequence of this controversy has given way to more of a puzzle-solving sequence, the issue of the significance of narrative remains distributed throughout video game studies like a health bar in constant need of attention.

The presumption behind the cryptic set of illustrations for descaling your coffee machine are that anyone anywhere can decode contemporary sign systems. The utopian elimination of writing may be further evidenced in the global sharing of popular culture references which are overwhelmingly visual. Even The Lord of the Rings is now more Peter Jackson’s construction of Tolkien the philologist’s text for most people; and arguably so now is any written text once it is transformed into a movie. Lolita is as much Sue Lyons’s sunglasses as it is Nabokov’s prose.

At the same time, local cultural variations and rerouting of these shared visualities both draw on and resist the presence of largely Western imageries and imaginaries. From Brazilian Hugo Canuto’s launching off Jack Kirby’s Avengers illustrations to animate the syncretic curating of West African mythologies in his Contos dos Orixás graphic novels, to the use of Indian pictographic traditions to tell the story of the abduction of Sita in Samhita Arni and Moyna Chitrakar’s Sita’s Ramayana, to the large number of children’s books which tell the stories of indigenous peoples with recourse to their traditions of line and colour palette, the availability of distinctive variants is larger than we might think in any medium we care to consider.

When we speak of visual culture and visual storytelling, we are referring to a system made up from a combination of universes and sub-universes, with their agents, objects and specific processes of production, dissemination, and reception. It is not a static system, but one whose constant renewal results from the rate at which its agents and technological processes change. It is also a worldview, a particular way of perceiving and portraying reality, that is not only connected to forms of seeing, but also to modes of representation which appeal to different languages, cognitive levels and sensory models. We may even admit the existence of diverse visual micro–cultures that correspond not so much to different social groups as to different moments of social life, aesthetic and ideological proposals, interests and intentions, which present alternative, though not necessarily antagonistic, ways of seeing and representing the world.

It is therefore proposed to hold an international conference on Visual Storytelling to continue the conversation on how the forms and techniques of artistic, technical and commercial production are evolving from primordial instances to modern articulations of visual narrative expression. Visually narrated stories are embedded in networks of political, economic, ideological and social circumstances, far too often hardly detectable, even by those who draw, paint, photograph or write (and live) under their influence. They have also been reinvented as profitable cultural symbols of territories dominated by tourism and globalization, very distant from their origins. Whatever we look at involves affect, according to James Elkins. How this affect is evoked, gestured to or animated must be of interest to analysis if we are not to be carried along by the multiple narrative forms proposed to us, invited by us and forced onto us.

Papers are accordingly invited on specific aspects of the following topics, in rough chronological order:

1. Stage and live performance narratives
2. Visual storytelling in traditional arts and crafts
3. Storytelling in the plastic arts
4. Narrating the landscape: from recording travel to the age of Instagram
5. Museums, physical and virtual
6. Photographic narrative forms
7. Cinema – from the silent days to modern digital and CGI forms
8. Graphic Novels
9. Comic Books and comic strips

• Cartoons
• Children’s books
• Television – entertainment, news media and the use of the image
• Music videos – narrating the song
• Storytelling in advertising and marketing
• The campaign video
• Visual Narratives on/of the city: graffiti and street art
• Video Game narratives
• YouTube and online filmmaking
• Graphic fan fiction
• The business of visual storytelling

We welcome submissions in English, by the 31st March 2022, to be sent to Professors David Callahan (callahan@ua.pt) and Clara Sarmento (clarasarmento@gmail.com) with the following information:

• Title;
  •Author(s), institutional affiliation, contact email(s);
  •Conference topic (see list above);
  •Abstract (200 words);
  •Bionote (100 words).

Registration fees:

100 euros – employed academics

50 euros – graduate students

Registration is free for members of CLLC, U.Aveiro and CEI, ISCAP-P.PORTO

Confirmed keynote speakers:

Hanna Musiol, Norwegian University of Science and Technology, Trondheim

Miguel Sicart, IT University of Copenhagen, Denmark

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Call for Papers: 42^nd Meeting of the Portuguese Association for Anglo-American Studies

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INFORMATION:

Submission

abstracts(between 200 and 300 words), with titles, keywords (5) and bionotes (100 words) should be sent to the following e-mail address: litcehum@ilch.uminho.pt.

The languagesof communication are the following: Portuguese, English, Spanish, French and Italian

The paper proposals will be analysed and selected by the scientific committee. At the end of the conference, the organising committee plans to make a peer-reviewed selection of the texts presented for publication: in electronic format and in book form (the latter on request).

IMPORTANT DATES:

Submission of proposals: until December 31, 2019

Notification of acceptance: until January 31, 2020

Conference registration (online): until March 31, 2020

Programme publication (online): until April 30, 2020

Registration (for attendants): until May 31, 2020

Conference: June 29 and 30, 2020

REGISTRATION FEES:

Until January 31, 2020 -80 euros

After this date (and until May 31, 2020) -120 euros

CEHUM members (and ILCH students) –(free registration)

METHOD OF PAYMENT:By bank transfer(to the UMinho account indicated in the website)

VENUE: AmphitheatreB1 (Pedagogical Complex 2) and Auditorium of the Institute of Letters and Human Sciences, University of Minho, Gualtar Campus, Braga, Portugal

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Revista Canarias de Estudios Ingleses (“9/11 and its war aftershocks in cultural American Studies: A 20-year insight.”)

Dear colleague:

I am commissioned to edit a number of our department’s journal, Revista Canarias de Estudios Ingleses. A tentative title for the monograph is “9/11 and its war aftershocks in cultural American Studies: A 20-year insight.”

Please click on this link to find further information on RCEI, including indexation:

https://riull.ull.es/xmlui/bitstream/handle/915/7993/RCEI%2076%20%282018%29.pdf?seque nce=1&isAllowed=y

As the title suggests, we plan to edit a number of articles on different aspects of the cultural constructions around 9/11 and its long aftermath. Manuscript submissions must be presented in English, between 4,500 and 5,500 word-long, and conform to MLA style system.

The following list suggests topics to work on:

– Digitalization and self censorship
– Discourses generated: the pragmatics of 9/11 and after
– Hollywood vs. Independent film
– Identities: issues of class/gender and sexuality /race
– Islamophobia and a new American nativism
– The neoconservative agenda implemented
– Poetry after 9/11 and Mosul?
– Postpostmodernism as the framework to narrate 9/11
– Telling the Terror
– Trauma
– Vietnam and Iraq / Afghanistan: modes of narration
– Views from outside: non-US literatures in English discuss the Terror on/from America