Nome dell'autore: Anglistica

Call for papers – Rhesis. International Journal of Linguistics, Philology and Literature

Call for papers Rhesis. International Journal of Linguistics, Philology and Literature The call for papers is ongoing and has no deadline. Articles submitted to the Journal are organized into two sections (Linguistics and Philology, and Literature) and will be published on the website as they are accepted, typeset, and finalized for inclusion in the current year’s volume. The yearly volume will close on December 31st of each year. From January 1st 2023 it will be possible to submit essays and scientific studies to the editorial board of the journal Rhesis for the 14.1 (2023) and 14.2 (2023) issue. This invitation is valid for the whole of 2023. The studies will be published on the website when ready, starting from January 1st, 2023. The annual closing of the journal is supposed to be on December 31st each year. The articles submitted after October 30th, 2023 will be automatically considered for the following year’s issue, published with the same procedure starting from January 1st, 2024 to December 31st, 2024. Rhesis uses a double-blind peer-review process to evaluate scientific manuscripts. When an article is submitted to the Journal, the Editorial board reviews it to ensure that it meets the Journal’s scope and standards, which usually takes about one week. If the manuscript is deemed suitable for peer-review, it is sent to two reviewers who are experts in the same field as the author. To ensure objectivity, both the reviewers and the author are kept anonymous from each other. The reviewers usually have four weeks to complete their review and provide feedback to the editors and the authors. The feedback may include suggestions for revisions or improvements to the manuscript. Once the reviews are complete, the Editorial board carefully evaluates the feedback and makes a decision on whether to accept the manuscript for publication, request revisions from the authors, or reject the manuscript. If a manuscript is found to be unsuitable for publication in the journal, either because it does not meet the journal’s scope and standards or because of other reasons, it may be rejected by the Editors without being sent out for review by external experts (Desk rejection). Rhesis. International Journal of Linguistics, Philology and Literature is an international, academic, double-blind peer-reviewed, on line and open access Journal. Rhesis is ranked “rivista scientifica ANVUR” for academic area 10. It is indexed in MIAR and is present in the ACNP, BASE, ROAD, WorldCat databases. The peer-review process is managed through the OJS platform. For further information, please visit the journal website: https://ojs.unica.it/index.php/rhesis/about https://ojs.unica.it/index.php/rhesis/call

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Convegno “L2 accent and pronunciation research: acquisition, teaching, attitudes (L2APR)”

Convegno “L2 accent and pronunciation research: acquisition, teaching, attitudes (L2APR)” Venezia, 15-16 novembre 2023 Dei colleghi di Ca’ Foscari segnalano il convegno (in presenza) “L2 accent and pronunciation research: acquisition, teaching, attitudes (L2APR)”, che si terrà presso l’Università Ca’ Foscari Venezia dal 15 al 16 novembre 2023.  Sono ora aperte le iscrizioni per i partecipanti senza contributo. Il link per la registrazione (gratuita) si trova in questa pagina, mentre il programma del convegno è visibile qui. Per ulteriori informazioni, scrivere a L2APRvenezia@unive.it.

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Textus issue 3/2024 –  Call for proposals 

Textus issue 3/2024   Call for proposals  AIA members interested in editing issue 3/2024 of Textus are invited to send their proposals to Marilena Parlati (marilena.parlati@unipd.it), Paola Catenaccio (paola.catenaccio@unimi.it) and Massimiliano Demata (massimiliano.demata@unito.it) by 31 October 2023. Building on comments and suggestions put forth in the course of the pre-conference round table at AIA XXXI, we invite calls for proposals that encourage inter-, multi- and cross-disciplinary research on themes that lend themselves to exploration and analysis from multiple methodological vantage points. Prospective guest co-editors (at least two, and approaching the chosen topic from different disciplinary perspectives) should submit a preliminary call for papers based on a general theme that might be of interest to all AIA members. The call should include a working title, a brief description of the topic proposed by the guest editors (500 words max), the name of a foreign scholar of international standing who has agreed to co-edit the issue, and the name of a copy editor. All proposals will be examined by the Textus Editorial Board (Giuseppe Balirano, Paola Catenaccio, Massimiliano Demata, Manuela D’Amore, C. Bruna Mancini, Marilena Parlati and Irene Ranzato) whose decision will be communicated to the guest editors by 10 November 2023. The call for papers will be issued by 15 November 2023, the deadline for sending abstracts is 31 December 2023.   

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Insediamento nuovo Consiglio Direttivo

Il 20 settembre 2023 alle ore 17.30 si è insediato il nuovo Consiglio Direttivo dell’Associazione Italiana di Anglistica. Sono presenti i/le Proff. Giuseppe Balirano, Paola Catenaccio, Manuela D’Amore, Massimiliano Demata, Bruna Mancini, Marilena Parlati, Irene Ranzato. Con decisione unanime, il prof. Giuseppe Balirano assume la carica di Presidente dell’Associazione Italiana di Anglistica per il biennio 2023-25. Il Direttivo designa, inoltre, quale Vice-Presidente la prof.ssa Marilena Parlati. Sempre all’unanimità è designato come Segretario-Tesoriere il prof. Massimiliano Demata.

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Afterlives of Empire, Università di Roma “La Sapienza”, 21-22 settembre 2023

Ecco il programma del convegno Afterlives of Empire, Università di Roma “La Sapienza”, 21-22 settembre 2023 (solo in presenza) Thursday, 21 September 2023 9.00 Registration 10.00 Opening remarks (room 105) Camilla Miglio (Head of SEAI, Sapienza Università di Roma) and Riccardo Capoferro (Sapienza Università di Roma) 10.15 – 11.15 Keynote lecture I – Room 105 Chair: Riccardo Capoferro (Sapienza Università di Roma) Corinne Fowler (University of Leicester), Country Walks through Colonial Britain during the Culture War 11.15 – 11.45 Coffee break (room 204, 2nd floor) 11.45 – 13.15 Parallel sessions I Room 105 Panel 1 – Empire Lost, Empire Regained? Chair: Andrea Peghinelli (Sapienza) Caroline Gondaud (MEAE), L’Union européenne et les imaginaires impériaux Katharina Clausius (Université de Montréal) & Claudia Clausius (King’s University College/Western), Imperial Music in the Republican Press: National(ist) Icons in Interwar Austria Valerio Cordiner (Sapienza Università di Roma), Vestiges de l’Empire. De la Françafrique à la Françamérique Room 107 Panel 2 – Visions of India Chair: Asia Battiloro (Sapienza Università di Roma) Arnab Das (Indian Institute of Technology Madras), Spectres of a Colonial Narco-State: 19th-Century Opium Trade and Its Postimperial Afterlives in Contemporary Indian Fiction Rocío G. Davis (University of Navarra), Romancing the Empire: M. M. Kaye’s Memoir and Novels as Imperial Validation Christiane Schlote (University of Basel), Commemorating Care: Indian Ayahs and Emotional Imperialism Room 110 Panel 3 – Cultural Geographies Chair: Paolo D’Indinosante (Sapienza Università di Roma) Katherine Baxter (Northumbria University), Desertification María Fernández Díaz (University of Oviedo), Necropolitics and Colonial State Violence in Nadifa Mohamed’s The Fortune Men (2021) Lamia Mecheri (Université d’Annaba), Avatar 2 : La Voie de l’eau de James Cameron, un film (néo) impérialiste ? 13.15 – 14.45 Lunch (caffetteria, 1st floor) 14.45 – 16.45 Parallel sessions II Room 105 Panel 4 – Fascism and Post-Fascism Chair: Umberto Rossi (Independent Scholar) Franco Baldasso (Bard College, NY), Postcards from the Empire: The Long Journey through Fascism Claudia Sbuttoni (University of New Hampshire), Postwar Italy’s Refugee Re-Housing Projects: Urban Peripheries as Extension of Empire Kerry Gibbons (University of Warwick), Colonial Re-Imaginations: The Liberal Colony as a Narrative Setting in the Fascist-Era ‘Romanzo Coloniale’ Federico C. Simonelli (Università Ca’ Foscari Venezia), The Bard of Submerged Imperialism: D’Annunzio and Nationalist Ideology in the Italian Imaginary after the Second World War Room 107 Panel 5 – Post-Imperial Portrayals in Cinema and Television Chair: Luca Valleriani (Sapienza Università di Roma) Teresa Sorolla & Víctor Mínguez (Universitat Jaume I), Afterlife of Queen Victoria in Cinema: Victoria & Abdul (Stephen Frears, 2017) Roxana Elena Doncu (Carol Davila University of Medicine and Pharmacy), Prince and Pauper: The British Monarchy, Their Imagined Transylvanian Roots and Imperial Nostalgia in Wild Carpathia Emiel Martens (University of Amsterdam & Erasmus University Rotterdam), Welcome to Paradise Island: The Interwoven History of Film, Tourism and Empire in Jamaica, 1891–1951 Room 110 Panel 6 – Old and New Landscapes Chair: Katherine Baxter (Northumbria University) Mary Booth (University of Liverpool), Strategic Ambiguity: The Continued Influence of Empire and the Interpretive Evolution of Historic Houses in the United Kingdom Elizabeth Dillenburg (The Ohio State University at Newark), The Ozymandias of Delhi: Coronation Park and the Negotiation of Colonial Legacies in India Sean Ketteringham (University of Oxford), Enduring Coloniality: Georgian Heritage and Angus Acworth in the West Indies Leo Kadokura (University of Oxford), Distant Chimeras: The After-Effects of John Galsworthy and the Edwardian Novel 16.45 – 17.15 Coffee break (room 204, 2dn floor) 17.15 – 19.15 Parallel sessions III Room 105 Panel 7 – Displaying Empire Chair: Franco Baldasso (Bard College, NY) Jeremy Walton (University of Rijeka), Between Inter-Imperial Violence and Inter-National Peace: A View from the Military Museums of Vienna and Istanbul Andrea Potts (The University of Brighton), The Afterlives of Imperialism: Public Engagement with Museum Exhibitions Briony Widdis & Emma Reisz (Queen’s University Belfast), Collecting Ambiguity: Material Objects and the Afterlives of Empire in Northern Ireland Rebekah Hodgkinson (University of Oxford), Constructing the Past in the Present: The National Trust and British Colonialism Room 107 Panel 8 – Multimedial Empires Chair: Tiziano De Marino (Sapienza Università di Roma) Oded Feuerstein (Tel Aviv University), ‘I understand colonialism now and it terrifies me’: Ludic Imperialism and Victoria 3 Paolo D’Indinosante (Sapienza Università di Roma), The Afterlife of Colonial Fiction in The Secret Games Company’s Kim Judith Neder (Technische Universität Dresden), Challenging Fundamentalism: Gene Luen Yang’s Boxers and Saints Room 110 Panel 9 – Fiction and Colonial Memory Chair: Alessandra Crotti (Sapienza Università di Roma) Nicoletta Brazzelli (Università degli Studi di Milano), The Poetics of Memory in Afterlives by Abdulrazak Gurnah Eri Kobayashi (Seikei University), Memories of Empire in Caryl Phillips’s Novels Emma Parker (University of Bristol), The Baggage of Empire: Objects, Memory, and Colonial Whiteness in J. G. Ballard’s and Doris Lessing’s Life Writing Carmen Zamorano Llena (Dalarna University), Listening to the Precariousness of Post-Imperial Memory in Abdulrazak Gurnah’s Afterlives Friday, 22 September 2023 10.00 – 11.00 Keynote lecture II – Room 105 Chair: Irene Ranzato (Sapienza Università di Roma) Pablo Mukherjee (University of Oxford), Ghosts in the Machine: Famines and Afterlives of Empire 11.00 – 11.30 Coffee break (room 204, 2nd floor) 11.30 – 13.00 Parallel sessions IV Room 105 Panel 10 – Postcolonial Histories and Nation Building Chair: Paolo D’Indinosante (Sapienza Università di Roma) Ann-Sofie Nielsen Gremaud (University of Iceland), New Friendships and Old Ties: Post-Colonial Relations between Iceland and Greenland Skirmantė Biržietienė & Eglė Gabrėnaitė (Vilnius University Kaunas Faculty), The Concept of Empire in Contemporary Lithuanian Public Discourse: A Corpus-Based Research Karl Hele (Mount Allison University), Anishinaabeg Countering Settler Imperial-Colonial Narratives through Performance, c. 1900 to Present Room 107 Panel 11 – Gender, Memory, Empire Chair: Caterina Romeo (Sapienza Università di Roma) Noreen Kane (University College Cork), Intergenerational Memory in the Novels of Maaza Mengiste Nicole Fluhr (Southern Connecticut State University), Revision and/as Revolt: Tackling Empire’s Literary Legacies in Marlon James’ The Book of Night Women Giovanna Buonanno (Università di Modena e Reggio Emilia), Afterlives of Empire in Contemporary Black British Women’s Plays: Janice Okoh’s The Gift (2020) Room 110 Panel 12 – Post-Imperial Myths Chair:

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CFP: Storytelling, Identity Formation, and Resistance in North American Indigenous Culture

CFP: Storytelling, Identity Formation, and Resistance in North American Indigenous Culture Through stories, knowledge and culture within and between communities is passed from generation to generation. Oral narratives were used and are still used to share rituals, customs, and traditions of a community. The truths within Indigenous communities are reflected and grounded within their stories and Elders play a key role in passing knowledge. They “mentor and provide support and have systematically gathered wisdom, histories, skills, and expertise in cultural knowledge” (Iseke 561). Their stories shape identity and empower Indigenous communities and peoples. Stories indicate beliefs, attitudes, and perceptions of people. For instance, Datta emphasizes that “stories can vary from the sacred to historical, some focus on social, political, and cultural ways, some are entertaining, even humorous, some tell of personal, family, community, or an entire nations’ experience” (37). Indigenous stories represent Indigenous knowledge and can be a way to resist colonial power, through memories of the past. Additionally, memories as expressed through story for the basis for … the future. Elders “use their knowledge for the collective good” (Iseke 561). A person’s identity is shaped not only through their experience and knowledge of life but also by what is passed through community. Identity is shaped through cultural memory of the groups and communities. A common shared knowledge serves to connect individuals to the community. Memory can maintain the identity of the people who live within a community. The shared memory that passes from generation to generation, fashions culture and history. According to Assmann, “the term is cultural memory, it is ‘cultural’ because it can be realized institutionally and artificially, and it is ‘memory’ because its relation to social communication it functions in exactly the same way as individual memory does in relation to consciousness” (9). Culture connects history, myth, tradition, and identity which are bound together through story. Through memory, one can preserve the past and shape the future. With the aid of memory, communities can remember their traditions, history, and values and while making them speak to the present. One recalls not only what he learned and experienced but also how others have reacted to this knowledge; therefore, there is always interaction between an individual and their community. Storytelling is a way to share memories between generations. This call for papers will focus on the importance of storytelling in Indigenous communities, specifically within the context of North America. The storytelling can function as a method to overcome the past traumas, shape identity, resist colonial power and resurge the community. Moreover, storytelling helps the Indigenous community to avoid the false information spread about their culture while bringing awareness to both the community and outsiders. Fake news is widespread by colonializers has been damaging Indigenous peoples’ rituals, history, and identity while stories told by Elders can be a way to inform the people about the true facts remained untold, masked, or deformed. Some previous books focused on the importance of stories. Fagundes and Blayer’s edited book Oral and Written Narratives and Cultural Identity: Interdisciplinary Approaches (2007) contains 6 sections which emphasize on place, autobiographical voices, oral identities, textualized identities, and children’s stories. The book emphasizes on a general understanding of identity and storytelling. Archibald’s Indigenous Storywork: Educating the Heart, Mind, Body, and Soul (2008) is an attempt to bring in storytelling in educational context. In her book, she emphasizes on the power of stories in teaching about Indigenous people. Christensen et al. edited a book entitled Activating the Heart: Storytelling, Knowledge Sharing, and Relationship (2018) that deals with understanding, sharing, and creating stories. They use various mediums such as autobiography, poetry, and scholarly books to indicate how storytelling educates people. Besides, Xiiem et al. also edited a book related to Indigenous studies entitled Decolonizing Research: Indigenous Storywork as Methodology (2019) and focused on Indigenous communities in Australia, Canada, and New Zealand and shared some knowledge on how stories work as a method of decolonizing Indigenous history. Perspectives on Indigenous writing and literacies (2019) edited by Cocq and Sullivan explored Indigenous literacy across five continents. It deals with challenges that Indigenous writers face and new approaches that can pave the path for hopeful future for Indigenous writing. These books tackled the importance of storytelling and the current call for paper will focus on the role of storytelling among Indigenous peoples in Canada to heal the trauma, shape the subjectivity, and resist the colonial power. The call for paper seeks contributions from literary and non-literary disciplines such as memoirs, novels, diaries, movies, tv series, and documentaries to give a more holistic view of the power of the stories among Indigenous peoples in Canada. Through storytelling, the Indigenous people are not passive victims of colonization but active participants of shaping their own culture, rituals, and traditions. Hence this CFP for a volume, tentatively titled Storytelling, Identity Formation, and Resistance in North American Indigenous Culture, seeks expand the existing literature on the concept of storytelling as healing and identity formation by seeking for contributors from a range of different fields. Therefore, this call for papers seeks to gather proposal exploring literary and non-literary texts (including but not limited to feature films and documentaries) that exploit the power of storytelling, among Indigenous people of North America, as a therapeutic tool in different contexts. In this light, we are seeking contributions that engage with but not limited to Canadian Indigenous Studies and related disciplines. Contributions are sought concerning, but not limited to, issues such as: • Storytelling as an act of resistance and empowerment • Storytelling and notion of self in relation to others • Storytelling as a testimonial act • Stories and historical construction of events • Stories and representation of Indigenous knowledge The papers will be peer-reviewed. Interested contributors should send their proposals to Kamelia Talebian Sedehi (Kamelia.talebiansedehi@uniroma1.it). Please write in the subject: abstract for CFP on Storytelling. The manuscript collection will be submitted to John Benjamins press for consideration for publication. Timeline Deadline: 30/09/2023 – Abstracts (300 words) Notification of acceptance: 15/10/2023

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CfP: Metamorphoses and Fluidity: Ever-Changing Shapes in the Stream of Time, ‘Tor Vergata’ University of Rome, 7-8 May, 2024

Metamorphoses and Fluidity: Ever-Changing Shapes in the Stream of Time Tor Vergata University of Rome 7-8 May, 2024 “Omnia mutantur, nihil interit. Everything changes, nothing perishes” (Ovid, Metamorphoses) “For some reason, the tall, empty room where he was forced to remain made him feel uneasy as he lay there flat on the floor, even though he had been living in it for five years” (Kafka, The Metamorphosis) Prominent theoretical issues and practices in contemporary Western intellectual cultures have made metamorphosis a desirable area for scholarly study, as the topic is frequently juxtaposed or linked with something that is not only “other”. Metamorphosis, however, not only questions the distinctions between the subject and its “other” or between language and nonlanguage; it also raises issues of definition. As a result, many studies focused on the concept of metamorphosis emphasize epistemological and ontological issues pertaining to the subject’s interaction with the outside world and other people as well as the subject’s understanding of both the subject and the outside world. Another topic that has received much attention in recent studies is metamorphosis as a tropological issue. One of the most frequently made assertions regarding the tropological status of metamorphosis is that it draws from a variety of trope categories, particularly metaphor and metonymy, and yet, as a representation of a startling and seemingly miraculous change, it is also capable of playing with the line between the literal and figurative. The paradoxical nature of the metamorphosis theme further exacerbates issues with subjectivity, how it is portrayed in literary characters, and the connection between textuality and knowledge. The fourth edition of the biannual conference organized by the Research Group TrAdE (Translation and Adaptation from/into English) seeks to explore how translation and adaptation deal with ever-changing literary and linguistic shapes in the stream of time. TrAdE’s first conference was focused on words as they move from one linguo-cultural system to another, serving as means for connection and contact. The second conference addressed the issue of contamination and contagion resulting from linguo-cultural contact in Anglophone scenarios. For its third conference, the Research Group delved into alterity in the translation and adaptation of Anglophone (con)texts. The fourth transdisciplinary Conference shall be focused on (but not limited to) the following topics: Metamorphosis/Fluidity in Education and (Social) Media; Metamorphosis/Fluidity in Art(s), Music, Movies and TV Series; Metamorphosis/Fluidity in Language, Literature, Linguistics and Translation; Metamorphosis/Fluidity of Style(s) and Genre(s); Panels/Abstracts Submission Proposals for individual presentations (approximately 200 words) should include the name and contact information of the speaker, their affiliation and a 50-word bionote. Proposals for panels (maximum 500 words) should include the name and contact information of the chairperson, the abstract of each presenter (approximately 200 words) and their bionote. Please send panels and/or individual proposals to: segreteria.trade@gmail.com. Deadline for proposals: December 15, 2023 Notification of acceptance: January 7, 2024 Fees Early bird (before February 7, 2024) = € 60 Standard registration (before May 1, 2024) = € 80 On-site registration will NOT be available. Further info on registration and payment will be posted on TrAdE site in October (https://gruppotrade-2019.uniroma2.it/) Confirmed keynote speakers: Professor Frederic Chaume Varela (Universitat Jaume I, Spain) Professor Cristiano Furiassi (University of Turin, Italy) Download the pdf Scientific Committee Silvia Antosa, Paolo Bugliani, Mehmet Ali Çelikel, Frederic Chaume Varela, Cristiano Furiassi, Daniela Guardamagna, Giulia Magazzù, Bootheina Majoul, Bruna Mancini, Elisabetta Marino, Theodora Patrona, Eriola Qafzezi, Valentina Rossi, Rossana Sebellin, Angela Sileo, Anikó Sohár, Saverio Tomaiuolo. Metamorphoses and Fluidity (OPEN)

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CfP: Special Issue on “Audiovisual Translation and Media Accessibility in the Age of Streaming Platforms”, TRANSlation & INTerpretinglity in the Age of Streaming Platforms”

Guest editors: Sofía Sánchez-Mompeán, University of Murcia, Spain; Serenella Zanotti, Università Roma Tre, Italy Streaming platforms have marked a watershed in today’s film industry, revolutionising mainstream TV distribution systems and reshaping viewers’ consumption habits (Jenner, 2018; Pedersen, 2018). Users are now holding the reins of their own entertainment experience and enjoy relatively more freedom in deciding when, where and how to view media products. The way in which this new reality is impacting audiovisual translation (AVT) and media accessibility (MA) with respect to producers, practitioners, audiences and workflows is worth bringing into focus. The global success of subscription-based services—such as Netflix, HBO Max, Amazon Prime, Hulu and Disney+—has brought with it a growing demand for localised content, substantially increasing the availability of audiovisual products translated into multiple languages through captioning and revoicing techniques (Chaume, 2019). According to Los Angeles Times, in 2021 Netflix released 5 million minutes of dubbed programming and subtitled 7 million minutes (Lee, 2022). Localisation has thus become a game changer for streaming companies wishing to attract a wider audience and to lead an international market that is no longer dominated by English-language originals (Hayes, 2021). As a matter of fact, many of the latest most-watched on-demand series are non-English shows from South Korea (Squid Game), France (Lupin) or Spain (La Casa de Papel), to name but a few. This new AVT landscape has exerted a dramatic impact on localisation demands and trends such as the rise in the consumption of dubbed material in English-speaking markets (Chaume, 2018; Ranzato & Zanotti, 2019; Hayes, 2021; Sánchez-Mompeán, 2021; Spiteri Miggiani, 2021) or the faster speed at which fan-based translations are being generated to anticipate professionally released versions (Díaz-Cintas, 2018; Dwyer, 2021). The surge in the popularity of AVT and MA practices has favoured the expansion of non-local productions beyond their language barriers, but it has also left translated content increasingly prone to comparisons and criticism due to the relative easiness of access to the different localised versions. Although negative comments are not always justified, especially when disregarding the nature of translation and the constraints attached to it (Orrego-Carmona, 2021), some have served to fight for higher quality levels, up-to-date conventions and better working conditions (Spiteri Miggiani, 2021, 2022), thus turning AVT and MA into hot topics of discussion nowadays. Notwithstanding that the work of translators seems to be gradually raising its visibility in society, the challenges faced by practitioners as well as the dominant trends in the production and consumption of localised content for over-the-top platforms and the current technological developments such as cloud-based localisation services (Bolaños-García-Escribano & Díaz-Cintas, 2020; Chaume & de los Reyes Lozano, 2021; Georgakopoulou, 2021) are still unexplored from the point of view of academic research and practice. We are interested in both theoretical and practical approaches that focus on AVT and MA in the current streaming era. Topics of interest include, but are not limited to, the following: Dubbing research and practice Voiceover research and practice Subtitling research and practice Subtitling for the d/Deaf and hard-of-hearing (SDH) research and practice Audiodescription (AD) research and practice Fan-based translations (e.g., fansubbing, fandubbing, parodic dubbing…) Reception and perception studies (e.g., audiences’ profile, challenges…) New consumption habits (e.g., binge-watching, virtual communities…) Quality parameters and conventions (e.g., use of automatic translation, use of a pivot language…) Creative practices in AVT and MA Cloud-based platforms and workflows and technological trends Production and distribution tools in AVT and MA Training, pedagogical approaches and new professional profiles  Key dates 1 September 2023: abstract submission to the guest editors (300 words; references not included in wordcount). Please email your abstract to both guest editors: sofia.sanchez@um.es and serenella.zanotti@uniroma3.it. 30 September 2023: notification of abstract acceptance/rejection. 31 March 2024: submission of full papers via the journal website. Stylesheet: https://www.trans-int.org/index.php/transint/about/submissions#authorGuidelines. April-October 2024: peer-review and revision period. 1 January 2025: deadline for submission of revised versions. July 2025: publication of special issue. http://www.trans-int.org/index.php/transint/announcement/view/23

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Call for papers – “Back to Africa: Literary Representations of Return in African Literatures”

Information The French University Sorbonne Paris Nord in collaboration with the Italian University of Bologna, is organising a one-day International Conference on the 25th of October devoted to postgraduate students and early researchers on the topos of return in African literatures.   Context After years spent in the USA as a migrant, Ifemelu, the protagonist of Chimamanda Ngozi Adichie’s Americanah (2013), realises that her home country, Nigeria, “became where she was supposed to be, the only place she could sink her roots in without the constant urge to tug them out and shake off the soil.” This “gravitational pull,” as Maximilian Feldner (2019) calls it, has been perceptible in African literatures throughout the years so much so as to represent one of its constitutive features. In the still ongoing “age of the refugee, the displaced person, mass migration” (Said 1984), the need to return found in African Literatures seems, at first glance, to be at odds with the postcolonial debates around hybridity, cosmopolitanism, and rootlessness or route-oriented belonging. As Salman Rushdie (1983) declared, “roots […] are a conservative myth, designed to keep us in our places.” On a similar note, drawing from the Igbo knowledge system, Chinua Achebe (1994) employs the concept of rootlessness as a metaphor for writing: “If you’re rooted to a spot, you miss a lot of the grace. So you keep moving, and this is the way I think the world’s stories should be told — from many different perspectives,” he argued. Thus, how can return be tackled without mooring it to discourses imbued with essentialism, nationalism, and exclusion, all of which could potentially be derived from rootedness? Perhaps, however, it is the very tension between routes and roots that should be overcome. It is what James Clifford (1997) attempted to do in his work Routes: Travels and Translation in the Late Twentieth Century. With the return, the homonymic opposition is resolved because coming back to one’s roots involves the act of travelling – routes. But can one ever come back home? As beautifully shown by the novel On Black Sisters’ Street (2011), originally written in Dutch by Nigerian writer Chika Unigwe, migrants, while abroad, might experience a kind of nostalgia. After their return, however, this nostalgia might morph into disillusion and even alienation, as shown by Obi, the protagonist of Chinua Achebe’s No Longer at Ease (1960). Also, it is important to underline that people who come back are not the same as when they left: after having had to adapt to different – and sometimes hostile – environments and socio-cultural systems, returnees might face the same difficulty seen during the initial migration as they are reintegrating into their home country. The eponymous character of Kehinde (1994) by Buchi Emecheta, is precisely an example of such discomfort: once she comes back to Nigeria, she is forced into a polygamous relationship she struggles to accept after her husband decides to marry a second, younger woman in secret. The return can either convey a sense of agency when triggered by the desire or need to escape from the racism and injustices of the host country, as in Sefi Atta’s A Bit of Difference (2012), or, on the contrary, a failure when it is imposed by the authorities of the host country as in Helon Habila’s Travellers (2019). Drawing on all these issues, the conference aims to analyse how the phenomenon of return migration has been addressed and continues to be addressed in African Literatures. Indeed, while in migration studies, from the 1990s onwards, there has been a growing interest in return migration and the ways in which it shapes individuals in terms of identity changes and cultural shifts (King and Kuschminder 2022), the same cannot be said for literary criticism. While early migration studies conducted on return mobilities tended to offer a simplistic view of such phenomena (i.e., migrants moved from their native country to the place of destination and stayed for good or decided to return back after a while), today’s mobilities paradigm is way more complex and intricate. This complexity is mirrored in the recurrent topos of return in African literatures, which has taken multiple forms: from permanent reverse migration to brief “reconnections”, i.e., provisional returns (Knudsen and Rahbek 2019) or what is perceived as a return to an ancestral land by U.S. descendants of enslaved people, as in Ghanaian-American writer Yaa Gyasi’s Homegoing (2016). Ideas of return, whether implemented or only intentional, re-emerge in different historical periods and places across the African continent: from Kwamankra, the protagonist of Ethiopia Unbound (1911) by Fante writer J. E. Casely Hayford, which might be the first fictional work dealing with return from the so-called mother-country, to the omnipresent figure of what in the Anglophone post independent period was called the “been-to” i.e. a member of the elite, generally male, who undertook a period of study abroad and returned to contribute to the building of the newly sovereign states. This is the case of Baako, the protagonist of Fragments (1970) by Ghanaian writer Ayi Kwei Armah. Similar figures can also be observed in the francophone context in works such as Climbié (1956) by Ivorian writer Bernard Binlin Dadié or L’Aventure ambiguë (1971) by Senegalese writer Cheikh Hamidou Kane. Today, more than ever, characters who return abound in African literatures: Nina in Loin de mon père (2010) by Franco-Ivorian writer Véronique Tadjo, Ike, the anti-hero of Foreign Gods, Inc. (2014) by Nigerian writer Okey Ndibe and Christine, one of the characters of Tropical Fish: Stories Out of Entebbe (2006) by Ugandan writer Doreen Baingana, to cite only a few examples. Like their authors, these returnees are part of a transnational context and straddle multiple nations in a way that not only makes them overcome the dichotomy between home and host country but also negotiate and redefine the meaning of “home”.   Aim This one-day conference aims to investigate how the different forms of return to the African continent are represented in African literatures. We hope to welcome a

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CfP: «Cross-Media Languages. Applied Research, Digital Tools and Methodologies», 2 (2024)

Call for papers È aperta la call per il numero 2 (2024) di «Cross-Media Languages. Applied Research, Digital Tools and Methodologies».  Le proposte, in forma di abstract (max. 500 caratteri, spazi inclusi), dovranno pervenire all’indirizzo cml.journal@uniba.it, entro il 15 luglio 2023. Notifica per l’accettazione dei contributi: 30 luglio 2023. La scadenza per la consegna dei contributi è fissata al 5 marzo 2024. I saggi dovranno essere inediti e non superare i 35.000 caratteri (spazi inclusi). La pubblicazione è prevista per maggio 2024. Per altre informazioni si consulti la pagina Proposte.  Deadlines for the second issue (2024) of «Cross-Media Languages. Applied Research, Digital Tools and Methodologies». Abstract submission deadline (500 characters max.): 15th July 2023; send to cml.journal@uniba.it. Notification of acceptance: 30th July 2023 Paper submission: 5th March 2024 Word count: 35.000 characters max (The character limit includes spaces) Publication: May 2024 For more information, see the web page Proposte. Trovate la call for papers al seguente link: https://ojs.cimedoc.uniba.it/index.php/cml/pages/view/callpapers  

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