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AIA Proceedings – Thinking out of the Box – Literature and Culture

AIA editorial 0 639

Call for Papers

Thinking out of the box in language, literature, cultural and translation studies:

questioning assumptions, debunking myths, trespassing boundaries

“Thinking out of the box” is a powerful metaphor, one that challenges us to consider possibilities previously not even imagined, and to extend our vision – of the world and ourselves – to include alternative, complementary, or even contrasting perspectives. It means engaging in self-reflective, creative and/or lateral thinking, beyond what is obvious or commonplace, or even implicit in what we say and do. Most of all, it means becoming aware of the existence of “the box” (i.e. what we take for granted and how this conditions our conduct) and also being willing to question the validity of our convictions so as to expand our knowledge. It does not mean being innovative at all costs or for its own sake – in fact, it may mean going back to old practices. Rather, it requires the humility to pose “simple” questions meant to ascertain the accuracy of commonly held beliefs and taking stock of the findings. Thinking out of the box is an act of the imagination that brings new insights into our values and cultural assumptions, and an act of courage pushing us away from our comfort zone.

We aim to publish a selection of the papers presented at the recent AIA conference in Padua; this Call for Papers is open to all participants to the literature and culture panels of that conference. 

Topics that could be addressed in this domain include but are not limited to the following: 

  • Canonical unmaking and remaking. 
  • Genre mobility: the relationship between synchronic theorization and diachronic complexity. 
  • Subverting identities, creating new identities, undoing the identity obsession. 
  • Genres and the individual text. 
  • New critical trends: questioning theoretical boundaries, mixing theories, challenging /undermining theoretical orthodoxies. 
  • Returning to history: from the neo historical novel to Neo-Victorianism and Neo-Edwardianism. 
  • New ways of narrating literary history, beyond national/temporal delimitations. 
  • Women’s writing: neither Milton’s daughters nor Frankenstein’s mothers. 
  • Out of the norm and into revolution, from the Peasant’s Revolt to BrexLit. 
  • Translation and untranslatability: how well does a text travel? 
  • Alternative worlds, from Utopia to science fiction to fantasy.
  • Reading in the Digital Age: a new approach? 
  • New projections of writing: the visual/verbal paradigm and beyond. 
  • Digital humanities: does this approach prompt us to think out of the (text) box? 
  • Engaging with difference in the literature classroom. 
  • Reading, writing, acting, across borders.
  • Children’s and young adult fiction.
  • Graphic novels, picture books, visual narratives autobiographical fiction, memoir, faction.
  • Surveying and reconsidering the postcolonial / decolonial suggestions.
  • Migration and self-translation.
  • Globalising/nationalizing cultures.
  • Ecology of culture(s), ecocriticism on the move.
  • Gender and LGBT re-positionings.
  • Empathy and affect: Old and new approaches to trauma in art, literature, new media.
  • Vulnerability, disability, body matters.
  • Cultures of the post-human.

We ask you to submit your paper no later than 31 January 2020, following the stylesheet attached. All submissions shall undergo a double-blind peer review. 

Papers should be no longer than 7,000 words (footnotes included), and accompanied by a short biography (approx. 200 words).

Please send a Word (.doc or .docx) file of your submission (with your biography in a separate file) to these email addresses:

Rocco Coronato, rocco.coronato@unipd.it 

Marilena Parlati, marilena.parlati@unipd.it 

Alessandra Petrina, alessandra.petrina@unipd.it 


Presenting the typescript

Layout: the typescript should be set out double-spaced with margins c. 3 cm (1.2 in) wide.

Footnotes (NOT endnotes) should also be double-spaced.

Font: please use the same font throughout, e.g. Times New Roman, point 12. Do not use headers/footers or any complex coding.

Foreign Fonts: (for example, diacritics, mathematical symbols, transliterated Greek/Arabic) If you intend to use foreign fonts in your book, please alert your commissioning editor to this before submitting your typescript. They may ask you for an example.

Pagination: number all pages consecutively throughout the typescript in the top right-hand corner.

Spelling, usages and punctuation should be consistently British English. Use –ize spellings consistently for words such as globalization/organization. Please note that in British English certain words (analyse, catalyse, dialyse, electrolyse, hydrolyse, paralyse) cannot be spelled -yze. Please use the Oxford English Dictionary for any doubt.

Punctuation: Use single quotation marks, with double marks for quotes within quotes, and single again for quotes within quotes within quotes. 

Displayed extracts do not need quotation marks, or a different spacing or layout. Simply leave a blank line before and after the quote.

Please enclose any of your own interpolated words in square brackets to show that they are not part of the quoted matter. 

Punctuation should be within quotation marks if a complete sentence is quoted. 

Final punctuation will be outside quotation marks if the quotation forms only part of a sentence. Remember that direct quotations should not be changed to conform to our house style but should appear as in the original.

Dates should be written 18 August 2007, and decades as the nineties or the 1990s without an apostrophe.

Abbreviations consisting of capital initial letters don’t have full stops – GNP, USA. Contractions ending with the same letter as the original word do not take terminal full stops – St, Mr, Dr – but abbreviations where the last letter of the word is not included do take a full stop – ed., ch. – thus ed. and eds are both correct. Abbreviated units of measurement do not take a full stop – lb, mm and kg – and do not take a final ‘s’ in the plural – 7lb, 10mm. Please use ‘and so on’, ‘that is’ and for example’ instead of etc., i.e. and e.g.

Initial capitals are used to distinguish the specific from the general – for example, ‘she is Professor of Economics at Oxford University’, but ‘he is a professor at a well-known university’.

Numbers one to ten are expressed in words, but 11 upward appear in figures, unless used in general terms for instance, about a hundred people. Wherever a unit of measurement is used the number preceding it appears in figures – unless it is used in a very general sense such as hundreds of miles.

Four-digit numbers should appear closed up without a comma, but five-digit numbers and above should take a comma – 4251 but 42,510. In tables, all numbers with four or more digits take a comma.

Decimal points should appear as full stops on the line. Please mark clearly the difference between the capital letter O and zero and between lower-case l and figure 1 where there may be doubt.

Inclusive numbers should include the fewest possible digits: 32–3, 132–48, 200–5, except in ‘teen’ numbers, where the 1 is repeated, 1914–18.

Dates should be elided to the last two digits: 1997–98.

In text, per cent should be spelt out and the number should appear in figures – 54 per cent. In tables the % symbol can be used.

Hyphenation. In general this is being used less frequently in compound terms – for instance, microeconomic, but note, for example, the adjectival hyphen in ‘a twentieth-century author’. Clarity of meaning and consistency throughout the book are the most important considerations. Please use the Oxford English Dictionary for any doubt.

Headings, sub-headings, table headings and figure captions should not have full stops.

Parentheses (or round brackets) are used for simple interpolations, and square brackets for editorial notes or interpolations in quotations.

Cross-references to other pages within the book can cause problems at proof stage. If possible please refer to chapters or sections of text rather than to pages. For any problem, alert your editors.

Try to use gender-neutral language where possible: ‘his or her’ or ‘their’ rather than just ‘his’.


The following models for notes and the bibliography are taken with a few changes from the guidelines set forth in The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003). For each type of source, a model note appears first, followed by a model bibliography entry. In all cases, the model note shows the format you should use when citing a source for the first time. Subsequent citations should give the author’s last name and, if more than one work by that author is being cited, an abbreviated form of the title adequate to distinguish it, as in the first three examples (but not thereafter) below.

Note: ALWAYS avoid “Ivi” and “Ibidem”

Basic format for a printed book

First note:  William H. Rehnquist, The Supreme Court: A History (New York: Knopf, 2001), p. 204.

Subsequent notes:  Rehnquist, p. 207. or Rehnquist, Supreme Court, p. 207.

Two or three authors

First note:  Michael D. Coe and Mark Van Stone, Reading the Maya Glyphs (London: Thames & Hudson, 2002), pp. 129-30.

Coe and Stone, pp. 130-35. OR Coe and Stone, Reading, pp. 130-35.

Four or more authors

First note:  Lynn Hunt et al., The Making of the West: Peoples and Cultures (Boston: Bedford, 2001), p. 541.

Hunt et al., pp. 542-5. OR Hunt et al., Making, pp. 542-5.   [etc, below]

Online book

First note:  Heinz Kramer, A Changing Turkey: The Challenge to Europe and the United States (Washington, DC: Brookings Press, 2000), p. 85, http://brookings.nap.edu/books/0815750234/html/index.html.

Unknown author

First noteThe Men’s League Handbook on Women’s Suffrage (London, 1912), p. 23.

Edited work without an author

First note:  Jack Beatty (ed.), Colossus: How the Corporation Changed America (New York: Broadway Books, 2001), p. 127.

Edited work with an author

First note:  Ted Poston, A First Draft of History, ed. Kathleen A. Hauke (Athens: University of Georgia Press, 2000), p. 46.

Translated work

First note:  Tonino Guerra, Abandoned Places, trans. Adria Bernardi (Barcelona: Guernica, 1999), p. 71.

Edition other than the first

First note:  Andrew F. Rolle, California: A History, 5th ed. (Wheeling, IL: Harlan Davidson, 1998), p. 243.

Volume in a multivolume work

First note:  James M. McPherson, Ordeal by Fire, vol. 2, The Civil War (New York: McGraw-Hill, 1993), p. 205.

Work in an anthology or Article in a collection

First note:  Zora Neale Hurston, ‘From Dust Tracks on a Road,’ in The Norton Book of American Autobiography, ed. Jay Parini (New York: Norton, 1999), pp. 333-43.

Letter in a published collection

First note:  Thomas Gainsborough to Elizabeth Rasse, 1753, in The Letters of Thomas Gainsborough, ed. John Hayes (New Haven: Yale University Press, 2001), p. 5.

Line references from Shakespeare and early modern drama 

Should be given as follows: 1.3.44-46; 2.4.280-86 and NOT I.iii.44-46; II.iv.280-86.

Work in a series

First note:  R. Keith Schoppa, The Columbia Guide to Modern Chinese History, Columbia Guides to Asian History (New York: Columbia University Press, 2000), pp. 256-58.

Encyclopedia or dictionary entry

Encyclopaedia Britannica, 15th ed., s.v. ‘Monroe Doctrine.’

Article in a journal

First note:  Jonathan Zimmerman, ‘Ethnicity and the History Wars in the 1920s,’ Journal of American History 87, 1 (2000): pp. 92-111.

Journal article published online (If the article is paginated, give a page number in the note and a page range in the bibliography).

First note:  Linda Belau, ‘Trauma and the Material Signifier,’ Postmodern Culture 11, no. 2 (2001): par. 6, http://www.iath.virginia.edu/pmc/text-only/issue.101/11.2belau.txt.

Book review

First note:  Nancy Gabin, review of The Other Feminists: Activists in the Liberal Establishment, by Susan M. Hartman, Journal of Women’s History 12, 3 (2000): p. 230.

Unpublished dissertation

First note:  Stephanie Lynn Budin, The Origins of Aphrodite (PhD diss., University of Pennsylvania, 2000), pp. 301-2.

Video or DVD

First noteThe Secret of Roan Inish, DVD, directed by John Sayles (1993; Culver City, CA: Columbia Tristar Home Video, 2000).

Source quoted in another source

First note:  Adam Smith, The Wealth of Nations (New York: Random House, 1965), p. 11, cit. in Mark Skousen, The Making of Modern Economics: The Lives and the Ideas of the Great Thinkers (Armonk, NY: M. E. Sharpe, 2001), p. 15.