Humanist Discussion Group, Vol. 37, No. 462.
Department of Digital Humanities, University of Cologne
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Submit to: humanist@dhhumanist.org
Date: 2024-02-22 11:35:52+00:00
From: Mario VERDICCHIO <mario.verdicchio@unibg.it>
Subject: Request for a Call for Papers
Dear kind people at the Humanist,
I would like to submit the following call for papers for distribution on your
mailing list.
The link to the journal is here: https://iperstoria.it/announcement/view/37
Below, the text of the call.
I look forward to hearing from you, especially if I need to format my request in
a specific way.
Many thanks and
Best regards,
Mario Verdicchio
University of Bergamo, Italy
----------
Iperstoria n. 24 – Call for Papers Fall 2024 (Italian below)
Editors:
Andrea Pitozzi, Università degli Studi di Bergamo
Mario Verdicchio, Università degli Studi di Bergamo
Anglo-American Digital/Electronic Literature: Theories, Forms and Practices
Under the umbrella term of Digital Humanities, the last thirty years have
witnessed a growing production of studies devoted to interactions and
connections between increasingly advanced technologies on the one hand, and
artistic forms and theoretical perspectives in the humanities on the other. As
for the field of literary studies, the interaction with digital technologies and
AI is now the center of various research, highlighting in particular the
potentialities of an intensive technological application and implementation,
which also leads to a rethinking of the basic elements of the discipline. In the
field of critical studies, for example, digital technologies have enabled
interpretative and analytical models such as those based on textual analysis or
distant reading (Moretti). At the same time, other interpretative models based
on the idea of code (Geoghegan) or network (Jogada) emerged, as well as critical
approaches based on intermedia or transmedia (Jenkins) research perspectives.
Even from a creative point of view, recent years have witnessed a passage from
early texts using electronic technologies or cybernetic structures, to works
entirely generated by software such as Storyspace – with “hypertext narratives”
– to more recent works labeled as Electronic Literature (Rettberg) and Digital
Literature.
In an ideal continuity with issue 12 (2018) of this journal, devoted to the use
of digital technologies as a tool in order to approach the field of literary
studies, the present special section of Iperstoria aims to analyze contemporary
examples of digital/electronic Anglo-American literature, focusing on products
that have been conceived directly in the electronic/digital environment, and are
thus related to a certain technological specificity. Contributions that
understand the digital as a technology that changes and modifies perceptual and
creative paradigms, rather than simply as an instrument that facilitates,
expands or accelerates established practices are particularly welcomed, as well
as essays in which the digital is considered, in its relation to technologies,
as an aesthetic condition capable of defining a new theoretical framework for
literary products.
In considering digital/electronic literary works great attention will be paid to
three main lines of inquiry: firstly, one that explores potential theoretical
approaches to the connection between digital/electronic technologies and
literature; secondly, one that is devoted to the analysis of digital literary
works that problematize and thematize the very connection with technologies; and
finally, a third line that is ideally dedicated to contemporary practices in
which digital and electronic technologies are integrated into the creative
process not as mere tools but on an aesthetic and poetic basis.
As far as theories are concerned, contributions might explore the literary-
digital nod from a philosophical and aesthetic perspective. Is it possible to
speak of an aesthetic of digital literature? What characterizes a philosophical
approach to the study of digital technologies in the field of literature? Since
aesthetics concerns the analysis of the sensible and the sensual, is there a
theory that questions the processes and uses of technologies?
As for the forms, attention will be paid to contributions exploring how digital
and electronic technologies are thematized and interrogated in the literary
field, through hybrid products that present themselves as sites of reflection on
technologies rather than simply sites where technologies are applied to literary
forms.
Finally, examples and analyses of literary practices that discuss the connection
between literature and the digital through a radical rethinking of creative
paradigms, such as AI-generated texts, Twitter fiction, Instapoetry, fan
fiction, etc., are also welcome.
Possible lines of inquiry may include, but are not limited to:
Surveys of aesthetic theories of digital/electronic literature
Case studies of digital/electronic literature in which the technological aspects
are problematized, rather than simply included as implementations
Definition of potential new literary genres through the digital
Analysis of glitches and errors as potentially creative elements
Works that combine digital art and literature
Deadline and instructions
Publication is scheduled for December 2024. Papers, in either Italian or
English, must be submitted by June 15, 2024 and should be between 5,000 and
8,000 words in length.
Those interested in submitting a proposal should send a 250-word abstract to the
editors at andrea.pitozzi@unibg.it e mario.verdicchio@unibg.it by March 20,
2024. Abstracts will be evaluated by the editors and notifications will be sent
shortly thereafter.
Submitted manuscripts must be original and uploaded to the journal website
following the procedure available at the link:
https://iperstoria.it/about/submissions.
Final acceptance will depend on the relevance of the article to the call
theme(s), as well as on the originality and quality level of the submission. All
submitted manuscripts must conform to Iperstoria’s guidelines.
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