Submission deadlines

Publication and issue: Language Teaching and English Literature (LTEL).
Deadline for submissions: Submissions are open for the first issue to be published in 2026.

The journal of Language Teaching and English Literature (LTEL) has an editorial board whose members have an international reputation, coming from higher education institutions across the world and covering a wide range of disciplines such as literature, linguistics, applied linguistics, intercultural communication, translation studies, lexicology, stylistics and theology.

Theme presentation 

Pedagogical approaches, using classical literary texts in language teaching Pedagogy concerns what teachers do to bring about effective learning and is, therefore, the defining feature of any teaching practice. In this first issue of the journal, you are invited to submit your work on a diverse range of topics related to the teaching of classical literary texts in a foreign/second language learning context, from exploring the intricacies of using such texts in the classroom to discovering the nuances of students’ and/or teachers’ attitudes to literature teaching. Research, whether conceptual or empirical, that pushes the boundaries of knowledge and challenges existing paradigms is most welcome. To submit your work, visit: https://www.ubplj.org/index.php/ltel/submission/wizard

Website address 

https://www.ubplj.org/index.php/ltel/about

Submissions

https://www.ubplj.org/index.php/ltel/about/submissions

https://www.ubplj.org/index.php/ltel/submission/wizard

Irish Studies: Legacies and Futures. Special Issue 3/2026 of “Studia Universitatis Babeș-Bolyai Philologia”.
Extended submission deadline of completed essays: 1 May 2026.

Guest editors:

Publication presentation

In December 2024, a group of international Irish Studies scholars gathered in Cluj, Romania to celebrate the 25th anniversary of Babeș-Bolyai University’s MA programme in Irish Studies – to this day the only postgraduate degree offering a cross-disciplinary perspective on Irish culture, literature and history at any Central/Eastern European university. When the MA programme, initially designed as Irish Writing and Its Contexts, was created in 1999, Ireland and Central/Eastern Europe were entering a decade of hopes for deeper European integration and democratisation in their regions and worldwide. It was a time that witnessed the rapid globalising of Irish Studies, backed by Celtic Tiger optimism. However, that decade would also bring in far-reaching changes that prompted, in our domains of knowledge and across the humanities, a thorough overhaul of ways of seeing and framing difference. At the start of the Cluj ISMA, global Irish Studies was dominated by postcolonial rehistoricising and recontextualising approaches pivoting on rigorous archival studies. Importantly, the early 2000s saw a definite decline in the understanding of literary culture as part of the anthropological program of “inventing Ireland”, to quote the title of one of Declan Kiberd’s seminal books that to this day underpins our discipline; a transition from culture understood as projecting a shared sense of identity and future, to “after Ireland” (to quote another title by Kiberd), that is, to an understanding of literature as operating in a planetary field, fully enmeshed with other forms and modes of imagining personhood, creaturely life and vulnerability. 

Lego, legare: as the Latin etymon of the first word in our title implies, “legacies” translates as chords binding future developments or meshing their potential unfoldings with that which the past bequeaths, in the sense of both an alignment with existing lines of research and an opening up of fields of inquiry towards future possibilities. In fact, in the quarter century since the Cluj ISMA started, literary and cultural studies – Irish Studies included – have shown a pervasive preoccupation with questions of ethics and biopolitics that cut across lines of gender, class, ethnicity, human and nonhuman geographies and habitats. Consequently, the curriculum taught today is informed by corporeal studies, trauma studies, new materialism(s), different posthumanisms, animal studies, and ecocriticism, whose investigations as a rule reveal the ontological and ethical tangle of literary phenomena with earthly life. 

Irish culture has often been forced by history to experiment with modes of being, ways of transmission and aesthetic forms that widely deviated from established norms and genres, received notions of the status and social role of culture, and canonical aesthetics. Given the rapid, dramatic changes Ireland underwent since the millennium turn, to the exceptionally progressive post-Celtic Tiger state, Irish culture is again among the “first respondents” to the multiple, intersectional crises affecting all earthlings. Irish culture’s public framing has similarly continued to change. An almost symbolic illustration could be the transition from the “greening” of the towering modernist self-exiles, whose names came to adorn Dublin’s contemporary architectural landmarks (the “James Joyce” and “Samuel Beckett” bridges across the Liffey designed by international star architect Santiago Calatrava) to the naming of an offshore patrol vessel participating in UN humanitarian missions after the latter: the LÉ Samuel Beckett, which rescued around 1,000 refugees in the Mediterranean before the pandemic. 

Twenty-five years since the founding of ISMA in Cluj, we invite proposals for essays on any aspect that perspectivises these legacies anew, for a retrospective and prospective re-threading of our thoughts on Irish culture. We seek papers that explore Irish literature and its modes of questioning and provoking putative certainties, of subverting established norms and forms that corresponded to social, political and cultural power structures. Proposals related to these and any other aspects of the multifarious “tense future” ahead of us are also welcome. 

Submissions

Extended submission deadline of completed essays: May 1, 2026. Articles should adhere to the stylistic and bibliographic requirements outlined in the journal’s stylesheet: https://studia.reviste.ubbcluj.ro/index.php/subbphilologia/article/view/6341/6042 

and should be sent to the following addresses:

CFP

For further details, please check the publication’s original CFP.

cfp_3_2026_EN – 1 MayDownload

Disposable Bodies and the Aesthetics of War: Representations of Vulnerability, Violence, and Resistance in Literature and Culture.
Deadline for contributions: 15 September 2026.

Guest Editors: 

  • Dr. Andrea Roxana Bellot,
    Associate Professor, Department of English and German Studies
    Rovira i Virgili University (URV), Tarragona, Spain
    andrearoxana.bellot@urv.cat

and

  • Dr. Nóra Máthé
    Assistant Lecturer, Department of Applied Linguistics
    Sapientia Hungarian University of Transylvania, Târgu-Mureș, Romania
    mathenora@ms.sapientia.ro

Publication presentation

Wars have been a recurring feature of human history. They have shaped territories, identities, and political orders, and they continue to do so today. From large-scale invasions and civil wars to drone strikes and digital surveillance, armed conflict remains a constant global reality. In a world marked by ongoing warfare, from Europe to the Middle East, from Africa to the Pacific, its human consequences can no longer be treated as distant or exceptional. Contemporary wars demand renewed attention to the ways violence renders certain lives expendable, invisible, or ungrievable. This special issue of Studia Universitatis Babeș-Bolyai Philologia explores how modern and contemporary wars produce disposable bodies and how cultural and literary forms expose, question, or resist that disposability. We invite contributions that examine how conflict constructs hierarchies of human worth and how artistic practices challenge the political, military, and media narratives that normalise the loss of particular lives. 

The notion of the “disposable body” has become central to analyses of power, violence, and vulnerability. Thinkers such as Michel Foucault, Giorgio Agamben, Achille Mbembe, Judith Butler, and Lauren Berlant have shown how modern systems determine whose lives are protected and whose can be neglected, sacrificed, or forgotten. Drawing on these frameworks, from Foucault’s biopolitics (1976) to Agamben’s bare life (1998) and Mbembe’s necropolitics (2003), as well as Butler’s notion of precarious life (2004) and Berlant’s concept of slow death (2011), this special issue examines how contemporary systems govern bodies, distribute vulnerability unevenly, and expose certain populations to intensified forms of harm and disposability.

While these debates emerge in diverse contexts, they converge on a fundamental insight: political orders are sustained through the unequal distribution of exposure to death. War intensifies these logics. Soldiers may be treated as resources rather than persons; civilian casualties often disappear into statistics; racialised, colonised, or displaced populations are framed as collateral; and wounded veterans may become invisible once they fall outside military utility. Contemporary warfare, including remote and automated forms of killing, further distances the public from the bodies affected by violence.

Literature and cultural production play a crucial role in making these processes visible. As Jean Colleran suggests (2003), today’s “disposable wars” are often mediated through images that turn violence into spectacle. Yet literature, theatre, film, visual art, and digital media can interrupt this spectacle by returning specificity, presence, and dignity to those positioned as expendable. Through narrative detail, embodied performance, aesthetic disruption, testimonial force, or digital counter-archiving, cultural texts help audiences confront the human costs of war. They reveal the mechanisms that erase certain lives, and they also imagine alternative modes of witnessing, remembering, and valuing.

Thus, this special issue asks:

  • How do cultural and literary representations make visible the production of disposable bodies in wartime?
  • How do aesthetic forms resist, reproduce, or complicate narratives of expendability?
  • What happens when we understand war not only as geopolitical conflict but as a system for managing human disposability?
  • How do different media intervene in the processes that decide whose suffering matters?
  • What alternative memories, narratives, or futures emerge from artistic engagements with wartime violence?

We welcome contributions from literary studies, cultural studies, performance studies, war studies, memory and trauma studies, gender studies, media studies, and digital humanities, among others.

Suggested Subtopics:

  • The biopolitics and necropolitics of war: theoretical and cultural representations.
  • The expendable soldier: race, class, and coloniality in military hierarchies.
  • Civilian casualties and the politics of ungrievability in war narratives.
  • Bodies as testimony: trauma, injury, disability, and the aesthetics of the wounded body.
  • Spectacle, media, and the visual erasure of wartime suffering.
  • Veterans, memory, and postwar disposability.
  • The transformation of spectatorship into witnessing in theatre, film, and performance.
  • Gendered and sexualised disposability in wartime representation.
  • Digital warfare, drones, and the distancing of bodily harm.
  • Commemoration, memorial practices, and racialised hierarchies of remembrance.

Languages Accepted: English 

Deadlines and Selection Procedure

  • September 15, 2026 – deadline for paper proposals (abstract of 200 words, 7 keywords, minimum 5 theoretical references, author’s bio note of 150 words);
  • October 30, 2026 – notification of acceptance;
  • February 28, 2027 – submission of full articles (the required format for referencing can be found at:
    http://studia.ubbcluj.ro/serii/philologia/pdf/Instructions_En.pdf);
  • September 30, 2027 – publication of the special issue.

Proposals and completed articles should be sent to the following addresses:

Double-blind peer review: All articles that pass the first screening will undergo anonymous evaluation by two external reviewers following the journal’s standard peer-review procedures.

CFP

For further details, please check the original call inserted below.

CFP_SUBB_3_2027 (1)Download