ECREA WEEKLY digest ARTICLES

Universidade Católica Portuguesa, Lisbon

This scholarship is financed by the Research Centre for Communication and Culture, through funding by FCT, with reference no. UIDB2022.3/00126/2020.

SUBMISSION OF APPLICATIONS

The call for applications shall be open from 8 August to 2 September 2022 at 23h59 (Lisbon time).

Applications and their respective supporting documentation, stipulated in the present Public Notice of Call for Applications, must be submitted via email to concursos.cecc.fch@ucp.pt.

TYPE AND DURATION OF SCHOLARSHIPS

Doctoral Research Scholarships are intended to finance students’ PhD research, leading to the attainment of a PhD degree in the Doctoral Programme in Communication Sciences at Universidade Católica Portuguesa.

The research leading to a PhD degree shall take place at the Research Centre for Communication and Culture (CECC) (UIDB2022.3/00126/2020), which shall thus be the scholarship recipient’s host institution, without prejudice to any other work undertaken in collaboration with one or more institutions.

The research leading to a PhD degree by the scholarship recipient must fall within the framework of CECC’s (UIDB2022.3/00126/2020) strategic activities plan and must be developed under the auspices of the Doctoral Programme in Communication Sciences, Universidade Católica Portuguesa.

This is, as a rule, an annual scholarship, renewable for a maximum period of two years (24 months). Scholarships cannot be awarded for periods of less than three consecutive months.

APPLICATION REQUIREMENTS

The following documents, without exception, must be included in the application, under penalty of exclusion from the call for applications:

• the details stated on the identity card, citizen’s card, or passport;
• the candidate’s CV;
• certificates for each academic qualification held, which must specify, without fail, the final classification and, where possible, the marks received for each subject studied. Alternatively, should candidates be unable to access their undergraduate or Master’s degree certificate by the application deadline, a declaration upon honour that the candidate completed their undergraduate or Master’s degree studies prior to the application deadline;
• letter of motivation;
• letters of recommendation (optional);
• preliminary PhD project proposal in line with one of the following CECC research groups: a) Media Narratives and Cultural Memory or b) Digital Literacy and Cultural Change (max. 2000 words).

DEADLINE FOR APPLICATION

2 September 2022

FURTHER INFORMATION

For all details please check the the official call: https://fch.lisboa.ucp.pt/system/files/assets/files/edital-50-alterado-03-08-2022-eng-signed.pdf

University of Nottingham Ningbo China

There are five vacancies at the University of Nottingham Ningbo China:

• Research Fellow in Cultural Heritage - https://www.jobs.ac.uk/job/CRV360/research-fellow-in-cultural-heritage
• Assistant Professor in Cinematography - https://www.timeshighereducation.com/unijobs/listing/303660/assistant-professor-in-cinematography/
• Associate Professor/Professor in Creative Technologies- https://www.timeshighereducation.com/unijobs/listing/303663/associate-professor-professor-in-creative-technologies/
• Associate Professor in Media Production and Product Development - https://www.timeshighereducation.com/unijobs/listing/303662/associate-professor-in-media-production-and-project-development/
• Professor of Creative Industries and Digital Media - https://www.timeshighereducation.com/unijobs/listing/301482/professor-of-creative-industries-and-digital-media/

Please see specific postings for further information.

Join a unique British University in China. The University of Nottingham Ningbo China (UNNC) was the first Sino-foreign university to open its doors in China. This award winning campus offering a UK style education has grown to establish a student body of over 8,000 in just 16 years.

A pioneer in Sino-foreign tertiary education, UNNC is rapidly expanding as part of the University of Nottingham’s Global University. The institution seeks ambitious, talented academics with a flair for research and a passion for teaching to join its team of experts, offering unique teaching and research opportunities in a highly dynamic economy.

The School of International Communications is the largest school in the Faculty of Humanities and Social Sciences, and is affiliated to the Department of Culture, Media and Visual Studies at the Nottingham UK campus. Our BA (Hons) in International Communications is a provincial level accredited degree which includes a dedicated programme of study for a European or East Asian language. Its sister programme, BA (Hons) in International Communications with Chinese, has proved successful in attracting high quality international students to the school. We currently run an MA programme in International Communications and also have one of the most successful PhD programmes in the university.

The post-holder will be expected to teach across the full range of our programmes, undertake supervision of BA and MA dissertation students and PGR students, and conduct research and external engagement in the school’s main research areas. More details of the school and its teaching and research activities can be found here:

https://www.nottingham.edu.cn/en/humanities-and-social-sciences/international-communications/home.aspx

Comparative Cinema 20 (Spring 2023)

Deadline: January 15, 2022

Film scholars are today well aware of cinema’s multiple connections to the so-called “natural” world. From the very beginning, the medium’s technical affordances allowed it to draw attention to the hitherto unseen aspects of our environments, showing us in close-up and time lapse the minutiae of animal and plant life – what Siegfried Kracauer famously called the “reality of another dimension” (1997). More fundamentally, cinema’s longstanding dependence on a congeries of natural resources – silver, petroleum, gelatine – and the effects on screen of its inescapable “hydrocarbon imagination” (Bozak 2011), situate it both with and against the world it depicts.

Given cinema’s unique representational capacities, over the last century the same environments have afforded cinema a collection of vastly different images. The sea, for instance, has gifted us the pioneering representations of underwater fauna in the films of Jean Painlevé; the ethical compromises of Jacques Cousteau and Louis Malle’s Palme d’Or winning Le Monde du Silence (1955); and the disorienting GoPro footage of marine life in Leviathan (Lucien Castaing-Taylor and Véréna Paravel, 2012).

If nature has long presented a challenge, a resource, and a backdrop to filmmakers of all stripes, then film studies scholarship is only beginning to reckon with its sheer multiplicity as reflected in film history. The last decade especially has witnessed a flourishing of writing with an ecological bent, and has seen the rise of the field now known as ‘ecocinema.’ A number of collections (Willoquet-Maricondi 2010; Rust, Monani and Cubitt 2013) saw the coming together of ecocriticism and film studies over a decade ago, but scholars including Adrian Ivakhiv (2013); Kristi McKim (2013), Adam O’Brien (2016; 2017) and Jennifer Fay (2018) have since made exciting advances in other directions.

There is indeed already a vast proliferation of approaches to cinema in connection with nature, but recent developments – such as attention to the implications for particular national cinemas (Past 2019) – suggest that ecocinema as a field still holds many unexplored possibilities. As such, the 20th issue of Comparative Cinema is capacious in its focus, inviting contributors to consider novel ways of addressing cinema in connection with all manner of non-human environments and perspectives. Articles should employ a comparative methodology, and topics may include, but are not limited to:

- Cinema’s Natural Resources: Given the provenance of film materials like celluloid, and the massive carbon footprint of streaming technology, how heavy is the burden of cinema on the scarce natural resources of the world today? How might cinema’s materials – and its waste – emerge in film aesthetics and narratives?

- More-than-human Perspectives: To what extent can cinema de-centre our habituated ways of seeing the world on screen? How close can the camera, as what André Bazin called the “non-living agent,” take us to the non-anthropocentric possibilities of vision?

- Cinema and the Elemental: What role do the traditional elements – earth, air, water, fire – have to play in the images we see on our screens? How might the concept of “elemental media” (Peters 2015) or the notion of cinema’s “elemental imagination” (De Roo 2019) be deployed in comparative analyses of particular films, or of cinema and its environments? How are spectacular natural phenomena like storms, floods and fires represented on film?

- Extraction of Materials and Meaning: How has cinema represented the perils of extractive capitalism on screen? Or, considering the work of scholars like Leo Goldsmith (2018) and Daniel Mann (2022), how has the medium itself knowingly participated in this dynamic of extraction in its bid to draw meaning from the world? What are the gendered and colonial dimensions of environmental extraction in cinema’s history?

Comparative Cinema invites the submission of complete articles addressing ecocinema from a comparative perspective, which must be between 5500 and 7000 words long, including footnotes. Articles (in MS Word) and any accompanying images must be sent through the RACO platform, available on the journal website.

In addition to articles that respond to this particular topic, Comparative Cinema is also accepting submissions for ‘Rear Window,’ a miscellaneous section of the journal that will include articles focusing on other aspects of cinema using a comparative methodology. Please indicate in your submission if you wish to be considered for this section of the journal.

TIMELINE FOR ISSUE 20:

• Deadline for submission of complete articles: 15/1/2023
• Peer review: 15/1/2023-28/2/2023
• Final copy deadline: 30/4/2023
• Publication: June 2023

REFERENCES

Bozak, Nadia. 2011. The Cinematic Footprint: Lights, Camera, Natural Resources. New Brunswick, NJ and London: Rutgers University Press.

De Roo, Ludo. 2019. “Elemental Imagination and Film Experience: Climate Change and the Cinematic Ethics of Immersive Filmworlds.” Projections: The Journal for Movies and Mind 13(2): 58-79.

Fay, Jennifer. 2018. Inhospitable World: Cinema in the Time of the Anthropocene. Oxford and New York: Oxford University Press.

Goldsmith, Leo. 2018. “Theories of the Earth: Surface and Extraction in the Landscape Film.” World Records 2. https://worldrecordsjournal.org/theories-of-the-earth-surface-and-extraction-in-the-landscape-film/

Ivakhiv, Adrian J. 2013. Ecologies of the Moving Image: Cinema, Affect, Nature. Waterloo, Ontario: Wilfrid Laurier University Press.

Kracauer, Siegfried. 1997. Theory of Film: The Redemption of Physical Reality. Princeton, NJ: Princeton University Press.

Mann, Daniel. 2022. “Red Planets: Cinema, Deserts, and Extraction.” Afterimage 29(1): 88–109.

McKim, Kristi. 2013. Cinema as Weather: Stylistic Screens and Atmospheric Change. New York: Routledge.

O’Brien, Adam. 2017. Film and the Natural Environment: Elements and Atmospheres. London: Wallflower.

———. 2016. Transactions with the World: Ecocriticism and the Environmental Sensibility of New Hollywood. Oxford: Berghahn Books.

Past, Elena. 2019. Italian Ecocinema: Beyond the Human. Bloomington: Indiana University Press.

Peters, John Durham. 2015. The Marvelous Clouds: Toward a Philosophy of Elemental Media. Chicago, IL and London: University of Chicago Press.

Rust, Stephen, Salma Monani and Sean Cubitt. eds. 2013. Ecocinema Theory and Practice. London and New York: Routledge.

Willoquet-Maricondi, Paula. ed. 2010. Framing the World: Explorations in Ecocriticism and Film. Charlottesville: University of Virginia Press.

https://raco.cat/index.php/Comparativecinema/announcement/view/170

Contact: comparativecinema@upf.edu

Berlin School Of Public Engagement

The Berlin School Of Public Engagement at the Museum For Natural History Berlin has a vacancy for a Project Coordinator.

1. Location: Berlin School Of Public Engagement at the Museum For Natural History Berlin

2. Salary: German salary table E 11 TV-L: approx. 2209.27€ monthly, upgrading depends on work experience (taxes already deducted)

You can find all information about the vacancy and the application here: https://jobs.museumfuernaturkunde.berlin/jobposting/add5b81709f808eaa87c3cbe92c2ebcfdd16ad5b0

April 11-14, 2022

Lisbon, Portugal

Deadline: November 4, 2022

The 18th Foundations of Digital Games (FDG) held in Lisbon, Portugal, invites all research contributions in the form of papers, posters, demos, doctoral consortium applications, as well as panels, competitions and workshop proposals. We invite contributions from within and across any discipline committed to advancing knowledge on the foundations of games: computer science, engineering, mathematics, natural sciences, humanities, social sciences, arts and design.

Topics include:

• Technical Game Development, Novel Controllers
• Game Design, Studio Practices, Novel Mechanics, Novel Experiences
• Game Analytics and Visualization
• Game Artificial Intelligence
• Game Criticism and Analysis
• Games Beyond Entertainment

Author Information

Papers should have a maximum of 10 pages, excluding references, reporting new research. Papers need to be anonymized and submitted in the ACM SIGCONF version of the ACM Master Template within their respective track using EasyChair. FDG 2023 is held in cooperation with ACM and ACM SIG AI, SIGGRAPH and SIGCHI.

Accepted papers will be included in the proceedings under the respective track submitted. When submitting, authors are requested to select the track that fits more closely to their submitted work.

Papers and Demos will receive double-blind peer reviews. All other submissions will be single-blind. All papers are guaranteed at least three reviews. Games and Demos are guaranteed two reviews. There will be no rebuttal.

Submission Deadlines

Submission Deadline: 4th November 2022

Workshops, Panels and Competition Deadlines: 21st October 2022

Late-Breaking Paper: 27th of January 2023

Games & Demos Deadline: 27th of January 2023

Conference Dates: 11th-14th of April 2023

Conference website: http://fdg2023.org/

February 20-26, 2023

Indian Institute for Technology Roorkee (IIT Roorkee, India)

Deadline: August 31, 2022

Dear Colleagues,

we hereby invite you to submit an abstract for the Session “Culturally Sensitive Approaches – Potential New Directions of Empirical Research” at the “3rd International and Interdisciplinary Conference on Spatial Methods for Urban Sustainability” (“SMUS Conference”), which will simultaneously be the “3rd RC33 Regional Conference Asia: India”, and take place on site at the Indian Institute for Technology Roorkee (IIT Roorkee, India) from Monday, February 20th, to Sunday, February 26th, 2023.

The deadline for ‘Call for Abstracts’ for the conference has been extended till 31.08.2022. We kindly invite you to submit an abstract to this or to other sessions of this inspiring conference.

Best regards,

Thomas Herdin

About the Conference

The six-day conference aims at continuing a global dialogue on methods and should attract methodologists from all over the world and all social and spatial sciences (e. g. anthropology, area studies, architecture, communication studies, computational sciences, digital humanities, educational sciences, geography, historical sciences, humanities, landscape planning, philosophy, psychology, sociology, urban design, urban planning, traffic planning and environmental planning). The conference programme will include keynotes, sessions and advanced methodological training courses. With this intention, we invite scholars of all social and spatial sciences and other scholars who are interested in methodological discussions to suggest an abstract to any sessions of the conference. All papers have to address a methodological problem.

Please find more information on the above institutions on the following websites:

• Global Center of Spatial Methods for Urban Sustainability (GCSMUS): https://gcsmus.org/ and https://gcsmus.org/news/call-for-abstracts/
• ISA RC33: http://rc33.org/
• ESA RN21: www.europeansociology.org/research-networks/rn21-quantitative-methods
• IIT Roorkee: https://www.iitr.ac.in/

If you are interested in getting further information on the conference and other GCSMUS activities, please subscribe to the SMUS newsletter by registering via the following website: https://lists.tu-berlin.de/mailman/listinfo/mes-smusnews

Conference Sessions:

1. Co-Production (of Knowledge) as Pathway to Decolonization of Knowledge in the Global South

2. Decolonizing Social Science Methodology

3. Fieldwork in the Global South – Shedding Light into the Black Box

4. Assessing the Quality of Survey Data

5. Comparing Social Survey Data Collected During a Global Crisis? The Uncertainty of Comparative Research

6. Culturally Sensitive Approaches – Potential New Directions of Empirical Research

7. Application of Quantitative Techniques in Spatial Analysis

8. Ethnography as Spatial-Temporal Method

9. Ethnographic Methods: Constructing Public Space

10. Visualizing Urban Nature: Ethnographic Approaches and Explorations

11. Multimodal Data Integration for Spatial Research

12. How Modality Matters? Learning from the Multiplicity of (Non-)Digital Discourse Analytical Approaches

13. Discourse Analysis, Historical Analysis and Biographical Research: Multi-Method Approaches in Interpretive Empirical Research

14. The Individual and the City: Urban Life Stories

15. Measuring Change in Urban Space(s)

16. The Longue Durée in the 21st-Century Social Sciences: Methodological Challenges of Analyzing Long-Term Social Processes

17. Design Methods for Accessibility and Social Inclusion

18. Applying Spatial Methods in Homelessness Studies: Methodological and Ethical Challenges

19. Analysing Hidden Forms of Violence and their Spatialities: The Methodological Challenges of the Research on Intimate Partner Violence and Sexualized Violence

20. Spatial Methods in Healthcare Research

21. Methods of Transnational Organisational and Economic Research

22. Methods for Studying the Spatial Dimension of Global Digital Infrastructures

23. Digitalization, Political Participation and Transformation in the Global South

24. Cross-Cultural Research Methods in Community-Oriented Approaches in Human Behavior

25. Spatial Methods in Transdisciplinarity for Urban Sustainability

26. Methodological Overlaps, Misunderstandings and Conflicts between Spatial Planning and Social Sciences

Varda, the Cinema

29 November 2022

University of Genoa, Italy

Varda, Photography, Art, Words

21 April 2023

University of Naples Federico II, Italy

Deadline: September 5, 2022

Curated by Luca Malavasi and Anna Masecchia

Scientific Committee

• Delphine Bénézet (Queen Mary, University of London), Marco Bertozzi (IUAV University of Venice),
• Elisa Bricco (University of Genoa), Laura Busetta (University of Messina), Daniele Dottorini
• (University of Calabria), Sandra Lischi (University of Pisa) Luca Malavasi (University of Genoa), Anna
• Masecchia (University of Naples Federico II), Rosamaria Salvatore (University of Padua), Chiara
• Tognolotti (University of Pisa), Federica Villa (University of Pavia), Emma Wilson (University ofCambridge).

Organisation

School of Humanities-University of Genoa, DIRAAS-Department of Italian Studies, Romanities,

Antiquities, Arts and Performing Arts-University of Genoa, Department of Humanities-University of Naples Federico II.

Under the patronage of the Consulta Universitaria del Cinema.

Keynote Speakers

Delphine Bénézet (Queen Mary, University of London) | Genoa

Emma Wilson (University of Cambridge) | Naples

Photographer, director, writer, designer, spectator, thinker… more simply: artist. It is difficult to sum up in a single definition the career of Agnès Varda (1928-2019), a key figure in contemporary culture, a tireless storyteller who knew how to use all forms of audiovisual communication in an always personal and often surprising way, beginning at the end of the 1940s with photography (after studying art history) and then, past the age of seventy, inaugurating a successful career as a visual artist. In between, a lot of cinema, both fiction and documentary, from the 1950s, when she made her feature film debut with La Pointe courte (1955), defined by André Bazin as "a true miracle", until the year of her death, when she presented Varda par Agnès (2019) at the Berlin Film Festival, a personal journey in her own adventure as a filmmaker, the ideal closure of an autobiographical journey that occupied the last part of her career.

The “nouvelle vague” success of Cléo from 5 to 7 (1961) is only the first stage of a six-decade-long journey, during which Varda has known very different seasons, marked by important technological, cultural and linguistic changes, always intuiting the most fruitful way to cross them and to continue and, at the same time, renew her own artistic path. And, above all, without ever losing that astonishment for life, reality, places and people that constantly marks her production.

The two conference days ideally take their cue from the book Pianeta Varda (edited by Luca Malavasi and Anna Masecchia, Edizioni ETS, 2022), the first attempt to take stock – without any pretense of “caging” Varda in a series of definitions – of the protean work of an artist still little studied in Italy.

The aim of this conference is to examine Varda’s work in its totality and complexity, directing reflection, on one hand, towards an analysis of her film production, considered in itself and in its relationship with the great aesthetic, technological and cultural junctures of the 20th century, with which she often dialogued in a crucial way (during the Genoese day); on the other hand, during the Neapolitan day, the reflection will be more oriented towards visual production (artistic and photographic, in the first place) but also literary (think, for example, of the central role of the words in her work) and television (for example, Agnès de ci de là Varda). A distinction, the one suggested by the two days, of perspective, in the full awareness that the quality of Varda’s work lies above all in its compactness and richness of dialogues and interweavings – often surprising – between different forms, genres and media.

Deadlines and Information

We invite abstract submissions for 20-minute papers. Abstracts should indicate clearly the focus (cinema, visual art, photography etc.) and should be between 1000 and 1500 characters long and accompanied by a short CV.

The deadline for submission of abstracts is 5th September 2022. Acceptance will be notified by 19th September 2022. The conference languages are Italian and English.

Abstracts should be sent to: pianetavarda@gmail.com.

The proceedings of the conference will be published in 2023.

CICANT - Research Centre for Applied Communication, Culture and New Technologies, Portugal

Between May, 18 and the 15 of august (11.59 p.m. Lisbon time) a call is open for 4 (four) national research grants and 1 (one) mixed research grant, hereinafter referred to respectively as National Doctoral Research Grant and Mixed Doctoral Research Grant, in the area of Media Arts and Communication Sciences under the FCT Research Grant Regulations (RBI) and the Research Grant Holder Statute (EBI). The grants will be funded by the Portuguese Foundation for Science and Technology (FCT) under the Collaboration Protocol for the Funding of Doctoral Research Fellowships within the European Universities Alliance for Film and Media Arts (FilmEU), signed between FCT and the Universidade Lusófona de Humanidades e Tecnologias.

The work to be carried out under the scope of the grants will be hosted by the R&D Unit - CICANT - Research Centre for Applied Communication, Culture and New Technologies (ref: 5260)

Type and number of grant(s) to be awarded: 5 (five) Research grants for PhD students, 4 (four) national and 1 (one) mixed, reference COFAC/ULHT/FilmEU-FCT/2022.

Scientific field(s): Media Arts and Communication Sciences

Applicants: The PhD Research Grant is intended for candidates already enrolled or candidates who meet the necessary conditions to enroll in one of the following PhD Programs in Media Art and Communication and PhD in Communication Sciences, who intend to develop research activities, leading to the award of a PhD academic degree, in the scope with the scientific work developed at CICANT and FilmEU Alliance.

Eligibility of applicants: The following are eligible to apply to this call: National citizens or citizens of other European Union Member States; Citizens of third countries; Stateless persons; Citizens benefiting from political refugee status.

Candidate Admission Requirements:

- Bachelor's degree in the field of studies in communication sciences or arts;

- Master's degree in the study area of communication sciences or arts;

- To live in Portugal permanently and habitually, a requirement applicable to both national and foreign citizens (applicable only to mixed type grants)

- Not to have benefited from a PhD or PhD in companies grant directly funded by FCT, regardless of its duration.

- Proficient knowledge of English

Read full announcement - https://cicant.ulusofona.pt/careers-opportunities/opportunities/601-open-call-for-5-research-fellowships-for-doctoral-students-filmeu

For additional questions please contact cicant@ulusofona.pt

November 15-18, 2022

Universidade Lusófona de Humanidades e Tecnologias (Lisbon, Portugal)

Deadline: September 16, 2022

The Media Literacy and Civic Cultures (MeLCi Lab) Autumn School “Media, gender, intersectionality and mediated social mobilizations”, to be held 15th to 18th November 2022, aims to introduce PhD students to current discussions in the field, as well capacitate PhD students with a set of hands-on research skills that help them in their projects, supporting their professional development. The agenda, workshops, and keynote speakers are available at: https://melcilab.cicant.ulusofona.pt/training/ii-melci-lab-autumn-school-media-gender-intersectionality-and-mediated-social-mobilizations/

By adopting an integrative and multidisciplinary approach, the school will bring together several scholars for a set of workshops and communications to foster research skills related to scientific writing, dissemination, funding applications, and innovative methodologies. We will address topics about media representations of gender and sexualities, mediated activisms, civic mobilisations, ethics, etc.

MeLCi Lab Autumn School intends to be an inclusive space, and three equity grants will be available for students from underrepresented communities.

MeLCi Lab is currently looking for proposals of PhD students who want to apply for the Autumn School. These applications can be submitted until the 16th of September.

Applicants should submit their Curriculum Vitae (including scientific publications and activities), a motivation letter, a thesis summary, research questions, and methodologies.

Please email your proposal to melci.lab@ulusofona.pt

October 12-14, 2022

University of Tuscia-Viterbo-Italy (Face-to-face and online participation)

Deadline: September 20, 2022

A new edition of GENDERCOM, an international conference on Gender and Communication, traditionally organised by the University of Seville, will be held in October 2022.

GENDERCOM is a biennial conference dedicated to the critical analysis of the construction of gender identities in society and the media. It is an opportunity for scholars dealing with the complex and multifaceted field of gender and media studies to meet and exchange ideas, aimed at highlighting original research paths in terms of themes, method, study approaches or socio-cultural perspectives.

In addition to being highly topical, the topics at the centre of the conference are significant for several reasons. Firstly, the complex and changing nature of products, technologies and actors in the media system, the socio-political implications of media narratives, especially in relation to persistent gender inequalities. The accumulation and juxtaposition of contents, formats, products and consumption practices describe a scenario in which conventional practices and contents coexist with innovative practices and products.

Thus, the focus of the conference is on the coexistence, in the media, of cultural resistance, forms of discrimination, stereotypes and manifestations of violence linked to gender identities or sexual orientations together with the emergence of new sensitivities conveyed by the media that promote and disseminate ideas, images and narratives that are more articulate and respectful of diversity

The eighth edition of the event, organised by the University of Tuscia, the Sapienza, University of Rome, and the University of Seville, will be held on 12 (online), 13 and 14 October (face-to-face participation) at the University of Tuscia in Viterbo, about an hour away from Rome.

The conference languages will be English, Portuguese, Spanish and Italian.

The abstract must not exceed 1,000 words and must be submitted via form by September 20, 2022. We accept proposal in all the languages provided by the Conference.

The conference fee is € 120,00 + € 40 for any other co-authors

For UNITUS speakers, the conference fee is 100% funded

Important dates

September, 20, 2022 - Deadline for abstract submission

September, 30, 2022 - Notification of acceptance/rejection

October, 07, 2022 - Participation confirmation deadline

December, 31, 2022 - Deadline for paper submission

June, 2023 - Publication of the Conference proceedings

Info: https://gendercom.org