Call for Papers

Call for papers
E|C n. 48, 2026

With The Beatles.
Paths and Imaginaries around the Fab Four.

edited by Lucio Spaziante (University of Bologna)
and Carlo Alberto Bondi (University of Palermo)

 

More than sixty years after the Beatles’ recording debut, their presence continues to occupy a central place in the contemporary cultural imaginary. The story of the Fab Four cannot be reduced solely to their impact on popular music and the transformation of its languages: a complex system of texts, images, practices, discourses and forms of life has developed around the band, spanning the media, cinema, fashion, art, politics, social customs, youth cultures and forms of celebrity.
Their story offers a privileged vantage point from which to investigate the transformations of mass culture in the second half of the twentieth century and the subsequent reactualisations of this legacy in the present. From Beatlemania to their solo careers, from Swinging London to the most recent practices of audiovisual restoration and reconstruction, the Beatles continue to be the subject of narratives, commemorations, reinterpretations, conflicts of memory and new forms of cultural consumption.
The band’s public identity was constructed through a textual and media production that did not cease with their break-up. Songs, photographs, album covers, films, television appearances, press conferences, biographies, documentaries and archival materials have gradually composed a semiotic universe in which representation and everyday life, public and private dimensions, authenticity and fiction are intertwined.
The image of the “Fab Four” is itself the outcome of a strategic construction: four individuals initially presented as a uniform collective entity, recognisable through their clothing, hairstyles, gestures, humour and modes of interaction. This initial configuration was accompanied by a gradual process of differentiation among the individual members, each defined through distinctive traits, roles and values. John, Paul, George and Ringo thus became individual figures endowed with specific narrative trajectories, while continuing to be interpreted in light of their membership of the band.
This issue seeks contributions that analyse the Beatles phenomenon from a semiotic and sociosemiotic perspective, with particular attention to the transversal aspects of their history, representation and reception. The aim is to consider them not only as songwriters and performers, but also as cultural figures capable of generating imaginaries, identities, styles, social practices, economies of value and dispositifs of memory.

 Possible areas of research

  1. Media

Press conferences, interviews, reports, gossip, television appearances, films starring the Beatles and subsequent cinematic representations may be studied as dispositifs that organise points of view, enunciative roles and forms of access to the band’s life. Moreover, documentaries and tv series such as The Beatles Anthology and Get Back, as well as online audiovisual archives, can generate effects of authenticity and redefine the boundary between document, testimony and fiction, thereby shaping the rewriting of memory.

 

  1. Beatlemania, celebrity, affects and fandom

Beatlemania may be approached as a collective passion, a media event and a form of subjectivation, through the analysis of affective contagion (Landowski 2003), crowd bodies (Landowski 1989; Marrone 2001), rituals, screams, expectations and practices of belonging. A second line of inquiry concerns the construction of the “Fab Four” as a collective subject and the progressive differentiation of their individual personalities, between brand (Marrone 2007), public persona, pop icon and biographical identity (Spaziante 2016). Relevant topics also include the relationship between celebrity, intimacy and private life; the historical delegitimisation of female fandom; anti-fandom; and contemporary forms of participation, production and algorithmic visibility within digital communities.

 

  1. Places, cities and geographies of the imaginary

Liverpool as a myth of origin, Hamburg as a place of formation and transformation, and subsequently London (from Abbey Road to the Savile Row rooftop), New York, India and Rishikesh are not merely biographical backdrops, but narrative spaces imbued with specific values (Giannitrapani 2013; 2017). Of particular significance are processes of heritage designation and sacralisation, music tourism, museums, monuments, maps and pilgrimage practices (Padoan 2023), as well as place-branding strategies and conflicts among local memory, the cultural industry and the commercial appropriation of places.

 

  1. Time, nostalgia and cultural memory

The Beatles phenomenon makes it possible to observe the coexistence of different temporal regimes: individual memory, generational remembrance and collective history. Nostalgia may be studied not simply as a retrospective feeling, but as a passional form and a discursive dispositif that selects, orders and valorises the past (see Greimas 1986; Panosetti, Pozzato 2013). Relevant analyses may focus on Beatles songs centred on childhood and places of origin, such as In My Life, Strawberry Fields Forever and Penny Lane, or on posthumous self-representation, such as All Those Years Ago, When We Was Fab, Free as a Bird, Now and Then and The Boys of Dungeon Lane, among others. The archive politics of reissues and commemorations (Demaria 2006) may also provide a productive field of inquiry: how does the present reconstruct the past, and what memories or forms of forgetting does it make possible?

 

  1. Youth cultures, teenage and social class

Subcultural figures such as teddy boys and genres such as skiffle and rock’n’roll may be analysed as forms through which the new youth subjectivity of the teenager was defined in post-war Britain. Accent, humour, clothing, posture and musical tastes function as markers of class and territorial belonging, making visible tensions between North and South, respectability and irreverence, social mobility and local rootedness. Studies comparing self-representations, press discourses and retrospective narratives are encouraged, with a view to examining how working-class origins are transformed into a resource of authenticity, a biographical myth or symbolic capital.

 

  1. Fashion, style, body and gender identity

Clothing, hair, shoes, poses, gestures and choreographies of interaction constitute a privileged surface for observing the construction of band identity through fashion. The transition from the teddy-boy aesthetic to the “mop-tops”, and from coordinated outfits to psychedelic differentiation, may be read as a transformation of forms of life, values and models of consumption. Contributions may also address representations of masculinity, vulnerability and gender performance. Articles focusing on issues related to cases such as the Apple Boutique—the shop opened by the Beatles on Baker Street, London, in 1967—and, more generally, on the commercial circulation of Beatles style are also relevant.

 

  1. Visual culture, graphic design and the arts

Album covers, photography, typography and graphic design made a decisive contribution to the band’s recognisability and to the transformation of the album into a complex cultural object. Analyses of the Beatles’ visual identity through their album covers are therefore encouraged, including such celebrated examples as Klaus Voorman’s Revolver and Peter Blake’s Sgt. Pepper. Further lines of inquiry may concern the languages of Pop Art and psychedelic experimentation (a notable example being the Pop Art “translation” of songs in The Beatles Illustrated Lyrics), or relationships with the artistic avant-gardes, from John & Yoko and their circle, to Paul and the London art scene (see his biography Many Years from Now).

 

  1. India, spirituality and Orientalism

India may be studied simultaneously as a real and imagined space. The relationship between George Harrison and Ravi Shankar, the figure of Maharishi Mahesh Yogi and the Rishikesh experience make it possible to examine Orientalism, exoticism and cultural appropriation. Of particular relevance are approaches capable of bringing into view asymmetries between East and West, local voices and mediations, as well as the transformation of otherness into a countercultural style and a product of global pop culture.

 

  1. Drugs and psychedelia

Representations of substances in lyrics, images and biographical narratives make it possible to analyse the cultural construction of altered experience (Marrone 2005) and the codes governing its expressibility. LSD, cannabis and psychedelia may be studied in relation to censorship, allusion, overinterpretation, moral panic and the crisis of the “good boys” image.

 

  1. Politics, pacifism and public engagement

Political interventions by celebrities raise questions of legitimacy, credibility, responsibility and the transformation of the artist into a public actor: John & Yoko, between protest, performance and pacifism, and their relationship with the United States government (Give Peace a Chance, Power to the People, Happy Xmas (War Is Over) and the campaign for John Sinclair); Paul’s support for the Irish cause (Give Ireland Back to the Irish) and his early advocacy of vegetarianism; and George’s Concert for Bangladesh (a precursor to Live Aid) offer useful cases for studying the spectacularisation of public engagement and humanitarianism as spectacle.

 

  1. John Lennon’s death, trauma and collective mourning

The assassination of John Lennon may be approached as a cultural trauma (see Demaria 2012; Violi 2014). Relevant topics include public mourning rituals, vigils, anniversaries, memorials and sacralised places, as well as forms of digital commemoration. Particular attention may be devoted to the tension between public exposure and the intimacy of grief, the transformation of celebrity into a martyr figure, and subsequent rewritings of the event within the memory of the band and of pop culture.

 

  1. Legacy, imitations and rewritings

The label “new Beatles”, applied to Duran Duran, Oasis and many other bands, activates a genealogical comparison that shapes their classification and positioning. Covers, tributes, parodies, quotations, pastiches (from Stars On 45 to the Neapolitan band Shampoo), biopics, advertising, memes and counterfactual narratives such as the film Yesterday (Danny Boyle, 2019) make it possible to study the ways in which the Beatles repertoire is recognised, deformed and reactivated. Contributions on processes of canonisation, the institutions that support them, intergenerational and educational transmission, and the controversies surrounding the use of the band as a universal benchmark for pop innovation are welcome.

 

  1. The post-Beatles period and the technological reconstruction of the past

The solo identities may be analysed as strategies of continuity, distancing and retrospective rewriting of the collective subject. Conflicts and narratives surrounding their break-up - songs such as Free as a Bird, Real Love and Now and Then, remasterings, remixes, reissues and audiovisual restoration - raise the question of who has the right and authority to give voice to the past. Voice isolation and reconstruction, artificial intelligence and posthumous collaborations invite discussion of authenticity, vocal indexicality, authorship, the agency of the dead and the ethics of manipulation. Also relevant is the role of heirs, record companies and rights holders in producing symbolic reunions and new versions of the work.

 

  1. Textual analysis of songs

Song lyrics may be studied in particular through forms of enunciation, the use of pronouns, the address to the listener, narrative structures, isotopies, figurativity and the construction of passions. The shift from the deictic situations of the early love songs to fictional characters, everyday life, work, social class, urban modernity, nonsense, memory and autobiography offers broad scope for comparison. Analyses that do not isolate the verbal text are nevertheless encouraged: they should consider the relationship among words, voice, timbre, arrangement, performance, image and listening situation, combining close reading with corpus-analysis tools where relevant.
 

Bibliographic References

 Demaria, C., 2006, Semiotica e memoria. Analisi del post-conflitto, Roma, Carocci.
Demaria C., 2012, Il trauma, l'archivio, il testimone. La semiotica, il documentario e la rappresentazione del 'reale', Bologna, Bononia University Press.
Dusi, N., Spaziante, L., eds., 2006, Remix-Remake. Pratiche di replicabilità, Roma, Meltemi.
Giannitrapani, A., 2013, Introduzione alla semiotica dello spazio, Roma, Carocci.
Giannitrapani, A., 2017, Spazi, passioni, società. Problemi teorici e studi di caso, Roma, Nuova Cultura.
Greimas, A.J., 1986, “De la nostalgie. Étude de sémantique léxicale”, Actes sémiotiques-Bulletin 39, CNRS-EHESS; trad. it. “La nostalgia. Studio di semantica lessicale”, in I. Pezzini, ed., Semiotica delle passioni, Bologna, Esculapio 1991.
Landowski, E., 1989, La société réfléchie. Essais de socio-sémiotique, Paris, Seuil; trad. it La società riflessa, Roma, Meltemi, 1999.
Landowski, E., 2003, "Al di qua o al di là delle strategie: la presenza contagiosa", in G. Manetti, L. Barcellona and C. Rampoldi, eds., Il contagio e i suoi simboli, Pisa, E.T.S.
Marino, G., 2020, Frammenti di un disco incantato. Teorie semiotiche, testualità e generi musicali, Roma, Aracne.
Marrone, G., 2001, Corpi sociali. Processi comunicativi e semiotica del testo, Torino, Einaudi.
Marrone, G., ed., 2005, Sensi alterati. Droghe, musica, immagini, Roma, Meltemi.
Marrone, G., 2007, Il discorso di marca, Roma-Bari, Laterza.
Martinelli, D., & Bucciarelli, P., 2023, The Beatles and the Beatlesque: A Crossdisciplinary Analysis of Sound Production and Stylistic Impact, Cham, Springer International 
Padoan, T., 2023, “Conchiglia di San Giacomo”, in D. Mangano, F. Sedda, eds., Simboli d’oggi. Critica dell’inflazione semiotica, Milano, Meltemi, pp. 233-253.
Panosetti, D., Pozzato, M.P., eds., 2013, Passioni Vintage. Il gusto per il passato nei consumi, nei film e nelle serie televisive, Roma, Carocci.
Pezzini, I., 2008, Immagini quotidiane. Sociosemiotica visuale, Roma-Bari, Laterza.
Spaziante, L., 2007, Sociosemiotica del pop. Identità, testi e pratiche musicali, Roma, Carocci.
Spaziante, L., 2016, Icone pop. Identità e apparenze tra semiotica e musica, Milano, Pearson.
Spaziante, L., “The Beatles”, in D. Mangano, F. Sedda, eds., Simboli d’oggi. Critica dell’inflazione semiotica, Milano, Meltemi, 2023, pp. 125 – 148.
Violi, P., 2014, Paesaggi della memoria. Il trauma, lo spazio, la storia, Milano, Bompiani.

Deadline for abstract submission (max. 2,000 characters): 10 September 2026
Notification of acceptance: 15 September 2026
Deadline for full paper submission: 15 November 2026
Publication: December 2026
Papers must not exceed 40,000 characters and must be accompanied by an English abstract of no more than 1,000 characters.

Please send proposals to:
lucio.spaziante@unibo.it
carloalberto.bondi@unipa.it

Scarica la Call for Papers 48 (.PDF)

 

Call for papers
E|C n. 47, 2026

Forms of Contemporary Criticism.
Actors, Functions, and Spaces

edited by Martina Federico (University eCampus) e Francesco Mangiapane (Università di Palermo)

This issue examines the modalities in which contemporary criticism currently operates. It aims to elucidate its structural transformations, from the proliferation of sites of enunciation to the diversification of the textual forms it has progressively assumed. Together, these developments contribute to a reconfiguration of the genres and boundaries of paratextuality (Genette 1987), understood as the circulation of discourses surrounding a work.
The need for such an investigation appears unavoidable considering the profound transformations the field has undergone. From its traditional domains – literature, cinema, painting, music, theater, cuisine, tourism – criticism as a textual genre now opens up to a growing multiplicity of new fields where everything seems to lend itself to evaluation and – far more significantly – by anyone (see the well-known polemic on the “stupidity” of the web, sparked by a statement by Eco as summarized in Mangiapane 2015).
The explosion of Web 2.0 has, in fact, dimantled the barriers that publishing institutions linked to the world of traditional media (print, television) had erected to manage the dissemination of knowledge. This has had enormous consequences for the practice of critical discourse, plunging into crisis first and foremost the very role of the “intellectual,” as it had been defined at least since the time of the Dreyfus Affair. From a position of institutional authority, the intellectual interpreted the present and anticipated the future by means of their ability to recognize patterns and recurrences invisible at first glance (see Sedda 2025), to help shape public opinion as well as the organization of knowledge.
Today, things are different. The general feeling is that we are living in an age of commentary, and that such an infrastructural framework has ended up “democratizing” the exercise of criticism to the point of making us all intellectuals (see Marrone 2017), issuing judgments on every aspect of daily life.
Social networks certainly play a crucial role in this regard. Today, in fact, the logic of the network prevails, with its forms of agency (“the people of the web,” influencers, communities), distribution (the infamous “Algorithm,” virality), and remuneration (likes, engagement, reputation), predominantly oriented toward a sort of bottom-up validation of judgment regarding art and the arts of living. The very figure of the critic is sometimes validated in its authority even just by the number of followers.
Within this same landscape, an equally pivotal role is played by those platforms that have revolutionized the food and hospitality markets and have emerged as the cornerstones and catalysts of the so-called “sharing economy”, notably Airbnb and TripAdvisor (Ventura Bordenca 2022). These platforms connect users and providers and shape a more equal relationship, in which roles can be easily exchanged. This dynamic fosters a kind of metacognitive awareness: as a provider, I offer what I would expect as a user, and vice versa. Websites or apps that have made reviews their core, as well as a double-edged sword: at once a form of tyranny and a form of social control. Portals with a pre-structured evaluation system that dictate from within the parameters through which the judgment  –  and ultimately the experience itself (Eugeni 2010)  – must be “conceived,” and that guide users toward forming a specific taste (an aesthetic competence regarding daily life), thereby determining the rules of sociality and living together (Peverini, Pezzini, Polidoro, eds., 2025).
We are witnessing dynamics often underpinned by the logic of algorithms or virality, which affect the circulation and visibility of content on the web in ways that are not entirely transparent, decisively influencing the choices of users who are not necessarily aware of this. In some cases, this involves textuality directly driven by the quintessential collective actor of our times, namely artificial intelligence, which produces an averaged response based on what the user wants to hear. This new actor meets their needs, configuring an object of desire shaped in the image and likeness of the user (Federico 2024). It disintegrates and reassembles itself depending on its interlocutor (Eco 1962): it is the product, as semiologists have always known (see Marrone 2007), that constructs the target, and not the other way around.
On the other hand, even the more traditional forms of criticism – literary and film criticism, above all – have undergone a realignment in the wake of the upheaval brought about by this new trend. Similarly, we have witnessed the emergence of critical experiments via Telegram, led by new literary or film critics with their own, highly followed YouTube channels (such as Fulvio Abbate’s TeleDurruti, or the late Federico Frusciante, who passed away at a very young age), where the body itself comes to the fore through acting, mimicry, prosody, intonation, and tone, and, finally, by using a syncretic language that often draws on satirical and ironic registers. We have nonetheless witnessed the proliferation of countless online critical journals that have complemented and often supplanted their print counterparts, thanks in part to the ability to accompany their pieces with audiovisual material (on the video essay, see Dusi and Spaziante, 2018). How do these new configurations engage with the old criticism that, in the mid-1970s, Francesco Casetti (1975) – focusing on cinema – defined in plural terms (“text,” “ensemble,” “norm,” “instance”)?
Almost forty years after the first original edition of a seminal work such as Seuils (Genette 1987), what tools can semiotics mobilize today as a methodology of textual and sociocultural analysis to investigate the forms of contemporary paratextuality (Federico 2017), especially when understood as operating in novel ways amid the proliferation of spaces dedicated to this (Montani, Pezzini 2024)? At this crossroads of media transformations, artificial intelligence, marketing, etc., the semiotic approach aims to investigate the cross-cutting field of action of criticism as a discursive genre in its various manifestations, seeking to gather contributions that explore these directions and account for its evolutions – including in a historical sense – without forgetting that much of semiotic activity takes place or has taken place through the practice of criticism in newspapers and magazines; one need only think of scholars such as Barthes, Eco, Fabbri, Calabrese (whose critical essays have recently been published in a collection, 2024), and the fact that seminal texts such as Apocalypse Postponed (Eco 1964), on the one hand, and Mythologies (Barthes 1957), on the other, are essentially texts of social criticism tout court.

Possible areas of research

1. Forms of life: subjectivity, authorship, delegation, forms of hybridization
This section ideally accommodates essays that investigate the forms of life emerging from the relationships surrounding the texts of contemporary criticism. In particular, attention is focused on the way in which new and old thematic roles already recognized in the media landscape – influencers, bloggers, professional critics, YouTubers, TikTokers (Marino, Surace, eds., 2023) – and their respective competencies – interact with figures of reception, as well as on the inquiry prompted by the hybrid textualities of artificial intelligence, which nonetheless possess their own distinct characteristics.

2. Circular, Genetic and Intermedial Dynamics
When criticism is understood as an intermediary between product and audience, the dynamics set in motion – for example by recommendation systems (Federico 2025; Santangelo, Botta, Ferraro 2021 – become central, as these systems intervene in structuring practices of access, orientation and valorization of content (Re 2026), following constantly shifting flows between intermedial and genetic ‘fandom’ logics (Dusi, Eugeni 2025; Dusi, Grignaffini 2021).

 3. Functions (advertising vs. criticism)
If we consider the functions of criticism, it might prove useful to investigate the positioning of new forms of criticism from a comparative perspective with respect to other rhetorical forms, focusing in particular on the distinction between propaganda or promotion and review writing, and on their relationships, oppositions, and hybridizations (Perullo 2019).

4. Boundaries between criticism and semiotics, analysis and synthesis
What are the boundaries between semiotics and criticism in terms of the accuracy of an analytical framework? While texts of great depth and analytical precision, such as S/Z (Barthes 1970) or Maupassant (Greimas 1976), analyze a narrative in depth and indirectly engage in criticism, the review operates by mobilizing disciplinary critical tools without the depth, precision, and accuracy of analysis. What, then, is the distinction between semiotic analysis and critical activity (see Mangiapane 2022, 2024)? Here, artificial intelligence still plays a distinct role, if understood as an analytical tool useful for reflecting on texts through deconstruction practices, for example, by reshaping the prompt (Burgio, Manchia 2024).

 

Bibliographic References
Barthes R., 1970, S/Z, Paris, Seuil; eng. trans. S/Z, Maldem, Blackwell Publishing 1974.
Barthes, R., 1957, Mythologies, Paris, Seuil; eng. trans. Mythologies, New York, The Noonday Press 1972.
Burgio, V., Manchia, V., a cura, 2024, “Interfacce. Forme dell’accesso e dispositivi dell’intermediazione”, in Carte Semiotiche. Rivista internazionale di semiotica e teoria dell’immagine.
Calabrese, O., 2024, Ladri di virgolette. Interventi 1978 – 2007, Palermo, Museo Pasqualino.
Casetti, F., 1975, “Per una definizione di critica cinematografica”, in Ikon. Cinéma, Télévision, Communication and Social Communities, HCII, Brill, Leiden.
Dusi, N, Eugeni, R., a cura, 2025, Il meme della rosa. Riletture e trasposizioni del nome della rosa, Milano, La nave di Teseo.
Dusi, N., Grignaffini, G., 2020, Capire le serie tv. Generi, Stili, Pratiche, Roma, Carocci.
Dusi, N., Spaziante, L., 2018, “Editing is anything: pratiche di video essays tra semiotica ed estetica”, in Cinergie – Il cinema e le altre arti, 13.
Eco, U., 1962, Opera aperta, Milano, Bompiani; eng. trans. The Open Work, Cambridge, Harvard University Press.
Eco, U., 1964, Apocalittici e integrati, Milano, Bompiani; eng. trans. Apocalypse Posponed, Bloomington : Indiana University Press 1994.
Eugeni, R., 2010, Semiotica dei media, le forme dell’esperienza, Roma, Carocci.
Federico, M., 2017, Trailer e film. Strategie di seduzione cinematografica nel dialogo tra i due testi, Milano-Udine, Mimesis.
Federico, M., 2025, “Errore di raccomandazione. Densità del testo e ampliamento del senso: percorsi di visione all’epoca degli algoritmi”, in C. Bianchi, M. Boero e R. Ragonese, a cura, 2025, Nuove forme di testualità nella comunicazione pubblicitaria. Discorsi, pratiche e narrazioni, Ocula. Semiotic Eye on media,33
Ferraro, G., Santangelo, A., Botta, A., 2021, “Il significato di un suggerimento di visione. Riflessioni semiotiche sul sistema di raccomandazione di Netflix”, in DigitCult, 6, pp. 37-50.
Genette, G., 1987, Seuils, Paris, Seuil.
Greimas, A.J., 1976, Maupassant. La sémiotique du texte : exercises pratiques, Paris, Seuil; eng. trans. Maupassant. The Semiotics of the Text, Amsterdam/Philadelphia, John Benjamin Publishing Company 1988.
Mangiapane, F., 2015, “Eco e gli imbecilli”, in Doppiozero, 26 giugno.
Mangiapane, F., 2022, “On Peppa Pig’s Method”, in Metodo e testualità. Costruzioni analitiche e modi di fare, E/C, n. 34.
Mangiapane, F., 2024, “Presentazione – Il potere inafferrabile del desiderio”, in O. Calabrese, 2024.
Marino, G., Surace, B., a cura, 2023, Tik Tok. Capire le dinamiche della comunicazione ipersocial, Milano, Hoepli.
Marrone, G., 2007, Il discorso di marca, Laterza, Roma-Bari.
Marrone, G., 2017, “Social media e comunione fàtica: verso una tipologia delle pratiche in rete”, in Versus, 125(2), 249-272.
Montani, P., Pezzini, I., a cura, 2024, Scrittura estesa. Versus, 138(1).
Perullo, N., 2019, Del giudicar veloce e vacuo. Metacritica della critica gastronomica, Roma, Edizioni estemporanee.
Peverini, P., Pezzini, I., Polidoro, P., a cura, 2025, Come vivere insieme. Semiotica dei collettivi, Milano-Udine, Mimesis.
Re, V., 2026, Che cos’è Netflix, Roma, Carocci.
Sedda, F., 2025, L’imprevedibile accade, Milano, Bompiani.
Ventura Bordenca, I., 2022. “Raccontare lo street food in viaggio: critica del giudizio turistico”, in E|C n. 36, pp. 97-110.

Deadline for submission of abstracts (max 2000 characters): 30 June 2026
Acceptance of abstracts: 15 July 2026
Deadline for submission of final essays: 5 September 2026
Publication: November 2026

Papers should have a maximum length of 40000 characters and may be submitted together with an abstract in English of a maximum of 1000 characters.

Send proposals to:
martina.federico@uniecampus.it
francesco.mangiapane@unipa.it

Download the Call for Papers 47 (.PDF)