Les contes merveilleux, la Bible hébraïco-chrétienne et les mythes gréco-romains partagent l’intervention du surnaturel dans le récit. Le conte se donne d’emblée comme « bagatelle », mais la Bible comme vérité révélée, tandis que les mythes suscitent une question rétrospective, celle de savoir si les Grecs y ont crus (Paul Veyne). Ces trois corpus peuvent se définir comme des genres littéraires spécifiques, présentant une certaine homogénéité morphologique, si ce n’est thématique. C’est donc en tant que genres littéraires que nous nous proposons de les interroger, en examinant spécialement les rapports qu’ils peuvent entretenir entre eux.

La question poétique les rapproche ou les éloigne. Eric Auerbach (Mimésis) distingue deux « types fondamentaux » : le style laconique de la Bible et le style fleuri de la mythologie. Pour les contes, nous en trouvons de ces deux sortes, d’une concision lapidaire (Perrault, Grimm, etc.) ou davantage descriptifs et digressifs (d’Aulnoy, Andersen, Les Mille et Une Nuits, etc.). Nous pourrions ainsi nous interroger sur l’usage, dans ces genres, des procédés littéraires comme l’ellipse, la répétition, l’onomastique, la description, la métaphore, l’hyperbole, la caractérisation apparemment limitée des personnages.

Quelle est la fonction du surnaturel dans ces trois genres ? Dans les contes merveilleux, il a un rôle limité et quasi expérimental chez Perrault, alors qu’il manifeste une immanence chez les Grimm, par exemple. Dans les mythes antiques, il recourt à une pléthore d’agents, des dieux et demi-dieux, confrontant leur pouvoir. Dans la Bible, il est en principe monopolisé par un seul agent, Yhvh, quoique certains passages (les magiciens de Pharaon, Balaam, le Satan de Job, etc.) mettent en question cette omnipotence. Aussi, on pourrait explorer de manière comparative les conventions du surnaturel propres aux trois genres. Qu’en est-il par exemple de la visibilité des agents surnaturels ?

On sait que la question de la théophanie est cruciale dans la Bible et que la divinité, en principe invisible et innommée, semble s’efforcer d’intervenir de moins en moins ; mais dans la mythologie, les dieux ne prennent-ils pas aussi plaisir à passer incognito parmi les hommes ? Et dans le conte, les fées et autres ogres sont-ils si aisément repérables par les autres personnages ? La distinction classique (Tzvetan Todorov) entre le fantastique et le merveilleux, selon l’attitude plus ou moins perplexe des personnages envers le surgissement du surnaturel, est-elle opératoire sur les genres antiques ?

En outre, d’un point de vue narratif, ces trois genres sont liés entre eux. Les deux genres antiques, assez contemporains, ont possiblement subi des influences communes de littératures antérieures (sumérienne ou égyptienne), voire des influences réciproques (que l’on pense à Samson et Hercule par exemple). Mais le conte moderne est indubitablement inspiré par ces récits antiques. L’exemple de Psyché est bien connu, mais des nombreux intertextes bibliques sont aussi repérables dans les contes de Perrault : scène-type de la stérilité du couple dans « La Belle au bois dormant » ou de la générosité de la jeune fille au puits dans « Les Fées », épisodes de la vie de David dans « Le petit Poucet ». Non seulement ces trois genres font l’objet d’une intertextualité commune, mais ils partagent aussi le potentiel d’une infinie littérature seconde (pour reprendre la notion de Marc Escola et Sophie Rabau), faite de réécritures et de commentaires : Psyché se trouve d’abord chez Lucien avant Apulée ; la Bible hébraïque est disponible en versions massorétique, grecque (Septante) ou latine (Vulgate), manifestant chacune des variantes, et de nombreux épisodes sont réécrits plus tard par le Coran ; les contes fournissent un modèle emblématique de réécritures différentielles théorisé avec la notion de conte-type.

Cependant, ces trois genres ne sont pas que le lieu d’un cordial dialogue, mais aussi celui de rivalités que l’on pourrait aussi explorer. Ainsi, conjointement à la vogue du conte à la fin du XVIIe siècle, une querelle du merveilleux agite le milieu littéraire, opposant la valeur du merveilleux chrétien à celle de la mythologie païenne. Et si Perrault dénigre la mythologie antique, qu’il considère immorale et boursouflée, en faveur des contes des aïeux, au XVIIIe siècle c’est la Bible hébraïque qui est violemment prise à parti par Voltaire au profit du conte philosophique. Au XIXesiècle les folkloristes considèrent les contes comme un produit dégénéré du mythe. Et, comme bouclant la boucle, depuis la fin du XXe siècle, la Bible est devenue un légitime objet d’études narratologiques, de sorte que l’on peut la considérer comme une série de contes. Ainsi la Bible et les contes, aux corpus plus stabilisés (voire canonisés) que la mythologie, rencontrent-ils aujourd’hui des problématiques herméneutiques parallèles : des approches respectivement historico-critiques et folkloristes tentent de dégager les strates des textes à la poursuite du récit originel, tandis que des approches narratologiques ou littéraires interrogent ces textes à la fois dans leur singularité et dans leur intertextualité.

Mais Perrault ajoute que les contes ne sont pas « pures bagatelles ». Le potentiel de lecture des trois genres du littéral à l’allégorique, voire au mystique, résulte sans doute de leurs caractères poétiques et merveilleux / fantastique déjà évoqués. De fait, le débat interprétatif reste ouvert sur la leçon ou l’enseignement que peuvent contenir les textes bibliques ou mythologiques, sur la morale pédagogique des contes littéraires ou la valeur initiatique des contes de tradition orale. Nous pensons que mettre en perspective ces trois genres peut apporter un éclairage renouvelé sur tous ces enjeux.

PROPOSITIONS

Les propositions (résumé d’une page et biobibliographie) sont à envoyer conjointement à Jean-Paul Sermain (jean-paul.sermain@wanadoo.fr) et à Pierre-Emmanuel Moog (pemoog75@gmail.com) avant le 1er décembre 2018. Les articles devront être remis au plus tard le 1er novembre 2019.

Source: Fabula

Organisé par l'université de Toulouse Jean Jaurès et le réseau Premodern Diplomats Network de Bath Spa University et de l'Institute of History of Polish Academy of Sciences.

Toulouse (France), du 30 mai au 1er juin 2019

Organisation: Nathalie Rivere de Carles

Conférence plénière confimée : 

Ellen R. Welch (The University of North Carolina at Chapel Hill), auteure de A Theatre of Diplomacy: International Relations and the Performing Arts in Early Modern France (Penn, 2017)

Dans Women, Diplomacy and International Politics since 1500, Mirella Marini souligne le langage spécifique des ambassadeurs : « les aristocrates-diplomates n’étaient pas toujours là pour rédiger des contrats ou des traités. Avocats et avoués s’occupaient souvent de l’aspect légal, tandis que les courtisans étaient là pour jouer du « langage de cours » » (99). Ce langage spécifique de cour n’est pas seulement verbal, mais physique et matériel. C’est à ce langage diplomatique non-verbal que souhaite se consacrer l’édition 2019 du colloque du réseau « Premodern Diplomats ». Le colloque considérera la création de langages non-verbaux qu’ils soient physiques ou matériels, le maniement de ces langages diplomatiques particuliers et la nécessité d’une approche combinatoire pour comprendre à la fois production et réception de cette diplomatie de peu de mots.  Dès lors, le colloque favorisera les échanges et le développement d’une réflexion épistémologique sur l’action diplomatique ainsi que sa sémiotique complexe. Chercheurs en littérature, histoire, histoire de l’art réfléchiront sur la relation entre la diplomatie et le corps de l’ambassadeur dans le cadre du développement d’une langue diplomatique multiple mais partagée.

Durant l’ère médiévale, l’ambassadeur était considéré comme une lettre humaine : il était offert à un maître étranger comme un objet que l’on observe, que l’on manipule dans l’espace et que l’on écoute. L’ambassadeur est porteur de cadeaux, mais il est lui-même un présent, et une langue. Cet aspect du rôle de l’ambassadeur a été peu étudié et il faut désormais confronter le langage matériel utilisé par l’ambassadeur et son maître et le langage que constitue l’ambassadeur lui-même.  Ce colloque souhaite ainsi affiner la perspective d’une économie matérielle de la diplomatie par une étude d’une sémiotique des corps mobiles des ambassadeurs. C’est l’essence de la théâtralité de la diplomatie que ce colloque souhaite aborder à l’instar de l’étude d’Ellen R. Welch (A Theatre of Diplomacy, 2017) sur l’importance théorique et pratique du théâtre dans la diplomatie moderne française. Etudier les aspects matériels et physiques de la diplomatie implique de réfléchir à l’interaction entre théâtre et diplomatie, au-delà du simple cliché de la dissimulation trompeuse. Ce colloque favorisera une étude plus approfondie des mécanismes théâtraux de la diplomatie dans son rapport au corps.

Ainsi, nous nous attacherons à étudier les gestes des ambassadeurs et de leurs maîtres, au sens littéral et figuré. Ces études seront confrontées à la perception de ces gestes dans les cercles diplomatiques et non-diplomatiques (arts, théâtre, proto-journalisme, récits de voyages, manuels etc). Nous considèrerons aussi ce qui relève de l’éducation de l’ambassadeur d’un point de vue pratique et physique et comment le progymnastata de la Grèce antique à encore cours à la Renaissance et au-delà. Enfin, les attentes concernant un langage matériel et physique de la diplomatie seront mises au regard de l’importance et des dangers qu’impliquent une langue diplomatique symbolique. Cette mise en perspective permettra de revoir la conception de l’incident diplomatique dans l’ancienne et la nouvelle diplomatie.

Le colloque invite des propositions sur les sujets suivants (liste non exhaustive) :

- la diplomatie et le corps : le corps de l’ambassadeur (chirologie, langage somptuaire, posture…), les apparitions à la cour, organiser et représenter le corps diplomatique (administration, suite diplomatique, résidences)

- théâtralité de la diplomatie et éducation du diplomate : une éducation à l’intérieur et à l’extérieur des cercles diplomatiques.

-lire les gestes : observer et décoder les cérémonies diplomatiques (lettres, récits diplomatiques et non-diplomatiques etc).

- Sociabilité et politique de la cour : impact sur les chorégraphies des visites diplomatiques

- Relations Europe et puissances non-européennes : l’importance du corps et des objets déterminant le corps

- Diplomatie matérielle : cadeaux (don et réception) en et hors de l’Europe.

- Que faire des cadeaux diplomatiques : de l’étalage à la dissimulation

- Incidents et Accidents diplomatiques: erreurs de lecture, erreurs délibérées, corruption active / passive

- Constituer des réseaux : aspects physiques et matériels

- Diplomatie religieuse : les pèlerinages et le langage diplomatie du pèlerin, le commerce des reliques, influences liturgiques sur l’activité diplomatique

- Mariages diplomatiques : les mariages par tiers et leurs cérémonies, les gestes des époux de substitution...

Les propositions de communications individuelles (300-500 mots) ou d'ateliers de 2 à 3 personnes doivent être envoyées à l'adresse suivante se8.toulouse@gmail.comavant le 30 novembre 2018.

The ability to publicly negotiate, to have conversation and to utilise political language appears to be in crisis. The politics of now is a politics defined by our inability to speak to one another. Donald Trump, Brexit and Migration have exposed the fissues in our communities and the inability for civil and political leaders to find common ground. Yet, it has never been so easy to talk to one another: the use of Twitter by movements such as Black Lives Matter and #metoo shows the benefits and limitations of a new public sphere. This is not the first time that civil discourse has expanded or broken down. The early modern period saw a dramatic increase in people talking, debating and arguing with each other; religion, colonialism, nationalism and political ideology separated people from each other as much as they brought them together. This was a period defined by debate, conversation, misunderstanding and caricature.

This conference aims to bring together scholars from across the humanities to facilitate greater interdisciplinary work, to discuss how the study of the early modern era is entwined with our understanding of the current world, and how such work may impact the present. We aim to inspire thought on structures of empowerment and disempowerment in settings of law, politics and institutions, and also within trade and writing. We want to address the question of what it means to negotiate, to converse, and to foster productive political debate. We invite papers that focus specifically on negotiations within the period, and also papers that address the themes of negotiation and conversation more theoretically or broadly. Perspectives on gender, class, race and religion are particularly encouraged, especially those that utilise academic training to engage with these questions more expansively.

Topics may include, but should not be limited to: The Negotiation of Space Religious Negotiations Race, Religion, Gender, Class and other Identity Categories Ways to utilise humanities research Negotiation of and within Print Culture Negotiations in Theatre, Fiction and the Arts Habits and Methods of Coping with the Early Modern Experience The Physicality of Negotiations Diplomatic and Political Negotiations The Negotiation of the Early Modern World as lived Experience Systems of Empowerment and Disempowerment Negotiations across and within institutions

The conference will take place on 3 June 2019, in the Strand Building, King's College London. In addition to the panels, a keynote address will be given by Professor Andy Wood. Please send abstracts of no longer than 300 words to dominic.birch@kcl.ac.uk by 1 March 2019. Registration will be free, and we will be able to cover some travel costs for postgraduates and early career researchers.

Source: H-France

The Danish National Research Foundation Centre for Privacy Studies (PRIVACY) at the University of Copenhagen invites applications for its inaugural conference. We encourage scholars from throughout the humanities, social sciences, and architecture to investigate notions, concepts, usages, and practices of privacy by focusing on early modern historical sources. Researchers will have an opportunity to re-examine and discuss source material in order to understand practices, spaces and ideas of privacy (and connected concepts) that emerged in the early modern period. We invite considerations of practice and performances of privacy and its opposites, even in cases where sources might not explicitly mention terms related to privacy. We also encourage analyses of terminology, vocabulary, and languages related to privacy, for example, in sources mentioning words using the prefix priv-. We are particularly interested in contributions that approach the subject of privacy from an interdisciplinary perspective. Selected papers will be published.

SUGGESTED TOPICS

• Legal and religious definitions of private and public
• Individuality and subjectivity in relation to private and public spaces
• Dwellings and households: questions of access to private spaces
•  The emergence of the modern home
•  Vagrancy, poverty and homelessness: questions of access to public spaces
• Education, politics, and access to knowledge
• Secrecy and exchange of information
• Confidentiality, gossip, and surveillance within communities
• Sexual normativity and deviance from sexual norm
• Notions of privacy in relationship to hierarchy
• The household economy
• The life-cycle inside and outside a (house-)hold
• Confessional spaces
• Interior and exterior design and life
• Public and private politics
• Spaces broad and narrow

ABOUT THE CENTRE FOR PRIVATE STUDIES

With its pioneering site-based interdisciplinary approach to historical research, The Danish Research Foundation Centre for Privacy Studies (PRIVACY) investigates architectural, religious, legislative, political and educational demarcations of privacy in early modern northern Europe. Our goal is to generate a robust form of historical analysis fit to inform scientific approaches to current privacy issues, by mobilizing knowledge of historical notions of privacy, and bringing more nuance to contemporary challenges that demand responses beyond mere technology. For more information, please visit teol.ku.dk/privacy

SUBMISSIONS

We invite colleagues working within any field of Early Modern studies to submit proposals for papers in English of 20 minutes duration. Please upload paper title, an abstract of no more than 300 words, and a concise CV at teol.ku.dk/privacy by no later than Sunday December 2 2018. Abstracts and CVs should be in English. A limited number of travel bursaries are available on a need basis; submit your travel bursary application alongside your materials at the link above. For further information, please email privacy@teol.ku.dk. A final program from the conference will be published primo January.

Organising Committee

Natália da Silva Perez, Anna Katharina Becker, Fredrik Torisson, Michaël Green

Apply here

Call for papers: Amaltea, Journal of Mythcriticism, vol. 11

“MYTH AND WOMEN: VIRTUOUS AND PERVERSE”

For reasons which various sciences have explained for many decades, women have been historically considered a paradigm of virtue or perversion. In literature, art allergic to transparency, these feminine stereotypes have often been conveyed through mythical stories. Firstly, let us look at the suitability of myth to transmit these clichés; then we will present the broad field of study that features this topic.  

Myth corresponds to the figures of major structures, which assign transformations to the content in a text. Allegory is therefore a literary device of great importance in the generation, dissemination and interpretation of myths: it disguises, under an innocuous, unusual or enchanting appearance, realities whose crude expression can be prosaic, bothersome or, in some cases, unattainable through literal expression. Technically, it is a “continuous metaphor”, made up of metaphors and comparisons that tend to replace the apparent or literal sense of a text with a deeper or “allegorical” meaning.  

Most of the mythical texts lend themselves to an allegorical reading. The purifying virtue of the flood through aquatic symbolism, the vivifying power of the Grail through the sanguineous symbolism or the beautiful quality of Helen of Troy, possess a transcendent value that goes beyond the mere symbolic scope of water, blood or body. These three body elements purify, vivify or shine for being, respectively, water of God, blood of Christ or daughter of Zeus (Helen, “Ἑλένη”, meaning torch). These sacred values revert to a reinterpretation of the various facets of humankind: philosophy, morality, psychology, society, economics, politics or religion thus acquire a dimension profoundly marked by myth.

An example can help us gain a better understanding of the allegorical meaning that surrounds mythological texts; it will guide us, moreover, to focus on the monographic theme of this volume 11 of the Amaltea journal. The Ballet comique de la Reine was celebrated on the 15^th of October 1581 at the Louvre for the marriage between the Duke de Joyeuse and Marguerite de Vaudemont, sister of Queen Louise de Lorraine-Vaudémont. In an extravagant spectacle of poetry, song, dance, music and scenery, Circe has defeated all of her opponents, including Mercury, but nothing can be done to Minerva, who comes to restore order and harmony. At the end of the volume edited for such a lavish occasion, after precious illustrations of characters with all their court, the choreographer Balthasar de Beaujoyeux ―following the Scotsman Gordon, gentleman of the king’s chambers― explains the “Allegory of Circe” in these words:

In order to understand the allegory of Circe, it is important to consider that, generally, all the allegories of poetic fiction refer to the natural and moral philosophy, or supernatural and divine philosophy, or a combination of both. The specific allegory of Circe, in accordance with Homer’s description in Book 10 of his Odyssey, seems to be able to refer partly to that which is divine and supernatural, and that which is natural and moral^[1].

Beaujoyeux continues by explaining the (erroneous) etymology of the name Circe (“mix”), her genealogy (daughter of Helios and the Oceanid Perseis), the link to Aphrodite’s voluptuousness and an inference about the ultimate meaning of the enchantress:

…it is not without reason to take Circe for the general desire that reigns and dominates over everything that has life, a combination of divinity and sensitivity, and produces very different effects leading some to virtue and others to vice. This corresponds with the fact that she is described as a Queen who has at her service and submission the nymphs and beasts: the virtues are represented by the nymphs, who participate in divinity, and the vice and sensuality, by the wild beasts^[2].

The moral interpretation extends for a page to explain the significance of the seduction of the crew (captive) and Ulysses’ resistance thanks to “moly” (symbol of reason and divine spark in the human soul)^[3]. This “potent herb” given by Hermes to Ulysses is an antidote (“φάρμακον”) against the poison that the sorceress puts in the heroe’s food. The hackneyed allegory is a form and a way of interpreting the meaning of mythical texts. It coexists with parables and fables, with all kinds of exemplification in general. What defines the literary event is the assumption of a way to assign a theme, the linguistic embodiment to explain the world: Circe symbolises vital desire in its two aspects: divine (the nymphs) and animal (the beasts). It is worth questioning, from a myth criticism perspective, why Circe and the nymphs or the animals (but not Ulysses or his crew) represent the compendium of the virtues or den of vices, why a sorceress (not a sorcerer) first transforms and then seduces the sailors with her nymphs, why, ultimately, it is usually a woman and not a man who embodies the virtuous and vicious aspects of humankind.

Examples of this unequal treatment between female and male characters are legion. In the story of Atreides, Electra, vengeful soul of parricide, always wins the public or reader’s favour thanks to her strong and flawless character^[4]. Perhaps for this reason she has become an exemplary, heroic character. In The Libation Bearers, Aeschylus has left, immortalised, the dramatic sequence of myth: after the murder of Agamemnon, Orestes returns to his father’s house and meets with his sister Electra, always expectant character; after the sibling reunion, Orestes kills Aegisthus and Clytemnestra. In his Elektra, composed for the opera by Richard Strauss (1909), Hofmannsthal respects this “scene”, with slight variations (the death of Clytemnestra precedes that of Aegisthus, like in Sophocles’ piece). The Electra of Giraudoux’s homonymous piece (1937) presents an extremely rigorous heroine: against Aegisthus’ bourgeois policy, which he would be contented with defending Argos from the Corinthians, the heroine prefers the destruction of the city. Six years later, Sartre’s Electra adopts the intransigent attitude of a young woman who makes an extreme decision in a battle of an unexpected outcome. The movie Electra, My Love (Miklós Jancsó, Szerelmem, Electra, 1974) highlights identical problems with the communist state. A fundamental element of the character is her ambivalence regarding matricide, central element of the plot. Her constant instigation of her brother and her exultation after the murder (Hofmannsthal) are compensated by her remorse (Sartre); Electra simultaneously wants and rejects revenge; this also attracts the benevolence of the public and the readers.

We could focus on matricide from the victim’s point of view: In Apologie pour Clytemnestre (2004), Simone Bertière gives Agamemnon’s wife a voice, so that she shares her view of the facts and is exonerated from regicide. This action ―contributing to the female perception of the world― is characteristic of modernity. Many female authors, logically reluctant to an exclusively masculine view of history and literature, adopt the woman’s perspective who, until now, was just a mere observer of the plot.

A paradigmatic case: Penelope. In Ithaca (Francisca Aguirre), the heroine devotes herself to her key role: waiting on the small island for the traveller Ulysses and noting, on his return, the changes through the years. The poem “The Welcome” makes it clear:

At my table Circe is seated with her mermaids,

Nausicaä with her youth.

With him, like a trace of nostalgia

that seems like guilt

are the lives and the faces of the women he loved,

the implacable charm of what he risked

and the joyful abandonment

beyond feelings and morals[5].

When the hero returns, there is hardly any news to tell him (“Ithaca’s story may be summed up in everyday occurrences”). The world is outside of Ithaca, the husband brings it, who does not come alone… And Penelope then revives all her years of loyalty which come across, suddenly, as an unspeakable frustration. In order to know this, it was necessary that another voice, other than Ulysses’, tell us the other side of the story.

Few contemporary mythical stories have seen the success of The Penelopiad (Margaret Atwood). The patient wife recounts the years of her childhood, her difficult relationship with the hundred suitors who pursue her, and ―according to the news that is coming― Ulysses’ events, accompanied by her twelve maidens, cruelly hanged on the arrival of the hero for their alleged betrayal. Here we also witness the other side of the story, which only Penelope lived, and Homer ignored:

What could I do to stop these aristocratic young thugs? They were at the age when they were all swagger, so appeals to their generosity, attemps to reason with them, and threats of retribution alike had no effect. […] Telemachus was too young to oppose them. […] The men who might have been loyal to Odysseus had sailed off with him to Troy. […] I knew it would do no good to try to expel my unwanted suitors. […] For this reason I pretended to view their wooing favourably, in theory^[6].

Daughter of a Naiad, Penelope knows thanks to her mother and from her own experience that when faced with obstacles it is better to behave like the water: escape and flow around them. Only then, with prudence, she achieves her goals, while mindful of the murmurings that her apparent behaviour could unleash. As a result of this game of mirrors, the reader (and the public: the novel has been dramatized on many occasions) gains another perspective, no less important than the traditional one, and questions the latest principles of the concept such as justice and truth.

There are hardly any mythical heroines in the Middle Ages (Morgan the Fairy?), let alone in modern times: no woman in the mythical narratives of Faust, Frankenstein or Dracula reaches the status of heroine or mythical character. Better billboards have enjoyed some of Don Juan’s lovers (Isabela, Tisbea, Ana de Ulloa, Arminta, Elvira…), but never mythical characters. This would confirm our hypothesis that the true modern myths of the West are men who embody an open rebellion against God: of knowledge (Faust), of love (Don Juan), of human creation (Frankenstein) or of life (Dracula).

Ultimately, the attraction and repulsion that inspire mythical female characters deserve an in-depth study. Amaltea, Revista de Mitocríticainvites original articles that study the relationship between myth and women, paying particular attention to the moral perception of the latter (sometimes virtuous, at other times perverse), in literature and art since 1900. Authors are free to choose whatever texts, literary genres or epistemological treatment they consider suitable for their study. The coordinating team of this thematic issue will favour articles that adhere to these parameters: adequate topic, critical approach to myth, scientific methodology (critical and bibliographical apparatus), originality, and quality of content and of expression.

Authors are invited to send their anonymous articles, written in one of the official languages of the Journal (English, Spanish, and French) between 1st October and 31st December 2018. The Secretary of Amaltea will inform them of the Editorial Board’s decision by March 15th. Issue no. 11 will be published in July/Sept. 2019.

Articles on any mythical themes in contemporary literature and art (since 1900 onwards) will also be considered for publication in the “Miscellany” section.

We also accept “Reviews” and “Critical Readings” on publications related to mythology. If they are printed, the author must send a copy by post to Prof. José Manuel Losada, Dept. of Romance Languages, Faculty of Philology, University Complutense, 28040, Madrid, Spain.

Articles must be sent through the OJS. Authors should first register in the website as an AUTHOR. With the username and password provided, authors will upload their articles through https://revistas.ucm.es/index.php/index/login

Authors must conform to the Journal’s submission guidelines.

P.S. If you hold a PhD and wish to be a part of the Amaltea Reviewers Team, please notify amaltea@filol.ucm.es (certificate included).

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