{"id":4183,"date":"2024-03-02T13:39:27","date_gmt":"2024-03-02T12:39:27","guid":{"rendered":"https:\/\/www.fabrica.us.edu.pl\/?p=4183"},"modified":"2024-03-02T13:59:06","modified_gmt":"2024-03-02T12:59:06","slug":"in-pieces","status":"publish","type":"post","link":"https:\/\/www.fabrica.us.edu.pl\/?p=4183&lang=en","title":{"rendered":"\u00a0\u201e\u2026in pieces\u201d\u00a0"},"content":{"rendered":"
<\/p>\n

As the Editorial Board, we hereby announce that the CFPs for the forthcoming issues of our journal have been published, and we are looking forward to receiving your submissions. We are accepting articles in Polish, Italian, and English. We kindly invite you to join our project and contribute to the issues listed below.<\/p>\n

 \u201e\u2026in pieces\u201d<\/strong><\/h2>\n

„Fabrica Litterarum Polono-Italica\" 2026, no 1\/2 (11\/12)<\/p>\n<\/p>\n

Contemporary reflection on stories and storytelling largely relies on an episodic formula. Developing electronic media, expanding streaming services, and growing lifelog industries in social media have been reshaping means of our expression for nearly a decade; now, our perception is dominated with fragments, episodes, pieces, parts, trailers, teasers, sneak-peaks\u2026<\/p>\n

This CFP does not aim at multiplying already dispersed entities, nevertheless; its purpose is to suggest that a tendency of building grand narratives and using totalising qualities not only is hardly in fashion, but also \u2013 if not more importantly \u2013 is barely operable as a description of our everyday reality. It is the culture of fragments and the epoch of episodes that articulate new intellectual challenges.<\/p>\n

In the third decade of the 21st century, we would like to invite contributions that not only comment on the allure of episodes in their various forms or \u201cseasons,\u201d but also help us notice whether fan-oriented initiatives have developed innovative refreshing interpretative models, reading strategies, and academic intuitions that might lay a foundation for research focused on canon-making and anthologising processes. We are especially interested in contributions tackling fragments and fragmentariness (if this phenomenon can be reduced to a wholistic set of qualities) in cultural, communicative, and creative practices.<\/p>\n

Below we discuss but two areas \u2013 two episodes if we may \u2013 that the contributors might follow, which by no means limit the thematic scope of the discussion we propose:<\/p>\n

 Serialove <\/strong><\/h3>\n

\u2013 poetics and pragmatics of a series (episode, prequel, sequel, requel, midquel, sidequel, blooper, spin-off, trailer etc.);
\u2013 \u201cheroes in pieces\u201d (nonlinear, achronological stories in superhero cinema);
\u2013 cultural practices of shuffling and mixing ready-made elements \u2013 towards \u201cnew fidelities\u201d (crossover, mash-up, sampling, remix, etc.);<\/span>
\u2013 after credit <\/em>as an autonomous story, often more important than its source;
<\/span>\u2013 a fragment as a construct of production \u2013 for instance, <\/span>The Conjuring Universe<\/em> as a franchise based on a series of horrors joined by various characters, artefacts, scenes, overlapping plots.<\/span><\/p>\n

Meta\/verses<\/strong><\/h3>\n

\u2013 writer vis-\u00e0-vis marketing industry and its demand (strategies of presentation and segmentation of a literary work: \u201cepisodic novel,\u201d \u201cnovel in episodes,\u201d \u201cnovel-episode\u201d);
\u2013 \u201caesthetics of a fragment\u201d (from romantic \u201copening of a literary work,\u201d  through \u201cform in movement,\u201d to \u201cphenomenology of fragmentarisation\u201d);
<\/span>\u2013 arrangements of literary output (cycle, sequence, anthology, series, saga, trilogy, tetralogy, etc.);
<\/span>\u2013 \u201ccontents of a trash bin\u201d (drafts, clips, outtakes; censored, rejected, abandoned projects; archives, deposits, private collections; cultural recycling and upcycling);
<\/span>\u2013 \u201cthe remnants of rhetoric\u201d (a fragment as a means of control over language, image, truth, or argumentation);
<\/span>\u2013 DLC as a peculiar form of a fragment;
<\/span>\u2013 history\u2026 in pieces. Braudel\u2019s longue dur\u00e9e dismantled into short periods, childhood stories, micro-histories of reason, elderly age, sickness, death, joy, etc. Historical\/histopathological fragments of our times analysed in nonconventional ways so that the flat matrix of historical fact is replaced with a hologram model of a \u201cshort episode\u201d of historic continuum. This method, proposed by the Annales school, might be also called \u201cmicrological histography.\u201d Not to mention local, peripheral, or alternative histories, or apocrypha: after all, diachronic thinking is rooted in the philosophy of \u201csegmenting time\u201d into moment, periods, epochs, eras, or phases;
<\/span>\u2013 hermeneutic \u201ctropes\u201d of the whole and the part (<\/span>pars pro toto<\/em>, synecdoche, ellipsis, etc.);
<\/span>\u2013 fragmentary genres (glossa, commentary, appendix, premise, etc.);
<\/span>\u2013 private anthologies as illusions of a whole reflected in fragments;
<\/span>\u2013 partitions of politics \u2013 politics of partitions (politics as a fragment, \u201cepisodic politics\u201d after 1989 in Poland); Third Polish Republic as an \u201cepisodic project\u201d (\u201caction\u201d in-between elections) and Fourth Polish Republic as a \u201ccontinuous, wholistic project\u201d (cf. historic, cultural, national, local politics; politics of dignity, etc.).<\/span><\/p>\n

Articles, including all required metadata, should be submitted through the OJS system by 15 September 2025<\/strong>. Should you have any questions regarding submission, please do not hesitate to reach us at: fabricalitterarum[at]gmail.com<\/a><\/strong><\/p>\n

\n<\/div><\/div><\/div><\/div><\/div><\/section>\n","protected":false},"excerpt":{"rendered":"

As the Editorial Board, we hereby announce that the CFPs for the forthcoming issues of our journal have been published, and we are looking forward to receiving your submissions. We are accepting articles in Polish, Italian, and English. We kindly invite you to join our project and contribute to the issues listed below.<\/p>\n","protected":false},"author":2,"featured_media":213,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[980],"tags":[3405],"class_list":["post-4183","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-call-for-papers-en","tag-in-pieces","clearfix"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.fabrica.us.edu.pl\/index.php?rest_route=\/wp\/v2\/posts\/4183","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fabrica.us.edu.pl\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.fabrica.us.edu.pl\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.fabrica.us.edu.pl\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fabrica.us.edu.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4183"}],"version-history":[{"count":5,"href":"https:\/\/www.fabrica.us.edu.pl\/index.php?rest_route=\/wp\/v2\/posts\/4183\/revisions"}],"predecessor-version":[{"id":4196,"href":"https:\/\/www.fabrica.us.edu.pl\/index.php?rest_route=\/wp\/v2\/posts\/4183\/revisions\/4196"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fabrica.us.edu.pl\/index.php?rest_route=\/wp\/v2\/media\/213"}],"wp:attachment":[{"href":"https:\/\/www.fabrica.us.edu.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4183"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fabrica.us.edu.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4183"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fabrica.us.edu.pl\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4183"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}