The Journal for Literary and Intermedial Crossings (JLIC) is an e-journal that publishes original and innovative contributions engaging with literary and intermedial phenomena from various methodological angles and a wide range of disciplines including literary, theatre, media and cultural studies. We particularly welcome articles focusing on aesthetic ‘crossings’ of media, genres and spaces.
There will be two issues each year with original articles in English, French, German, Dutch, Spanish or Italian. The Spring Issue (May) regroups regular submissions following an ‘Open Call,’ while the Fall Issue (November) represents a selection of papers delivered at the annual symposium of the journal’s founding research Centre for Literary and Intermedial Crossings. Call for Papers are regularly posted in the Open Calls section. In addition to articles, we also welcome suggestions for thematic issues for the journal’s spring edition. JLIC supports textual as well as multi-media formatting.
Contributions to JLIC can be written in English, French, German, Dutch, Spanish or Italian. All manuscripts are peer-reviewed.
All work submitted to JLIC should reference and should be formatted according to our Author Guidelines.
Submit via e-mail in Word-format (.doc or .docx) to editors Andrea.Penso@vub.be and email@example.com. Please do not mention your name or contact details in this document, but provide a separate file containing the article’s title, your name, affiliation, e-mail address, a 100-word abstract, and a list of 5 keywords.
Headings should be in 14 point, Bold, Times New Roman, Small Caps. Text body should be in 12 point, Times New Roman, double line spacing. Please limit footnotes to a bare minimum. These should be consistent with the MLA-style, as similarly imposed on in-text references and reference lists. Contributions should not exceed 5,000 words (references and footnotes included). Use the styles provided here: styles.
Identify all references to books, monographs, articles, and other source-types at an appropriate point in the main text by the author’s last name and pagination, as well as year of publication in case of multiple sources from the same author, where appropriate – all within parentheses and consistent with the MLA-style of formatting. Subsequent citations of the same source with identical pagination should be identified by (Ibid.). We distinguish the following types of in-text references, with mention of the publication date contingent upon the presence of multiple sources by the same author:
(Abram 6) [single author, single source]
(Austin 56-62) [single author, single source, page range]
(Baalman 209, 221) [single author, single source, multi. references]
(Adams 2011: 182) [single author, multiple sources]
(Adigard 2011c: 23) [single author, multiple sources from same year]
(Augoyard and Torgue 167) [single source, dual authorship]
(Atkins qtd. in Agamben 78) [author quoted in other source]
(Artaud 23; Ascott 5) [multiple related references]
(Augé et al. 54) [single source, multiple authors]
The reference list should be listed ‘Works Cited.’ List all entries cited in the text or any other items used to prepare the manuscript in alphabetical order – first by authors, then – in case of multiple entries by the same author – by year of publication. Alphabetize works with no known author by their title. Please follow the MLA-format, including mention of the publication medium. For additional types of references, please visit the Purdue Online Writing Lab.
Baird, Davis. Thing Knowledge: A Philosophy of Scientific Instruments. Berkeley: University of California Press, 2004. Print.
Barrett, Estelle, and Barbara Bolt. Practice as Research: Approaches to Creative Arts Enquiry. London: I.B. Tauris, 2009. Print.
Callon, Michel, Pierre Lascoumes, and Yannick Barthe. Acting in an Uncertai World: An Essay on Technical Democracy. Cambridge: MIT Press, 2009. Print.
Desjarlais, Robert. Body and Emotion: The Aesthetics of Illness and Healing in the Nepal-Himalayas. Philadelphia: University of Pennsylvania Press, 1992. Print.
—. Sensory Biographies: Lives and Deaths among Nepal’s Yolmo Buddhists. Berkeley: University of California Press, 2003. Print.
Critical Arts Ensemble. Flesh Machine: Cyborgs, Designer Babies, Eugenic Consciousness. New York: Autonomedia, 1998. Print.
Deleuze, Gilles. Cinema 1: The Movement-Image. Trans. Hugh Tomlinson. Minneapolis: University of Minnesota Press, 1986. Print.
Hutcheon, Linda. A Theory of Adaptation. 2nd ed. New York: Routledge, 2013. Print.
Sterne, Laurence. The Life and Opinions of Tristram Shandy, Gentleman. Ed. Joan New. Harmondsworth: Penguin, 2003. Print.
Huxley, Julian. “The Tissue Culture King.” Great Science Fiction by Scientists. Ed. Groff Conklin. New York: Collier Books, 1946. 147-170. Print.
Peirce, Charles Sanders. Collected Papers. Vol. 5. Cambridge: Harvard University Press, 1978. Print.
Heymans, Peter. The Beautiful, the Sublime, and the Aesthetics of Species in British Romanticism. Diss. Vrije Universiteit Brussel, 2010. Print.
Jesurun, John. “Mildred Pierce Remake/Remodel.” Index Nov. 1997: 58-63. Print.
Kissel, Howard. “New Speed Limits on Broadway.” New York Daily News 29 Sep. 1988: 51. Print.
Kiesler, Frederick. “On Correalism and Biotechnique.” Architectural Record 86.3 (1939): 60-75. Print.
Lopez, Francisco. “Schizophonia vs. l’Objet Sonore: Soundscapes and Artistic Freedom.” eContact 1.4 (1998): n. pag. Web. 10 August 2013.
Verdonck, Kris. Personal interview. 17 Sep. 2015.
Mamet, David, and Lawrence Kushner. Interview with Alex Chadwick. NPR, Washington. 29 Sep. 2003. Radio.
Hayles, N. Katherine. “South Atlantic Modern Language Association 2013 Annual Conference Presentation.” Georgia State University. Atlanta Marriott Buckhead Hotel and Conference Center, Atlanta, GA. 8 Nov. 2013. Keynote Address.
We’re No Angels. Dir. Neil Jordan. Paramount, 1989. DVD.
Bowie, David. Black Tie White Noise. Savage Music, 1993. CD.
Beethoven, Ludwig van. The 9 Symphonies. Perf. NBC Symphonic Orchestra. Cond. Arturo Toscanini. RCA, 2003. CD.
For quotations within the text, please use double inverted commas on all occasions, except for a quotation within a quotation. In the latter case single inverted commas should be used. Quotations longer than 40 words should be typed in an indented paragraph format, 10 points, without the use of inverted commas.
Video files are best submitted in .mp4 format (maximum size: 96Mb).
Audio clips are best submitted in .mp3 format, but we will accept CDs and convert these.
For additional information please contact firstname.lastname@example.org.