Serialised narratives, present inherently an intermedial storytelling nature that foster intricate intertextual dialogues, inviting active reader participation in deciphering connections and nuances across diverse media platforms. Moretti's exploration of the role of serialisation in literature, sheds light on the impact and evolution of serialised narratives across historical and contemporary contexts.

This participatory framework encourages readers to assume the role of co-creators within the narrative experience. This journal issue seeks to investigate the empowering aspect of intermedial storytelling, granting readers agency in the construction of the narrative. It endeavours to examine the nuanced ways in which readers actively mould and shape their individual reading trajectories across varied media formats.

We extend an invitation for contributions to a thematic issue centred on the intermedial and intertextual dimensions prevalent in serialised fiction. This initiative aims to scrutinise the interplay between diverse media formats inherent within serialised narratives.

One focal point of this scholarly undertaking involves the exploration of how the intermedial framework of serialised fiction actively engages audiences across multifarious narrative mediums. Additionally, it seeks to comprehend the manner in which readers actively engage with and navigate narratives across a spectrum of media formats, thereby enriching their immersion and comprehension of the storylines.

Below, we present a list of suggested topics that reflect the diverse dimensions and potential areas of exploration within our thematic issue on serialised narratives. While these topics offer a foundational framework, contributors are encouraged to explore innovative avenues and novel perspectives beyond this list. The aim is to foster a comprehensive and inclusive discussion. Scholars and researchers are welcome to delve into areas beyond these suggestions to enrich the discourse and contribute novel insights to our collective exploration of serialised narratives.

Themes of Interest:

1. Narrative Evolution and Continuity: Tracing the origins of serialised storytelling from the 19th-century to its contemporary forms, exploring its evolution across different media platforms.

2. Intertextuality and Transmedial Storytelling: Exploring the interconnectedness and adaptations of narratives across diverse media formats, analysing reinterpretations and intertextual dialogues.

3. Engagement and Participation: Investigating audience interaction and engagement in shaping intermedial serialised narratives.

4. Historical Contexts and Contemporary Significance: Contextualising serialised fiction within historical frameworks while exploring its contemporary relevance and impact.

5.Cultural Reflections and Societal Dynamics: Examining how intermedial serialised fiction reflects and influences cultural, societal, and political fields.

6. Artistic Innovation and Genre Experimentation: Analysing creative boundaries and genre experiments within intermedial serialised storytelling.

7. Charles Dickens and the Victorian Serialised Novel: Examining the impact of Dickensian serialised novels on reader engagement and societal consciousness, drawing parallels to contemporary serialised narratives.

8. Digital Transformation of Serialisation: Analysing the shift from traditional print media serialisation to digital formats (web series, podcasts, streaming services) and its implications for reader engagement and narrative construction.

9. Reader as Co-Creator: Investigating the participatory role of readers in the construction of serialised narratives across various media, exploring how intermedial storytelling empowers readers as co-creators.


Submission Guidelines:

Abstracts (250-300 words) for papers should be submitted by January 19th, 2024.

Submissions should include a brief bio (100 words) for each author, highlighting relevant expertise. Submissions should be sent to the following address: gabriele.biotti@lcir.co.uk.

Accepted proposals will be notified by January 31st, 2024 and invited to submit full papers (5,000-7,000 words).