Il Tolomeo

Rivista di studi postcoloniali | A Postcolonial Studies Journal | Journal d’études postcoloniales
     topic: cultures of eurasia and the americas   literatures  
  • e-ISSN 2499-5975
  • Periodicity annual
  • Permalink
  • Language it, en, fr, pt
  • Anvur class A 10F4,10H1,10L1
Aims & Scope

Il Tolomeo first saw the light of day in 1995, thanks to the work of a group of postcolonial scholars at Ca’ Foscari University of Venice. The journal publishes peer-reviewed articles, reviews, interviews, and previously unpublished original contributions in the fields of francophone, anglophone and lusophone literatures. Il Tolomeo investigates the postcolonial literary phenomenon in all its manifestations, but is particularly interested in contributions which take a comparative, interdisciplinary approach: dialogues between literature and the arts, investigations of hybrid forms such as comic strips and cinema, research which links literary studies with the social sciences, or innovative approaches such as digital and environmental humanities. Throughout its history, Il Tolomeo has been an important point of reference for postcolonial studies in Italy, hosting original writings and interviews with major voices in the anglophone and francophone world (Derek Walcott, Amitav Ghosh, Nadine Gordimer, Rita El Khayat, Anthony Phelps, Anita Desai, Christine De Luca, Antonine Maillet, Roland Paret, Ngũgĩ wa Thiong’o and many others). In its new digital open access version, its aim is to continue to reflect the destinies of a burgeoning and extraordinarily innovative disciplinary field, and to offer a space for dialogue between postcolonial writers and scholars. Issues of Il Tolomeo which predate 2016 can be accessed via PHAIDRA (Permanent Hosting, Archiving and Indexing of Digital Resources and Assets), at the following webpage:

General info

  • peopleBoards
    Alessandro Costantini, Università Ca’ Foscari Venezia, Italia    

    Boards of Directors
    Shaul Bassi, Università Ca’ Foscari Venezia, Italia    
    Alessandro Costantini, Università Ca’ Foscari Venezia, Italia    
    Marco Fazzini, Università Ca’ Foscari Venezia, Italia    

    Editorial Scientific Board
    Shaul Bassi, Università Ca’ Foscari Venezia, Italia    
    Carmen Concilio, Università degli Studi di Torino, Italia    
    Alessandro Costantini, Università Ca’ Foscari Venezia, Italia    
    Marco Fazzini, Università Ca’ Foscari Venezia, Italia    
    Serenella Iovino, University of North Carolina, USA    
    Lila Lamrous, Université Clermont Auvergne, France    
    Pablo Mukherjee, University of Warwick, UK    
    Michal Obszynski, Institut d’études romanes - Université de Varsovie, Pologne    
    Yolaine Parisot, Université Paris Val de Marne, France    
    Esterino Adami, Università degli Studi di Torino, Italia    

    International Scientific Board | Comité scientifique international
    Elleke Boehmer, University of Oxford, UK    
    Andrea Calì, Università del Salento, Italia    
    Yves Chemla, Université Paris V, France    
    Kathleen Gyssels, University of Antwerpen, Belgium    
    Graham Huggan, University of Leeds, UK    
    Jean Jonassaint, Syracuse University, USA    
    Józef Kwaterko, Uniwersytet Warszawski, Polska    
    Giulio Marra, Università Ca’ Foscari Venezia, Italia    
    Marco Modenesi, Università di Milano, Italia    
    Radhika Mohanran, Cardiff University, UK    
    Francesca Romana Paci, Università del Piemonte Orientale, Italia    
    Armando Pajalich, Università Ca’ Foscari Venezia, Italia    
    Sandra Ponzanesi, University College Utrecht, Nederlands    
    Itala Vivan, Università degli Studi di Milano, Italia    
    Tony Voss, University of Kwa-Zulu Natal, South Africa    

    Editorial Board | Comité de rédaction
    Gerardo Acerenza, Università di Trento, Italia    
    Maha Badr, Lebanese University, Beyrouth, Liban    
    Silvia Boraso, Università Ca' Foscari Venezia, Italia    
    Elisa Bordin, Università Ca’ Foscari Venezia, Italia    
    Michela Calderaro, Università degli Studi di Trieste, Italia    
    Marta Cariello, Università della Campania “Luigi Vanvitelli”, Italia    
    Roberta Cimarosti, Wake Forest University Venezia, Italia    
    Carmen Concilio, Università degli Studi di Torino, Italia    
    Alessandro Costantini, Università Ca’ Foscari Venezia, Italia    
    Chayma Dellagi, Université Paul Valéry, Montpellier, France    
    Irene De Angelis, Università degli Studi di Torino, Italia    
    Lucio De Capitani, Università Ca’ Foscari Venezia, Italia    
    Emir Délic, Université Sainte-Anne, Canada    
    Sara Del Rossi, Uniwersytet Warszawski, Polska    
    Carla Valeria De Souza Faria, Università Ca’ Foscari Venezia, Italia    
    Gregory Dowling, Università Ca’ Foscari Venezia, Italia    
    Adriano Elia, Università degli Studi Roma Tre, Italia    
    Marco Fazzini, Università Ca’ Foscari Venezia, Italia    
    Alice Girotto, Università Ca' Foscari Venezia, Italia    
    Maria Paola Guarducci, Università degli Studi Roma Tre, Italia    
    Yannick Hamon, Università Ca’ Foscari Venezia, Italia    
    Dorgelès Roméo Houessou, Université Alassane Ouattara, Bouaké, Côte d'Ivoire    
    Pierre Leroux, Université Paris 3 Sorbonne Nouvelle, France    
    Marco Medugno, Newcastle University, UK    
    Ada Milani, Università Statale di Milano; Università di Siena, Italia    
    Mônica Muniz De Souza Simas, Università Ca' Foscari Venezia, Italia    
    David Newbold, Università Ca’ Foscari Venezia, Italia    
    Luca Raimondi, King’s College London, UK    
    Silvia Riva, Università degli Studi di Milano, Italia    
    Biancamaria Rizzardi, Università di Pisa, Italia    
    Piotr Sadkowski, Université de Torun, Pologne    
    Giuseppe Serpillo, Università degli Studi di Sassari, Italia    
    Francesca Todesco, Università degli Studi di Udine, Italia    
    Eliana Vicari, Université Paris Nanterre, France    
    Alessia Vignoli, Instytut Romanistyki, Uniwersytet Warszawski, Polska    
    Ilaria Vitali, Alma Mater Studiorum Università di Bologna, Italia    

    Editing Supervisor
    Lucio De Capitani, Università Ca' Foscari Venezia, Italia    

    Editorial assistants | Secrétaires de rédaction
    Silvia Boraso, Università Ca’ Foscari Venezia, Italia    
    Lucio De Capitani, Università Ca' Foscari Venezia, Italia    
    Alice Girotto, Università Ca' Foscari Venezia, Italia    

    Managing Editor
    Giuseppe Sofo, Università Ca’ Foscari Venezia, Italia    

Proposal / Submission

Use the form to submit a proposal.

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The article processing charges are regulated by the Publisher. For more information please visit: Publish with us.

Peer review

Every article published by ECF was accepted for publication by no less than two qualified reviewers as a result of a process of anonymous reviewing (double-blind peer review).

The reviewers are independent of the authors and not affiliated with the same institution.

The Journal’s/Series’ Scientific Director guarantees the proper execution of the peer review process for every article published in the Journal/Series. The evaluation is conducted in accordance with the following criteria:
Revision policies for the different sections:

  • Complete volume/issue: subject to peer review
  • Monographs/essays/articles: subject to peer review
  • Introductions, prefaces: no peer review
  • Reviews: no peer review
  • Editorials: no peer review
For a complete description of the process, please visit: Publish with us.
Our series and journals are archived on PHAIDRA (Permanent Hosting, Archiving and Indexing of Digital Resources and Assets), a platform for long-term archiving of digital collections: PHAIDRA.
Editorial Guidelines
  • listEditorial Guidelines

    Submission guidelines

    Il Tolomeo accepts submissions of the following kinds:

    - essays 5000/6000 words, 30.000-35.000 characters (spaces included) – exceptions may be allowed at the editor’s discretion in exceptional circumstances;

    - reviews (1500-2000 words, 9000-15.000 characters, spaces included);

    - interviews (15000-2000 words, 9000-15.000 characters, spaces included);

    - unpublished pieces.


    The deadlines are stated in the call for papers. Il Tolomeo is published once a year.

    Prospective contributors should send their submissions for Il Tolomeo to

    Please attach: 

    -       bio-bibliographical note in English (max. 700 characters, spaces included);

    -       an abstract in English (max. 1000 characters, spaces included – this is not necessary for reviews);

    -       keywords in English;

    -       preferred contact email address and institutional affiliation.

    Submissions will undergo an initial review process by two members of the editorial board. Notice of acceptance will be given within 15 days.

    Authors will have time to revise their submission which they will then return to

    Authors will subsequently upload their contribution on the digital platform in order to start the double-blind peer-review process, but only after an explicit approval of the editorial board to do so. The contribution will be sent to two reviewers. Authors will receive the results of the peer-reviews on the digital platform and will be able to upload their contribution in its final form.

    Only essays undergo the peer review process. Proposals for book reviews, interviews, and unpublished manuscripts are evaluated exclusively by the editorial committee and the directors.

    Authors will be able to check their contributions before publication.    

    Prospective contributions will undergo a preliminary evaluation by the editorial board, and, if deemed suitable, will be sent for double-blind peer-review. The editorial board reserves the right to request modifications whenever necessary and to reject contributions that are not relevant to the scope of Il Tolomeo.

    Avant d’être acceptés pour la publication, les articles et les diverses contributions seront soumis à l’examen de la Rédaction d’abord, d’experts anonymes pour l’évaluation en double aveugle ensuite. La Rédaction peut demander éventuellement aux auteurs des modifications ou ne pas accepter les textes considérés non adéquats aux exigences et aux principes de Il Tolomeo

    Editorial guidelines for Il Tolomeo (Edizioni Ca’ Foscari)

    For an extended version, please consult: 

    Some of the guidelines are:


    It is preferable to divide the text into sections, which should all be numbered consecutively starting from number 1. No text portions should be left unnumbered (e.g. an “Introduction” section will be numbered ‘1’). Sections should also be titled: titles are in 14 point size, bold/bold Italics type (not only Italics, or only UPPERCASE). Sections may also be further divided into subsections, numbered 1, 1.1, 1.1.1 and so on.

    Quotation Marks

    Use double quotation marks (“ ”) for in-text quotations, double and single ones (“ ‘ ’ ”) to put a quote within a quote and single quotation marks (‘ ’) for emphasis. Single quotation marks are used also to:

    - highlight a specific ‘concept’;

    - describe the precise meaning of a ‘term’;

    - highlight an ‘idiomatic’, ‘metaphorical’ or ‘inappropriate’ use of a term;

    - highlight the ‘meaning’ of a foreign word. 


    Short quotations

    Quotations counting less than 10 words should be included in the main text and enclosed in inverted commas “ ”.

    If a citation concludes a period, the full stop follows the quote. If the quotation is followed by a bibliographical citation, the full stop (as any other punctuation mark) should be placed after it.

    Long quotations

    Quotations longer than 10 words must be:

    • detached from the body text and preceded and followed by a blank line;

    • indented 1 cm from the left with respect to the main body of text;

    • in roman, body 11, spacing 1;

    • NOT be enclosed in quotation marks “ ”;

    • end with a full stop. 

    References: Author-Date System

    It is the standard requested by the Publisher. In this system, the bibliographic references are directly included in the body of the text and not in the footnotes.

    Short References in the Text

    A short reference is given between parentheses and includes the following information: the Author’s last name, the year of publication (no punctuation intervening) and, if needed, the page numbers (preceded by a comma, with a small dash - separating page numbers and no ‘p./pp.’ abbreviation). Complete information regarding the publication (e.g. editor’s or translator’s name) is given only in the final bibliography. If the author’s last name is already mentioned in text segment where the short reference is, there is no need to repeat it between parentheses.


    Direct Quote

    Main text “cited text” (Last name year, 120-5).

    Smith (2010, 25) in his work argues that “....”.

    My work is defined “an interesting book” (Smith 2016, 120-5).



    All figures must have a caption, in the form of “Figure *number*”, ending with no final punctuation mark. Captions should follow the figures they refer to and contain all the available information, according to the following scheme: Figure 1. Author, Title. Year. Technical/Support/Material, Measures. Place, Institution, Location. Source of Image, copyright (no final punctuation mark).


    All hyphens between inclusive numbers and those with the role of traits d’union are to be replaced by little dashes -, whereas, when separating two phrases, the long dash – has to be used.

    General Bibliography (examples)


    Smith, John (2017). My Work. A Close Overview. London: Open Editions.


    Article in a Journal

    Smith,  John  (2017). “The Gothic. Tales and Myths”. English Literature, 8(3), 89-112.


    Article in a Collection

    Smith,  John  (2017).  “The Gothic.  Tales and Myths”. Jones,  Elisabeth (ed.), The Gothic in the Nineteenth Century. London: Open Editions, 91-112.

    For other examples, please consult:

  • call_to_actionCall for papers

    Call for papers 2022 - English version

    Topic: Postcolonial transmediality. Postcolonial narratives across media

    Il Tolomeo invites all interested scholars to send their contributions for the upcoming 2022 issue (no. 24). The issue will be divided into a generalist section (on any theme) and a section dedicated to postcolonial transmediality, i.e. postcolonial narratives through media.

    In recent decades, the interest of critics in fundamental narrative structures, no longer exclusive to literature, but identifiable in all media capable of telling a story, has resulted in a significant increase in publications focusing on transmedia narratology. Examples are the monographic study Transmedial Narratology and Contemporary Culture by J.-N. Thon (2016), R. Baroni’s article “Pour une narratologie transmédiale”, published in no. 182 of Poétique (2017), M.-L. Ryan’s essay “Sur les fondements théoriques de la narratologie transmédiale”, included in the volume Introduction à la narratologie postclassique. Les nouvelles directions de la recherche sur le récit, edited by S. Patron (2018), or the monographic issues of the journals Mediapolis - Revista de Comunicação, Jornalismo e Espaço Público (“Personagens mediáticas: teoria, problemas, análises”, no. 6, 2018) and 2i - Revista de Estudos de Identidade e Intermedialidade (“Literatura e televisão: novas narrativas - Ficções transmédia”, 2(1), 2020). Although the idea of a grammar of storytelling specific to all media had already been proposed by the pioneers of narratology (cf. “Recherches sémiologiques: l’analyse structurale du récit”, no. 8 of Communications, 1966), it is only recently that this discipline has emancipated itself from the literary horizon of departure (Baroni 2017, 155).

    Today, specialists seem to prefer the term ‘transmedia narratology’ in order to further emphasise the multivocal character of certain narrative phenomena and to examine them from a comparative media perspective that refuses to privilege a single medium to the detriment of the others (Wolf 2011, 5). While the identification of invariable narrative instances across media thus remains one of the main goals of the discipline, A. Goudmand and R. Baroni (2019) recall that it is the task of transmedia narratology to emphasise how these instances are also shaped by the specificities of each medium.

    Within postcolonial studies, scholars and artists have highlighted the role that cinema, radio, television and – even more so today, in the age of the digital revolution – the internet and social media have played and continue to play in mediating cultural practices that not only define, but often challenge and reorganise social barriers and binary notions such as the opposition between centre and periphery, or between local and global – undermining the modern idea of the nation-state. As powerful communication tools capable of reaching a very wide audience in a short time, the media can become a dangerous vehicle for ideologies with often tragic consequences – let us recall, to mention a recent historical case, the fundamental role played by the radio during the Rwandan genocide. However, they can also contribute to the creation and consolidation of a popular and decolonial culture that transcends all class divisions, that has been able to resist the cultural assimilation imposed by the former colonisers and that proves its emancipatory potential by implementing a continuous process of self-criticism (Cabral 1970).

    Postcolonial studies on transmediality have been devoted to particular geographical areas and/or media, as in the case of F. Fanon’s reflections on cinema in Peau Noire, Masques Blancs (1952), in which the different degrees of audience identification when watching the film Tarzan in the West Indies and Europe are analysed. Other examples may be the study of the stylistic influence of Indian cinema on Salman Rushdie’s novels proposed by F. Stadtler (Fiction, Film and Indian Popular Cinema: Salman Rushdie’s Novels and the Cinematic Imagination, 2013) and the volume, edited the volume, edited by A.M. Leite, E.W. Sapega, H. Owen and C.L. Tindó Secco, on the role of both literary and cinematic narration in the construction of the national imaginary of Portugal’s former African colonies (Nação e narrativa pós-colonial. III-IV, Literatura & cinema: Cabo Verde, Guiné Bissau and São Tomé e Príncipe, 2018). However, there is no lack of programmatic texts that examine transnational phenomena, such as the volume on transmedia and transcultural narratives Passagen: Hybridity, Transmédialité, Transculturalidad by R. Ceballos et al. (2009).

    The aim of this monographic issue of Il Tolomeo is to propose a reflection on postcolonial histories, memories and narratives through the media. We want to highlight critical, formal and editorial tendencies (common or divergent) among the different contexts of postcolonial literatures – Anglophone, Francophone, Lusophone –, articulated around one or more media.

    Possible areas of investigation include:

    • - Analysis of multi-media postcolonial works built on multiple media and semiotic systems;
    • - Adaptations, from one medium to another, of postcolonial works;
    • - Reflections on transmedia narratology as a narrative phenomenon in the postcolonial sphere, with or without a particular focus on a particular medium;
    • - Identification of intermedial references in the postcolonial sphere, as in the case of works dealing with other media (e.g. a novel dedicated to the life of a postcolonial painter or musician), explicitly mentioning another medium (insertion of a text in a painting), describing it (a painting described in a story), or imitating it on a formal level (a novel structured as a fugue);
    • - Analysis of postcolonial narratives that have become transmedia, i.e. stories that are so popular that they spontaneously give rise to cultural phenomena spread across different media (e.g. prequels, sequels, fan fiction, adaptations, etc.).

    Studies with a historical and comparative approach, that place the works in their literary and cultural contexts of reference, or that critically reflect on the category of transmediality in the postcolonial context, will be particularly appreciated.

    Il Tolomeo accepts contributions in the following categories:

    • - articles (35,000-40,000 characters, including spaces);
    • - reviews (9,000-12,000 characters, including spaces);
    • - interviews (9,000-15,000 characters, including spaces);
    • - original unpublished material.


    Anyone interested in submitting an article is requested to send an abstract (maximum 1000 characters, including spaces) to by FEBRUARY 15th 2022. The next deadline for submission of full articles is MAY 31st 2022. In addition to the abstract, please attach a bio-bibliographical note (in English, maximum 1000 characters, including spaces) and 5 key words (in English). Please also indicate whether the article is intended for the generalist section or for the thematic issue on postcolonial transmediality.

    Other contributions:

    The deadline for submission is MAY 31st 2022. Please also attach a bio-bibliographical note.

    Contributions must be written according to the journal’s editorial and bibliographical standards, which can be found on the Il Tolomeo’s web page. Contributions are accepted in English, French, Portuguese and Italian, as long as there is coherence between language and content (the editors reserve the right to grant exceptions for specific and justified needs). For further information write to or consult the journal’s website: Il Tolomeo.


    Call for papers 2022 - Version française

    Sujet: Transmédialités postcoloniales. Les récits postcoloniaux à travers les médias

    La revue Il Tolomeo invite tous les chercheurs intéressés à soumettre leurs contributions pour le prochain numéro de 2022 (nr. 24). Le numéro sera structuré en une section généraliste à sujet libre et une section thématique consacrée aux transmédialités postcoloniales, à savoir aux récits postcoloniaux dans les médias.

    Ces dernières décennies, l’intérêt de la critique pour des structures narratives fondamentales non plus réservées à la littérature mais spécifiques à tout média capable de raconter une histoire, s’est traduit par une multiplication considérable de publications consacrées à la narratologie transmédiale. Nous pouvons citer à titre d’exemple : l’étude monographique de J.-N. Thon, Transmedial Narratology and Contemporary Culture (2016) ; l’article de R. Baroni, « Pour une narratologie transmédiale », publié dans Poétique, n° 182 (2017) ; le texte de M.-L. Ryan «Sur les fondements théoriques de la narratologie transmédiale», paru dans Introduction à la narratologie postclassique. Les nouvelles directions de la recherche sur le récit (2018), sous la direction de S. Patron ; les deux numéros monographiques des revues Mediapolis – Revista de Comunicação, Jornalismo e Espaço Público («Personagens mediáticas: teoria, problemas, análises», n° 6, 2018) et 2i – Revista de Estudos de Identidade e Intermedialidade (« Literatura e televisão: novas narrativas – Ficções transmédia », 2(1), 2020). Si l’idée d’une grammaire des récits propre à l’ensemble des médias avait déjà été proposée par les pionniers de la narratologie (cf. Communications, n° 8, « Recherches sémiologiques : l’analyse structurale du récit », 1966), la discipline ne s’est que très récemment émancipée de son périmètre littéraire d’origine (Baroni 2017, 155). Aujourd’hui, les spécialistes préfèrent plutôt parler de narratologie transmédiale pour mettre davantage l’accent sur le caractère pluriel de certains phénomènes narratifs, en renvoyant ainsi à une approche comparative des médias qui ne privilégie pas un support particulier au détriment des autres (Wolf 2011, 5). Si l’identification de pratiques narratives communes aux différents médias demeure un objectif majeur de la discipline, A. Goudmand et R. Baroni (2019) soulignent cependant que la narratologie transmédiale a aussi pour but de voir « comment les récits exploitent les ressources particulières du support dans lesquels ils s’inscrivent afin d’actualiser ces invariants dans une forme spécifique ».

    Dans le domaine postcolonial, les intellectuels et les artistes ont attiré l’attention sur le rôle que le cinéma, la radio, la télévision, internet et les réseaux sociaux ont joué et jouent encore plus aujourd’hui, à l’ère de la révolution numérique dans la médiation de pratiques culturelles qui non seulement définissent, mais également défient, réorganisent les barrières sociales et des notions binaires telle que l’opposition entre centre et périphérie, entre local et global, mettant en cause l’idée moderne d’État-Nation.

    Puissants moyens de communication capables d’atteindre un vaste public en peu de temps, les médias peuvent se révéler un dangereux vecteur d’idéologies aux conséquences souvent tragiques – pour ne citer que le fait historique le plus récent, nous rappelons le rôle dramatique joué par la radio dans le génocide rwandais. Cependant, les médias peuvent également contribuer à la création et à la consolidation d’une culture populaire et décoloniale qui dépasse toute division de classe, qui résiste à l’assimilation culturelle imposée par les anciens colonisateurs et prouve tout son potentiel émancipateur en mettant en place un processus continu d’autocritique (Cabral 1970).

    Parmi les études postcoloniales sur la transmédialité, de nombreuses recherches ont été consacrées à des aires géographiques et/ou à des médias spécifiques, comme dans le cas des réflexions de F. Fanon sur le cinéma : dans Peau Noire, Masques Blancs (1952), l’auteur analyse les différents degrés d’identification vécus par les publics antillais et européen en regardant le film Tarzan. Nous pouvons également citer l’étude de F. Stadler sur l’influence formelle du cinéma indien dans les romans de Salman Rushdie (Fiction, Film and Indian Popular Cinema: Salman Rushdie's Novels and the Cinematic Imagination, 2013) ainsi que le manuel de A.M. Leite, E.W. Sapega, H. Owen et C.L. Tindó Secco sur le rôle joué par le récit littéraire et cinématographique dans la construction d’un imaginaire national au sein des anciennes colonies portugaises en Afrique (Nação e narrativa pós-colonial. III-IV, Literatura & cinema: Cabo Verde, Guiné Bissau e São Tomé e Príncipe, 2018). Cependant, des textes fondateurs qui examinent des phénomènes transnationaux ne manquent pas, comme en témoigne le manuel de R. Ceballos et al. sur les récits transmédiaux et transculturels, Passagen: Hybridity, Transmédialité, Transculturalidad par R. Ceballos et al. (2009).

    Ce numéro monographique de la revue Il Tolomeo a pour but de faire avancer une réflexion sur des histoires, des mémoires et des récits postcoloniaux à travers les médias dans leur ensemble. Il vise à mettre en lumière les tendances critiques, formelles et éditoriales (communes ou divergentes) dans les différents contextes nationaux des littératures postcoloniales – anglophone, francophone, lusophone –, portant sur un ou plusieurs médias.

    Les champs possibles d’investigation sont les suivants :

    • - Analyse d’œuvres postcoloniales plurimédiales utilisant simultanément plusieurs médias et plusieurs systèmes sémiotiques ;
    • - Transpositions intermédiales – adaptations d’un média à l’autre – d’œuvres postcoloniales ;
    • - Réexamen des concepts clés des études postcoloniales à travers une perspective transmédiale, avec ou sans un accent particulier sur un média spécifique ;
    • - Identification de références intermédiales dans le domaine postcolonial, comme dans le cas d’œuvres qui ont pour sujet d’autres médias (par exemple, un roman consacré à la vie d’un peintre ou d’un musicien postcolonial), ou qui citent de façon explicite un autre support (insertion d’un texte dans un tableau), le décrivent (un tableau décrit dans un conte) ou encore l’imitent d’un point de vue formel (un roman structuré comme une fugue) ;
    • - Analyse de récits postcoloniaux devenus transmédiaux, c’est-à-dire des histoires tellement inscrites dans l’imaginaire collectif populaire qu’elles ont spontanément engendré des phénomènes culturels qui se sont répandus sur plusieurs supports (par exemple, le préquel, la suite, la Fan-fiction, les réécritures, etc.).

    Les études visant une approche historique et comparative, qui placent les œuvres dans leur contexte littéraire et culturel de référence, ou qui réfléchissent de manière critique sur la catégorie de la transmédialité dans le contexte postcolonial, seront particulièrement appréciées.

    Il Tolomeo accepte plusieurs types de contributions :

    • - articles (35.000-40.000 caractères, espaces compris);
    • - compte-rendus (9.000-12.000 caractères, espaces compris);
    • - entretiens (9.000-15.000 caractères, espaces compris);
    • - oeuvres inédits.

    Pour les articles:

    Toute personne souhaitant soumettre une contribution est priée d'envoyer un résumé (1000 caractères maximum, espaces compris) à avant le 15 FEVRIER 2022. La prochaine date limite, pour la soumission des articles complets, est le 31 MAI 2022. Veuillez joindre, en plus du résumé, une note biobibliographique (en anglais, 1000 caractères maximum, espaces compris) et 5 mots clés (en anglais). Veuillez également indiquer si l'article est destiné à la section généraliste ou au numéro thématique.

    Pour toutes les autres soumissions :

    La date limite de dépôt des contributions est le 31 MAI 2022. Veuillez également joindre une note biobibliographique.

    Les travaux doivent être rédigés conformément aux normes éditoriales et bibliographiques de la revue, qui se trouvent sur la page web de Il Tolomeo. Nous acceptons les contributions en anglais, en français, en portugais, en italien respectivement pour les domaines anglophone, francophone, lusophone et italophone (la Rédaction se réserve le droit d’accorder des dérogations sous réserve de conditions spécifiques et justifiées). Pour plus d’informations, écrivez à ou consultez le site web de la revue : Il Tolomeo.


    Call for papers 2022 - Versione italiana

    Tema: Transmedialità postcoloniali. Le narrazioni postcoloniali attraverso i media

    Il Tolomeoinvita tutti gli studiosi interessati a inviare i loro contributi per il prossimo numero del 2022 (nr. 24). Il numero si dividerà in una sezione generalista a tema libero e in una sezione tematica dedicata alle transmedialità postcoloniali, ovvero alle narrazioni postcoloniali attraverso i media.

    Negli ultimi decenni l’interesse della critica nei confronti di strutture narrative fondamentali, non più esclusive della letteratura, ma individuabili in tutti i media in grado di raccontare una storia, si è tradotto in un incremento significativo di pubblicazioni incentrate sulla narratologia transmediale. Ne sono un esempio lo studio monografico Transmedial Narratology and Contemporary Culture di J.-N. Thon (2016), l’articolo di R. Baroni «Pour une narratologie transmédiale», pubblicato nel nr. 182 di Poétique (2017), il saggio di M.-L. Ryan «Sur les fondements théoriques de la narratologie transmédiale», inserito nel volume Introduction à la narratologie postclassique. Les nouvelles directions de la recherche sur le récit a cura di S. Patron (2018), o ancora i numeri monografici delle riviste Mediapolis – Revista de Comunicação, Jornalismo e Espaço Público («Personagens mediáticas: teoria, problemas, análises», n. 6, 2018) e 2i – Revista de Estudos de Identidade e Intermedialidade («Literatura e televisão: novas narrativas – Ficções transmédia», 2(1), 2020). Benché l’idea di una grammatica del racconto applicabile a più media fosse già stata espressa dai pionieri della Narratologia, (cf. AA.VV., L’analisi del racconto, 1969), solo recentemente questa disciplina si è emancipata dall’orizzonte letterario di partenza (Baroni 2017, 155). Oggi gli specialisti sembrano quindi preferire il termine narratologia transmediale per mettere ulteriormente l’accento sul carattere plurivoco di certi fenomeni narrativi e per esaminarli in un’ottica comparativa dei media che rifiuta di privilegiare un singolo supporto a discapito degli altri (Wolf 2011, 5). Se l’individuazione d’istanze narrative invariabili attraverso i media rimane quindi uno degli obiettivi principali della disciplina, A. Goudmand e R. Baroni (2019) ricordano che è compito della narratologia transmediale sottolineare anche le specificità con cui un singolo medium dà loro forma.

    In ambito postcoloniale, studiosi e artisti hanno evidenziato il ruolo che il cinema, la radio, la televisione e ancor più oggi, nell’epoca della rivoluzione digitale, internet e i social media hanno svolto e continuano a svolgere nella mediazione di pratiche culturali che non solo definiscono, ma che spesso sfidano e riorganizzano barriere sociali e nozioni binarie come l’opposizione tra centro e periferia, tra locale e globale, mettendo in crisi l’idea moderna di Stato-Nazione.

    Potenti strumenti di comunicazione in grado di raggiungere in breve tempo un pubblico molto vasto, i media possono diventare un pericoloso veicolo d’ideologie dai risvolti spesso tragici – ricordiamo, per citare un triste caso storico recente, il ruolo fondamentale svolto dalla radio durante il genocidio ruandese. Possono però anche contribuire, al contrario, alla creazione e al consolidamento di una cultura popolare e decoloniale che trascende ogni divisione di classe, che ha saputo resistere all’assimilazione culturale imposta dagli ex colonizzatori e che prova il proprio potenziale emancipatore mettendo in atto un continuo processo di auto-critica (Cabral 1970).

    Studi postcoloniali sulla transmedialità sono stati consacrati a particolari aree geografiche e/o media, come nel caso delle riflessioni sul cinema di F. Fanon in Peau Noire, Masques Blancs (1952), in cui sono analizzati i diversi gradi d’identificazione del pubblico durante la visione del film Tarzan nelle Antille e in Europa. Altri esempi possono essere lo studio dell’influenza stilistica del cinema indiano sui romanzi di Salman Rushdie proposta da F. Stadtler (Fiction, Film and Indian Popular Cinema: Salman Rushdie's Novels and the Cinematic Imagination, 2013) e il volume, curato fra le altre da A.M. Leite, sul ruolo della narrazione tanto letteraria quanto cinematografica nella costruzione dell’immaginario nazionale delle ex colonie africane del Portogallo (Nação e narrativa pós-colonial. III-IV, Literatura & cinema: Cabo Verde, Guiné Bissau e São Tomé e Príncipe, 2018). Non mancano però testi programmatici che prendono in esame fenomeni transnazionali, come il volume sulle narrazioni transmediali e transculturali Passagen: Hybridity, Transmédialité, Transculturalidad di R. Ceballos et al. (2009).

    Lo scopo di questo fascicolo monografico del Tolomeo è proporre una riflessione su storie, memorie e narrazioni postcoloniali attraverso i media nel loro complesso. Si vogliono evidenziare tendenze critiche, formali ed editoriali (comuni o divergenti) tra i diversi contesti delle letterature postcoloniali – anglofoni, francofoni, lusofoni –, articolate attorno a uno o più media.

    Possibili ambiti d’indagine includono:

    • - Analisi di opere postcoloniali plurimediali, costruite su più supporti e sistemi semiotici;
    • - Trasposizioni intermediali, adattamenti da un medium a un altro, di opere postcoloniali;
    • - Riflessioni sulla narratologia transmediale come fenomeno narrativo in ambito postcoloniale, con o senza un particolare focus su un determinato medium;
    • - Identificazione di riferimenti intermediali in ambito postcoloniale, come nel caso di opere che abbiano per tema altri media (ad esempio, un romanzo dedicato alla vita di un pittore o di un musicista postcoloniale) o che citino esplicitamente un altro supporto (inserimento di un testo in un quadro), lo descrivano (un dipinto descritto in un racconto) o lo imitino a livello formale (un romanzo strutturato come una fuga);
    • - Analisi di narrazioni postcoloniali divenute transmediali, vale a dire storie così popolari da dare il via spontaneamente a fenomeni culturali diffusi su diversi supporti (ad esempio, prequel, sequel, fan fiction, adattamenti, ecc.).

    Studi con un approccio storico e comparativo, che collochino le opere nei loro contesti letterari e culturali di riferimento, o che riflettano criticamente sulla categoria della transmedialità in ambito postcoloniale, saranno particolarmente apprezzate.

    Il Tolomeo accetta contributi nelle seguenti categorie:

    • - articoli (35.000-40.000 caratteri, spazi inclusi);
    • - recensioni (9.000-12.000 caratteri, spazi inclusi);
    • - interviste (9.000-15.000 caratteri, spazi inclusi);
    • - inediti.

    Per gli articoli:

    Si prega chiunque sia interessato a proporre un contributo di inviare un abstract (in inglese, di massimo 1000 caratteri, spazi inclusi) a entro il 15 FEBBRAIO 2022. La scadenza successiva, per l’invio degli articoli completi, è il 31 MAGGIO 2022. Si prega di allegare, oltre all’abstract, una nota bio-bibliografica (in inglese, di massimo 1000 caratteri, spazi inclusi) e 5 keywords (in inglese). Si prega anche di indicare se l’articolo è pensato per la sezione generalista o per il fascicolo tematico.

    Per tutti gli altri contributi:

    La scadenza per l’invio è il 31 MAGGIO 2022. Si prega di allegare anche una nota bio-bibliografica.

    I contributi dovranno essere redatti secondo le norme redazionali e bibliografiche della rivista, consultabili sulla pagina web del Il Tolomeo. Si accettano contributi in inglese, francese, portoghese e italiano, purché ci sia coerenza tra lingua e contenuto (la Redazione si riserva il diritto di concedere eventuali deroghe di fronte a esigenze specifiche e motivate). Per ulteriori informazioni scrivere a o consultare il sito della rivista: Il Tolomeo.


    Call for papers 2022 - Versão em português

    Tema: Transmedialidades pós-coloniais. Narrativas pós-coloniais através dos media

    Il Tolomeo convida todos os estudiosos interessados a enviar as suas propostas para a próxima edição de 2022 (n.º 24). A edição compor-se-á de uma secção generalista de tema livre e uma secção temática dedicada às transmedialidades pós-coloniais, ou seja às narrativas pós-coloniais através dos media.

    Nas últimas décadas, o interesse da crítica pelas estruturas narrativas fundamentais, já não exclusivas da literatura, mas identificáveis em todos os media capazes de narrar uma história, resultou num aumento significativo de publicações centradas na narratologia transmedia. Um exemplo disto é o estudo monográfico Transmedial Narratology and Contemporary Culture de J.-N. Thon (2016), o artigo de R. Baroni «Pour une narratologie transmédiale», publicado no n.º 182 de Poétique (2017), o ensaio de M.-L. Ryan «Sur les fondements théoriques de la narratologie transmédiale», inserido no volume Introduction à la narratologie postclassique. Les nouvelles directions de la recherche sur le récit editado por S. Patron (2018), ou ainda os números monográficos das revistas Mediapolis – Revista de Comunicação, Jornalismo e Espaço Público («Personagens mediáticas: teoria, problemas, análises», n.º 6, 2018) e 2i – Revista de Estudos de Identidade e Intermedialidade («Literatura e televisão: novas narrativas – Ficções transmédia», 2(1), 2020). Embora a ideia de uma gramática da narrativa aplicável a diferentes media já tivesse sido expressa pelos pioneiros da narratologia (cf. Análise estrutural da narrativa: pesquisas semiológicas, 1976), é apenas recentemente que esta disciplina se emancipa do seu horizonte literário original (Baroni 2017, 155). Hoje em dia, os especialistas parecem preferir o termo narratologia transmedia a fim de realçar ainda mais o carácter plurívoco de certos fenómenos narrativos e de os examinar de uma perspetiva comparativa dos media que se recusa a privilegiar um único suporte em detrimento dos outros (Wolf 2011, 5). Se a identificação de instâncias narrativas invariáveis através dos media permanece um dos objectivos principais da disciplina, A. Goudmand e R. Baroni (2019) recordam que é tarefa da narratologia transmedia destacar também as especificidades com que um único medium lhes dá forma.

    No âmbito pós-colonial, estudiosos e artistas destacaram o papel que o cinema, a rádio, a televisão e principalmente hoje, na era da revolução digital, a Internet e as redes sociais desempenharam e continuam a desempenhar na mediação de práticas culturais que não só definem, mas muitas vezes desafiam e reorganizam barreiras sociais e noções binárias, tais como a oposição entre centro e periferia, local e global, pondo em crise a ideia moderna do Estado-nação.

    Poderosos instrumentos de comunicação capazes de alcançar uma vasta audiência num curto espaço de tempo, os media podem tornar-se um perigoso veículo de ideologias com consequências muitas vezes trágicas - para citar um triste caso histórico recente, o papel crucial desempenhado pela rádio durante o genocídio ruandês. Pelo contrário, porém, podem também contribuir para a criação e consolidação de uma cultura popular e decolonial que transcende todas as divisões de classe, que tem sido capaz de resistir à assimilação cultural imposta pelos ex-colonizadores, e que prova o seu potencial emancipatório ao implementar um processo contínuo de autocrítica (Cabral 1970).

    Estudos pós-coloniais sobre transmedialidade foram dedicados a específicas áreas geográficas e/ou media, como no caso das reflexões de F. Fanon sobre o cinema em Peau Noire, Masques Blancs (1952), em que são analisados os diferentes graus de identificação do público ao assistir ao filme Tarzan nas Antilhas e na Europa. Outros exemplos incluem o estudo da influência estilística do cinema indiano nos romances de Salman Rushdie proposto por F. Stadtler (Fiction, Film and Indian Popular Cinema: Salman Rushdie’s Novels and the Cinematic Imagination, 2013) e o volume, editado entre outros por A. M. Leite, sobre o papel da narração tanto literária quanto cinematográfica na construção do imaginário nacional das ex-colónias africanas de Portugal (Nação e narrativa pós-colonial. III-IV, Literatura & cinema: Cabo Verde, Guiné Bissau e São Tomé e Príncipe, 2018). No entanto, não faltam textos programáticos que examinem fenómenos transnacionais, tais como o volume sobre narrativas transmediais e transculturais Passagen: Hybridity, Transmédialité, Transculturalidad de R. Ceballos et al. (2009).

    O objectivo desta edição monográfica da revista Il Tolomeo é propor uma reflexão sobre histórias, memórias e narrativas pós-coloniais através dos media como um todo. Pretende-se destacar tendências críticas, formais e editoriais (comuns ou divergentes) entre os diferentes contextos das literaturas pós-coloniais – anglófono, francófono, lusófono –, articuladas em torno de um ou mais media.

    As possíveis abordagens incluem:

    • - Análise de obras pós-coloniais plurimediais, realizadas em múltiplos suportes e sistemas semióticos;
    • - Transposições intermediais, adaptações de um medium para outro, de obras pós-coloniais;
    • - Reflexões sobre a narratologia transmedia como fenómeno narrativo no âmbito pós-colonial, com ou sem um foco particular num medium determinado;
    • - Identificação de referências intermediais no âmbito pós-colonial, como no caso de obras que têm como tema outros media (por exemplo, um romance dedicado à vida de um pintor ou um músico pós-colonial) ou que mencionam explicitamente outro suporte (inserção de um texto numa pintura), o descrevem (uma pintura descrita numa história) ou o imitam a um nível formal (um romance estruturado como uma fuga);
    • - Análise de narrativas pós-coloniais que se tornaram transmediais, ou seja, histórias que de tão populares dão origem espontaneamente a fenómenos culturais difundidos em diferentes suportes (por exemplo, prequel, sequel, fan fiction, adaptações, etc.).

    Serão especialmente apreciados estudos com uma abordagem histórica e comparativa, que coloquem as obras nos seus contextos literários e culturais de referência, ou que reflitam criticamente sobre a categoria da transmedialidade no contexto pós-colonial.

    Il Tolomeo aceita submissões nas seguintes categorias:

    • - artigos (35.000-40.000 caracteres, com espaços);
    • - recensões (9.000-12.000 caracteres, com espaços);
    • - entrevistas (9.000-15.000 caracteres, com espaços);
    • - obras inéditas.

    Para os artigos:

    Convidamos todos os interessados em submeter um artigo a enviar um resumo (em inglês, máximo 1.000 caracteres, com espaços) para até 15 de FREVREIRO de 2022. O prazo seguinte, para a apresentação dos artigos completos, é 31 de MAIO de 2022. Anexar, para além do resumo, uma nota bio-bibliográfica (em inglês, máximo 1.000 caracteres, incluindo espaços) e 5 palavras-chave (em inglês). Indicar também se o artigo se destina à secção generalista ou à seção temática.

    Para todas as outras propostas:

    O prazo para a apresentação é 31 de MAIO de 2022. É favor anexar também uma nota bio-bibliográfica.

    As propostas devem obedecer às normas de redação e bibliográficas da revista, que podem ser consultadas na página web de Il Tolomeo. Aceitamos propostas em inglês, francês, português e italiano desde que haja coerência entre a língua e o conteúdo (a Redação reserva-se o direito de conceder eventuais prorrogações por necessidades específicas e fundamentadas). Para mais informações, escrever para ou consultar o site da revista: Il Tolomeo.

  • codeComplete journal policy

    Ethical Code of Il Tolomeo

    Il Tolomeo is a peer-reviewed scientific journal whose policy is inspired by the COPE (Committee on Publication Ethics) Ethical Code. See the Best Practice Guidelines for Journal Editors.

    Publisher responsibilities  

    The Publisher must provide the Journal with adequate resources and the guidance of experts, in order to carry out its role in the most professional way, aiming at the highest quality standard.

    The Publisher must have a written agreement that defines the relationship with the owner of the Journal and/or the Editor-in-Chief. The agreement must comply with the Code of Behavior for Publishers of Scientific Journals, as established by COPE.

    The relationship among the Editor-in-Chief, the Editorial Board and the Publisher is based on the principle of publishing independence. 

    Editors responsibilities 

    The Editor-in-Chief and the Editorial Board of Il Tolomeo alone are responsible for the decision to publish the articles submitted.

    Submitted articles, after having been checked for plagiarism by means of the anti-plagiarism software Compilatio that is used by the University and is made available to us, will be sent to at least two reviewers. Final acceptance presumes the implementation of possible amendments, as required by the reviewers and under the supervision of the Il Tolomeo Editors.

    The Il Tolomeo Editors and Editorial Board must evaluate each submitted paper in compliance with the Journalʼs policy, i.e. exclusively on the basis of its scientific content, without discrimination of race, sex, gender, creed, ethnic origin, citizenship, or the scientific, academic and political position of the Authors. 

    If the Il Tolomeo Editors and Editorial Board notice (or receive notifications of) mistakes or inaccuracies, conflict of interest or plagiarism in a published article, they will immediately warn the Author and the Publisher and will undertake the necessary actions to resolve the issue. If necessary, they will withdraw the article or publish a recantation. 

    Authors responsibilities


    Authors must follow the Guidelines for Authors to be downloaded from the Il Tolomeo website. 

    No multiple submissions

    Authors must explicitly state that their work is original in all its parts and that the submitted paper has not been previously published, nor submitted to other journals, until the entire evaluation process is completed. Since no paper gets published without significant revision, earlier dissemination in conference proceedings or working papers does not preclude consideration for publication, but Authors are expected to fully disclose publication/dissemination of the material in other closely related publications, so that the overlap can be evaluated by the Il Tolomeo Editors. 


    Authorship must be correctly attributed; all those who have given a substantial contribution to the design, organisation and accomplishment of the research the article is based on, must be indicated as Co-Authors. The respective roles of each co-author should be described in a footnote. The statement that all authors have approved the final version should be included in the disclosure.

    Conflicts of interest and financing

    Authors, under their own responsibility, must avoid any conflict of interest affecting the results obtained or the interpretations suggested. The Il Tolomeo Editors will give serious and careful consideration to suggestions of cases in which, due to possible conflict of interest, an Author’s work should not be reviewed by a specific scholar. Authors should indicate any financing agency or the project the article stems from. 


    Authors must see to it that all works consulted be properly quoted. If works or words of others are used, they have to be properly paraphrased or duly quoted. Citations between “double quotes” (or «angled quotation marks» if the text is written in a language other than English) must reproduce the exact wording of the source; under their own responsibility, Authors should carefully refrain from disguising a restyling of the source’s wording, as though it was the original formulation. 

    Ethical Committee

    Whenever required, the research protocols must be authorised in advance by the Ethical Committee of Ca’ Foscari University of Venice. 


    When Authors find a mistake or an inaccuracy in their own article, they must immediately warn the Il Tolomeo Editors, providing all the information needed to make the due adjustments. 

    Reviewers responsibilities


    By means of the peer-review procedure, reviewers assist the Il Tolomeo Editors and Editorial Board in taking decisions on the articles submitted. They are expected to offer the Authors suggestions as to possible adjustments aimed at improving their contribution submission. 

    Timing and conflicts of interest

    If a reviewer does not feel up to the task of doing a given review, or if she/he is unable to read the work within the agreed schedule, she/he should notify the Il Tolomeo Editors. Reviewers must not accept articles for which there is a conflict of interest due to previous contributions or to a competition with a disclosed author (or with an author they believe to have identified). 


    The content of the reviewed work must be considered confidential and must not be used without explicit authorisation by the author, who is to be contacted via the editor-in-chief. Any confidential information obtained during the peer review process should not be used for other purposes.

    Collaborative attitude

    Reviewers should see themselves not as adversaries but as advocates for the field. Any comment must be done in a collaborative way and from an objective point of view. Reviewers should clearly motivate their comments and keep in mind the Golden Rule of Reviewing: “Review for others as you would have others review for you”. 


    Reviewers should report any similarity or overlapping of the work under analysis with other works known to them.