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Alice Flinta Alice’s research interests have developed in the fields of translation, postcolonial, transnational, and migrant literature; she has conducted archival research on Franco-Algerian writer Albert Camus’s manuscripts, and in her master’s thesis she explored how French author Michel Houellebecq reconceptualises Camus’s absurd, adapting it to the contemporary world. Modern languages are an integral part of Alice’s research: she is fluent in English, French, Italian and Spanish and is currently learning Russian. A creative writing and translation enthusiast, her poems have been shortlisted in regional competitions on multiple occasions; in the context of promoting Finnish literature in Italy, some of Alice’s translations from English into Italian are published online . Alice is undertaking her PhD in the Centre for Women’s Studies at the University of York, where she also completed her BA in English and Related Literature. She holds a Masters in Comparative Literature from the University of St Andrews. Research topic Over Borders and Languages: Rethinking Transnationality in Europe Through Mediterranean Women’s Writings Alice’s research is rooted in the core belief that literature helps us understand and challenge our current political reality. For the EUTERPE project she is working on how transnational Mediterranean literature by women shapes a new sense of transnationality in Europe and challenges how we think of Europeanness. With a focus on the literature of contemporary translingual, migrant and second-generation women writers, Alice’s project explores the intersection of gender, race, languages, and colonial histories and how it affects migrant writers’ narratives of identity formation, transnationalism, multilingualism, and translation. Rosi Braidotti’s nomadic theory and Paul B. Preciado’s work are at the core of the project’s theoretical framework. Contributions: Contested Communities: Small, Minority and Minor Literatures in Europe ed. by Kate Averis, Margaret Littler and Godela Weiss-Sussex (review) Previous Next

Marina Casado Guerrero Central European University Doctoral Candidate Marina holds a BA in English Studies at the Universidad de Sevilla, an MA in English Literature and Linguistics at the Universidad de Granada and an Erasmus Mundus MA in Gender and Women’s Studies (GEMMA) at the Universidad de Granada and Utrecht University. Before joining EUTERPE, she had already participated in different international conferences in literary studies, such as the European Beat Studies Network conferences. She was part of the organizing committee of the upcoming 13th Feminist New Materialism’s conference that will be held in Granada in 2026. Marina is interested in different kinds of artistic forms, especially in poetry, bodily performances, and dancing, as well in their potential intersections, as working with and through the body is one of her major passions. At the moment, she is working on her PhD project that looks into contemporary poetry written by Latin-American and Eastern Europe migrants that are living in Europe, where she applies queerfeminist and decolonial theories/methodologies to approach issues of translation and mobility, looking into queerness as an word(l)dy entanglement that can mobilize poetical/political responses and underscore the relational approach that emerges from the somatic-discursive. In previous publications, she approached the poetry of female Beat Generation author Diane di Prima through a feminist new materialist approach, underscoring how di Prima’s subversive and countercultural literary production embodies different modes of diffractive relationality. Contributions: Guerrero, MC & Invernizzi, A 2024, Figures of resistance: Revisiting cinema and poetry with hospit(able)ness and response-ability. in B Revelles-Benavente & A Sánchez-Espinosa (eds), Feminist Literary and Filmic Cultures for Social Action: Gender Response-able Labs. Routledge Taylor & Francis Group, London, pp. 65-77.

Gilberta Golinelli University of Bologna Researcher Gilberta Golinelli is an Associate Professor at the University of Bologna, where she teaches English Literature, Feminist Methodologies and Critical Utopias. Her main research areas include the Shakespearean canon and the Elizabethan Theatre, Women’s and Gender Studies, and Women’s Utopias in the Early Modern Age. She is the referent of the PhD program EDGES (European Doctorate in Women’s and Gender Studies) and vice coordinator of Master Gemma (University of Bologna). Publications: “Educational space(s) and female communities in Margaret Cavendish’s The Female Academy and Mary Astell’s A Serious Proposal to the Ladies Part 1”, «PROSPERO» , 2024, 29. “Of Cimbalin king of England”: The controversial representation of the British past in Cymbeline”. TEXTUS , XXXVII(2), 2024. Gender Models Alternative Communities and Women's Utopianism . Bologna, Italy: Bononia University Press, 2018.

Marina Casado Guerrero I hold a BA in English Studies at the U niversidad de Sevilla, an MA in English Literature and Linguistics at the Universidad de Granada and an Erasmus Mundus MA in Gender and Women’s Studies (GEMMA) at the Universidad de Granada and Utrecht University. Before joining EUTERPE, I have already participated in different international conferences in literary studies, such as the European Beat Studies Network conferences. I am part of the organizing committee of the upcoming 13th Feminist New Materialism’s conference that will be held in Granada in 2026. Research topic I am interested in different kinds of artistic forms, especially in poetry, bodily performances, and dancing, as well in their potential intersections, as working with and through the body is one of her major passions. At the moment, I am working on my PhD project that looks into contemporary poetry written by Latin-American and Eastern Europe migrants that are living in Europe, where she applies queerfeminist and decolonial theories/methodologies to approach issues of translation and mobility, looking into queerness as an word(l)dy entanglement that can mobilize poetical/political responses and underscore the relational approach that emerges from the somatic-discursive. I am the co-author of the chapter “Figures of Resistance: Revisiting Cinema and Poetry with Hospit(able)ness and Response-Ability" which can be found in the book “ Feminist Literary and Filmic Cultures for Social Action: Gender Response-able Labs,” edited by Beatriz Revelles-Benavente and Adelina Sánchez-Espinosa, Routledge, 2024. In this book, I approach the poetry of female Beat Generation author Diane di Prima through a feminist new materialist approach, underscoring how di Prima’s subversive and countercultural literary production embodies different modes of diffractive relationality. Previous Next

Medea, Medes, Marjane and Me: Reflections on colonialism, war, and migration in Marjane Satrapi’s 'Persepolis' While reading Marjane Satrapi’s Persepolis, three major questions emerge. First, who can colonize or be colonized? Second, is war anything but a personal matter? And third, is the idea of a return just as much of a myth as the Golden Fleece? by Ninutsa Nadirashvili 23 July 2025 Medea, Medes, Marjane and Me: Reflections on colonialism, war, and migration in Marjane Satrapi’s Persepolis Between the years of 2000 and 2003, Marjane Satrapi published a quartet of autobiographical comics about growing up in Iran, experiencing the 1979 revolution and dealing with its aftermath. Once translated into English and combined into a two-volume work, it became Persepolis: The Story of a Childhood and The Story of a Return . Centuries earlier, in 431 B.C., Euripides – tragedian of classical Athens – produced a trilogy of plays.[1] Medea – the only surviving work – is often summarized simply as the story of a woman who murdered her two children to make her husband suffer.[2] Yet, like all women, Medea had a complex history of her own before, during and after her marriage to Jason, a prominent hero in Greek mythology. In some ways, just like Marjane’s protagonist, Medea presents a fascinating case study of how conquest, war, and migration can affect an individual; how they can erase our comfortable notions of home, belonging and safety. In Euripides’ text, Medea laments: Let it go! What profit in staying alive? No country, no home, no way to turn from evil. I made a mistake when I abandoned my homeland, trusting in the words of a Greek man. Now he will pay me justice, gods willing.[3] My personal interest in Medea is because I was born in Georgia. In the accounts of her myth, Medea lives in Kolkheti[4] – a very real polity, active between the 13th and 1st centuries B.C., that is considered as the first Georgian kingdom.[5] After being put under a love spell by the gods, Medea assists Jason in getting the Golden Fleece, betraying her family and kingdom in the process, and sails away with him, eventually settling in Corinth. There, after ten years of marriage, Jason decides to abandon his wife and marry the local king’s daughter. Though retellings differ, Euripides has Medea murder her two children as revenge against her disloyal husband.[6] After this, she flees Corinth and, according to Herodotus, ends up in the Iranian plateau among the Aryans who, in her honour, eventually change their name to Medes.[7] So, in one version of history, a Georgian princess, tricked, taken and then abandoned, spends the last years of her life on the same land that will later give birth to Marjane Satrapi, who, in turn, gives life to Persepolis: The Story of a Childhood and The Story of a Return . Persepolis , like Euripides’ play, is the story of one woman. Marjane is only ten when revolutionaries sweep through Iran, collectively devolving into an oppressive regime upheld by religious fanaticism. This eventually leads to a war between Iran and Iraq, forcing Marjane’s parents to send their daughter away. Marjane spends nearly a decade in Austria, lost and aimless, eventually ending up on the street. Unable to go on, she returns to Iran only to become severely depressed, even attempting suicide. Here, she echoes Medea again, writing, “I was a Westerner in Iran. An Iranian in the West. I had no identity.”[8] In other words, “No country, no home, no way to turn from evil.”[9] Migration – especially one that is forced – forever alters the migrant’s position from an “insider” to someone in the in-between. This is so painful that both women are driven to extremes. Understanding her survival from the suicide attempt as a miracle, Marjane obtains a degree in graphic design, marries, divorces, and finally decides to leave for Europe again – understanding that, in her mother’s words, “You are a free woman. The Iran of today is not for you.”[10] While reading Satrapi’s work, three major questions emerged for me. First, who can colonize or be colonized? Second, is war anything but a personal matter? And third, is the idea of a return just as much of a myth as the Golden Fleece? The answers, simply put, are: everyone, no, and yes. Still, I would like to delve deeper into Marjane’s story and explore these questions while keeping the author, myself, and Medea in mind. In 1980, Marjane’s father hoped that after centuries of “tyranny and submission”, the revolution was finally waking Iranians up.[11] Since Persepolis is a graphic novel, this statement is followed with a visual depiction of Iranian history: first, subjugated by their own emperors, then the Arabs, followed by Mongolians and finally, the modern imperialists of the global West. Here, the first set of questions come to mind – Who can colonise, who can be colonised and who benefits from the claim that this must be an unchanging dynamic? For example, while Satrapi’s Iran is presented as a colonised territory, the nation where I was born considers Iran a coloniser. In the 4thand 5th centuries, Persians controlled the Georgian Kingdom of Iberia, only to be replaced by Arabian tribes.[12] Ten centuries later, Persians re-conquered Georgia, ruling over the country until 1800s, only ceding power to the Russian Empire which continues to oppress Georgians and currently occupies approximately 20% of our territory.[13] Persepolis is a novel that understands the possibility within all nations to become the “evil” that Medea has no way to turn from. This is why Satrapi begins to tell the country’s 2,500-year story by pointing out that the people were subjugated by their own emperors – the same ones who demanded expansion to foreign lands. This is also why, when Marjane is in Austria, she comes to the realisation that “In every religion, you find the same extremists.”[14] This is why, to Marjane’s old Iranian schoolmates, “making themselves up and wanting to follow Western ways was an act of resistance.”[15] Satrapi, by allowing for her personal story to be the focal point of the novel, manages to get this point across. Everyone can be an oppressor, and anyone can be oppressed. The only group that benefits from the establishment of rigid rules around colonisation is the one that decides to become a conqueror next as it makes it easy to claim innocence that way: “Us? No, never! We’ve been the victims before; how could we?” Empires obliterate others and themselves, there are no set guidelines for who can be the “bad guy.” After all, Jason is supposed to be a hero; and yet he fails at it spectacularly. Once Persepolis proposes that anyone can turn into a tyrant, the novel shifts its focus to the consequences of tyranny – mainly war. In a chapter titled “The Water Cell”, Marjane is told a story that is eerily like one I have heard from my own mother. The reader finds out that Marjane’s grandfather was the son of Iran’s last emperor, subject to frequent threats, and jailed on several occasions.[16]In one of the illustrations, we see a young girl (Marjane’s mother) opening the door to police officers looking for her dad. This is how my mother’s story starts as well, though she rarely tells it. After she opens the door, her father – my grandfather – is taken away by police. His crime was nothing more than having the same last name as a high-ranking politician who opposed the government. This type of intimidation can only foster political unrest, eventually culminating in a war. Marjane and I were both 10 when war took us by surprise, as it always does.[17] In her novel, Satrapi highlights the direct nature of violence, especially when it reaches proportions of such magnitude. The writer tells us about a classmate who writes a eulogy to her father, the refugees who flood Tehran from the South, the maid whose son is given a golden key and told to die for his country in exchange for paradise.[18]When Russia invaded Georgia in 2008, our nanny came to my mother in panic because her son had just been drafted. I remember vividly that she worried about him leaving before dinner, how they had taken him in a hurry, and she had only found time to put a bar of chocolate in his pocket. Satrapi’s focus on the fates of individual citizens answers the second question – No, war is never anything but personal. So then, once Medea has betrayed her father, started a war in several cities, and killed her own children, can she return to Kolkheti? After all, Persepolis is in ruins, and I have not been truly fluent in Georgian since the age of thirteen. We will never know how much of Euripides’ play is based on facts, but I would argue that the act of returning is entirely mythological. In Austria, Marjane denies her heritage, refuses to watch the news about Iran, and tries desperately to fit in.[19] Instead, she is repeatedly discriminated against, tokenised, isolated, and ultimately ends up on the street with no one to care for her. Soon after, unable to assimilate because much like returning, assimilation is a myth, she flies to Iran. She writes, “After four years living in Vienna, here I am back in Tehran. From the moment I arrived at Mehrabad Airport and caught sight of the first customs agent, I immediately felt the oppressive air of my country.”[20] Welcome home, indeed. In chapters to follow, Marjane compares her city to a cemetery, is labelled a whore for having sexual experiences in Austria, discovers the duality of revolutionary men who preach about freedom while refusing to let their wives speak.[21] If Herodotus is telling the truth, Medea only goes home as a conqueror. Meanwhile, Marjane is barely recognisable to her own parents. As for me, after living in Georgia for a year during my twenties, I know I will spend the rest of my life trying to find the same feeling of “home” that I had at thirteen, only to fail. (Though it was not always good, I once belonged to that place, and it belonged to me). There is no rest for the migrants. And belongings get left behind. Then again, as Satrapi points out on the final page of the novel, freedom has a price.[22] Bibliography Euripides. Euripides’ Medea: A New Translation . Translated by Diane Rayor. New York, NY: Cambridge University Press, 2013. Herodotus. Herodotus . Translated by A. D. Godley. Cambridge, MA: Harvard University Press, 1920. Satrapi, Marjane. Persepolis: The Story of a Childhood and The Story of a Return . London: Vintage, 2008. Rayfield, Donald. Edge of Empires: A History of Georgia . London: Reaktion Books, 2019. [1] Euripides, Euripides’ Medea: A New Translation , trans. Diane Rayor (New York, NY: Cambridge University Press, 2013), xiv. [2] Ibid., xiii. [3] Ibid., 37. [4] Or Colchis. [5] Ibid., 69. [6] Ibid., xiii. [7] Herodotus, Herodotus , trans. A. D. Godley (Cambridge, MA: Harvard University Press, 1920), 7.61. [8] Marjane Satrapi, Persepolis: The Story of a Childhood and The Story of a Return (London: Vintage, 2008)., 118. [9] Euripides, Euripides’ Medea: A New Translation , 37. [10] Ibid., 343. [11] Ibid., 11. [12] Donald Rayfield, Edge of Empires: A History of Georgia (London: Reaktion Books, 2019). [13] Ibid. [14] Satrapi, 180. [15] Satrapi, 261. [16] Ibid., 18-25. [17] Ibid., 81. [18] Ibid., 86 – 99. [19] Ibid., 157-246. [20] Ibid., 248. [21] Ibid., 248 -339. [22] Ibid., 343.

Team Oviedo Isabel Carrera Suárez Principal Investigator Isabel Carrera Suárez is Professor in English at the University of Oviedo, her research centres on the intersections between postcoloniality and gender. She first taught at the University of Glasgow and has been a visiting scholar at the universities of Calgary, Flinders, Adelaide, Tsinghua and King’s College London, among others. She has been a keynote speaker at international conferences, such as the biennial meeting of the European Society for the Study of English, ESSE , and the Spanish Association for English Studies, AEDEAN. Her articles have appeared in international specialist journals such as Interventions, EJES, Journal of Canadian Poetry, International Journal of Canadian Studies, and Australian Literary Studies, and she has collaborated in and coedited many collaborative transnational volumes. Since 2017, she has been co-general editor of the European Journal of English Studies (EJES), a journal of The European Society for the Study of English (ESSE), and was Chair of EACLALS, the European Association for Postcolonial Studies (2017-2021), among other academic responsibilities. She leads the transnational research group Intersections/Intersecciones, recognised as an excellence group by the Agencia Estatal de Investigación (Spanish QA), and the recipient of many R&D competitive projects. Emilia M. Durán-Almarza Researcher Emilia M. Durán-Almarza is Associate Professor of English at the University of Oviedo, Spain. She specializes in Caribbean and Afro-diasporic postcolonial writing and performance. In this field, she has authored a monograph Performeras del Dominicanyork: Josefina Báez and Chiqui Vicioso (PUV 2010) and edited several collective volumes, such Diasporic Women’s Writing. (En)Gendering Literature and Performance (Routledge 2014), Debating the Afropolitan (Routledge 2019) and Performing Cultures of Equality (Routledge 2022). She regularly publishes her research at international peer reviewed journals. In EUTERPE, she serves as leader of WP6, “The role of transnational literatures in the decolonization of understandings of gender within the European academe”, where she supervises Uthara Geetha’s PhD project. Her research focus includes excavating the presence of Anglophone African and Caribbean women writers in Europe. Carla Rodríguez González Researcher Carla Rodríguez González is Senior lecturer in English at the University of Oviedo, Spain, where she teaches in the Erasmus Mundus GEMMA and in the Gender and Diversity Master’s Degrees. Her research focuses on contemporary Scottish literature, as well as on postcolonial, gender, space and cultural studies. Her publications include the monographs Escritoras escocesas en la nueva literatura nacional (U. Illes Balears, 2013), María Estuardo (Madrid, Ediciones del Orto, 2006) and Jackie Kay: biografías de una Escocia transcultural (Oviedo: KRK, 2004). She has also co-edited the books Performing Cultures of Equality (Routledge, 2022), Debating the Afropolitan (Routledge, 2019), Nación, diversidad y género. Perspectivas críticas (Anthropos, 2010), Culture & Power: The Plots of History in Performance (Cambridge Scholars, 2008) and Historia y representación en la cultura global (KRK, 2008). She has also guest edited special issues for the journals European Journal of English Studies , Papers on Language and Literature and Complutense Journal of English Studies . She has translated into Spanish short stories by Jackie Kay and Suhayl Saadi, published in 2 annotated volumes with an introduction: Las últimas fumadoras /Grace y Rose (2008), Las reinas de Govan /Oscuridad (2022). She is co-PI (with Isabel Carrera Suárez) of the research project “World-travelling: Narratives of Solidarity and Coalition in Contemporary Writing and Performance” (2022-2025), funded by the Spanish National R&D Programme. She was the coordinator of the Gender and Diversity Master’s Degree at the University of Oviedo, Spain (2019-2023).

Nicoletta Asciuto University of York researcher Nicoletta Asciuto is Senior Lecturer in Modern Literature at the University of York. Her main research interests are in modernism, poetry, and translation. In her research, Nicoletta uncovers the gendered nature of cultures of light in the early twentieth century, and discusses the work of many modernist women poets and artists, such as Mina Loy, Lola Ridge, Gwendolyn B. Bennett, Georgia O’Keeffe, Rosa Rosà, Růžena Zátková, Maria Ginanni, Natalia Goncharova, and others. One of her more recent collaborative works was a cluster for Modernism/modernity on the topic of ‘Modernist Periodical Studies and the Transnational Turn’, co-edited with Dr Francesca Bratton (Maynooth University) and Dr Camilla Sutherland (Groningen University). She was also the recipient of British Academy funding for two independent projects, ‘Radio Pioneers and Forgotten Voices, 1924-1939’, with Professor Emilie Morin (University of York), and ‘Cities of Modernism’, with Dr Nan Zhang (Hong Kong University). Nicoletta has also published several literary translations from Italian, Spanish, and Slovenian into English, including, more recently, those for Early Radio: An Anthology of European Texts and Translations , edited by Emilie Morin (Edinburgh University Press, 2023). Nicoletta also acts as Contributing Editor for Translated Literature at the Fortnightly Review . She is currently at work on the first Italian-language translation of Hope Mirrlees’ Paris: A Poem (1920), a neglected masterpiece of modernist poetry. She is an enthusiast polyglot, with knowledge of ten languages. She has given various invited talks nationally and internationally, both on the topic of modernism and on translation. In EUTERPE, Nicoletta is Co-Investigator for York, on the strand ‘Translational genres: crossing borders in gender, form, space, and identity’. She is also a member of EUTERPE’s Supervisory and Editorial Boards Publications: Asciuto, N. (2025). Brilliant Modernism: Cultures of Light and Modernist Poetry . Johns Hopkins University Press. Asciuto, N., & Minta, S., (TRANS.) (Accepted/In press). Marinetti Meets Cavafy: Filippo Tommaso Marinetti's The Greek-Egyptian Poet Cavafy , and Atanasio Catraro's Meeting with Marinetti . PMLA .

Carla Rodríguez González University of Oviedo Researcher Carla Rodríguez González is Senior lecturer in English at the University of Oviedo, Spain, where she teaches in the Erasmus Mundus GEMMA and in the Gender and Diversity Master’s Degrees. Her research focuses on contemporary Scottish literature, as well as on postcolonial, gender, space and cultural studies. She is co-PI (with Isabel Carrera Suárez) of the research project “World-travelling: Narratives of Solidarity and Coalition in Contemporary Writing and Performance” (2022-2025), funded by the Spanish National R&D Programme. She was the coordinator of the Gender and Diversity Master’s Degree at the University of Oviedo, Spain (2019-2023). Publications: "Liz Lochhead and Jackie Kay" In A Companion to Scottish Literature . First edition. Hoboken, NJ: Wiley Blackwell, 2024. Durán-Almarza, Emilia María, Carla Rodríguez González, and Suzanne Clisby. Performing Cultures of Equality. Routledge, 2022.

Uthara Geetha University of Oviedo Doctoral Candidate Uthara Geetha is a doctoral candidate at the University of Oviedo, Spain working on ‘The role of transnational literatures in the decolonization of understandings of gender within the European academe’. She was an Erasmus Mundus scholar (2019-21) of Gender Studies from University of York (UK) and University of Oviedo (Spain). She also holds a master’s degree in applied economics from Centre for Development Studies, Jawaharlal Nehru University, New Delhi. Her main research interest is on the intersections of gender with race, caste, and class inspired from her Dalit identity. In addition to her academic works, she also writes online articles on popular culture from a decolonial intersectional feminist perspective. Contributions: Prose and Counter-history: Review of The Emperor's Babe by Bernadine Evaristo

Dorota Golańska University of Lodz Principal Investigator Dorota Golańska is an associate professor (Cultural Studies and Religion) at the Department of Cultural Research, University of Lodz, Poland. She has degrees in Cultural Studies, Literary Studies and International Studies. Her research interests include feminist approaches to political violence and studies of collective memory, especially in relation to traumatic experiences and their representation in culture. She also works on such issues as creative strategies of resistance as well as intersections of memory, art and activism. Publications: Hamarowski, Bartosz, and Dorota Golańska. 2023. “A Wicked Vestal: Subverting the Androcentric Imaginaries of the Smart Home.” Australian Feminist Studies 38 (117): 267–86. Golańska, D., & Woźniak-Bobińska, M. (2023). Spaces of fluidity: articulating ‘politics of presence’ through place-based activism in Iqrit (Israel). Cultural Geographies, 31(1), 47-65.

A Conversation with Francesca Sobande For this podcast, Doctorate Candidate Maria Auxiliadora Castillo Soto conversed with Dr. Francesca Sobande about her book titled Big Brands are Watching You: Marketing Social Justice and Digital Culture published by University of California Press in 2024. In this episode, Dr. Sobande talks about her experience with writing this book, her bricolage methodology, and other important topics and concepts that she deals with in her research, including morality and racial capitalism. We invite you to dive into this conversation to know more about Dr. Sobande’s work and to check out the following links for more information. To learn more about Francesca Sobande and her work please visit: https://www.francescasobande.com/ . Her book Big Brands are Watching You is available for purchase at https://www.ucpress.edu/books/big-brands-are-watching-you/paper . The episode transcript can be accessed here . This episode is part of the EUTERPE podcast Library on European Literatures and Genders from a Transnational Perspective. The podcast is powered by the European Union, UKRI, and the Central European University Library. Grant Agreement: 101073012 EUTERPE HORIZON-MSCA-2021-DN-01 Project. For more information about the EUTERPE project please refer to the official project webpage https://www.euterpeproject.eu/ , or follow us on Instagram @euterpe_project_ or Facebook at EUTERPE Doctoral Network Project . This episode was produced and edited by María Auxiliadora Castillo Soto . Thank you to Alexander Walker for the music and to Alice Flinta for the voice over. Thank you also to Ninutsa Nadirashvili, Evangeline Scarpulla and Kris Orszaghova for designing the podcast covers.

Petra Bakos Central European University Researcher and Project Coordinator Petra Bakos is an interdisciplinary literary scholar, arts writer, and embodied writing facilitator. Her research focuses on the South Pannonian borderlands, and the floating debris of empires and other high-hope state formations in the tsunami of market-driven populism. Presently she is the scientific coordinator of the EUTERPE project, as well as a researcher of EUTERPE’s Work Package 1: Transnational Turn in Literary Studies: Looking from Central and Eastern Europe, writing biocritical entries on Judita Šalgo and Katalin Ladik, among others. She is also a long-standing affiliate of CEU Romani Studies Program. Publications: Lykke, Nina, Redi Koobak, Petra Bakos, Kharnita Mohamed and Swati Arora (eds.) 2024. Pluriversal Conversations on Transnational Feminisms – And Words Collide from a Place . London and New York: Routledge.