Arts of China Consortium
hosted by the Institute of Fine Arts, New York University
CALLS FOR PAPERS/PARTICIPATION
Listings below are organized chronologically by submission deadline; calls with no deadlines are at the bottom of list.
[courtesy of The Editors, 3/28/14]
We're looking for submissions to our June and November issues.
Modern Art Asia is dedicated to the arts of Asia from the eighteenth century to today, presenting graduate research from historical perspectives and international news on Asian art. Combining peer-reviewed articles with insightful commentary and the latest exhibition reviews from international correspondents, Modern Art Asia provides a new forum for exchange between scholars that crosses the boundaries of traditional academic disciplines.
We invite graduates and early career researchers working on the arts and material cultures of Asia from the eighteenth century to the present to submit previously unpublished papers of 4,500 - 10,000 words for peer-review.
You can find all the information you need on formatting and submitting your paper at modernartasia.com/contribute.
Our next round of reviews begins May 2nd.
We are now accepting reviews for publication throughout the year. Please send your reviews to email@example.com. Our only criteria is that articles cover shows which are ongoing. Writing on past events can be accepted as part of a paper or commentary. See modernartasia.com/contribute for details.
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New York, NY
11-14 February 2015
[from CAA, 5/1/14; panels of potential interest to East Asian art historians listed below]
The 2015 Call for Participation for the 103rd Annual Conference, taking place February 11-14, 2015, in New York, describes many of next year's programs sessions. CAA and the session chairs invite your participation: please follow the instructions in the booklet to submit a proposal for a paper or presentation. This publication also includes a call for Poster Session proposals and describes the seven Open Forms sessions.
The deadline for proposals of papers and presentations for the New York conference is Friday, May 9, 2014. For more information about proposals of papers and presentations for the 2015 Annual Conference, please contact Lauren Stark, CAA manager of programs, at (212) 392-4405.
Seeing Others Seeing: Interpersonal Experience in Contemporary Art
Cristina Albu (University of Missouri-Kansas City) and Dawna Schuld (University of Indiana, Bloomington)
By the end of the 1960s, reflective sculptures, light environments, performances, and art and technology projects called viewers' attention to how they perceive at a subjective and intersubjective level. Influenced by Gestalt psychology and the philosophy of Merleau-Ponty and Husserl, artists pursuing phenomenological inquiries took human perception to be their primary material. Phenomenal art not only questioned the premise of art as representation; it showed that aesthetic experience is contingent upon variable factors that escape the artist's direct control (e.g., body motion and social circumstances). The largely introspective and self-referential phenomenal art practices of the 1960s and 1970s have proved consequential for a more recent generation of artists who cultivate sensorial uncertainty and interpersonal awareness. This panel invites papers on the genealogy of phenomenal art and the transformations in art viewership it posits. What might be appropriate methodological tools for interpreting the reception of phenomenal art? How do art participants act in the context of art environments that set their emotional and behavioral responses on display? Why has the phenomenal tendency been revitalized in recent decades?
The Talisman: A Critical Genealogy
Benjamin Anderson (Cornell University) and Yael Rice (Amherst College)
The word "talisman," like "totem" and "fetish," has traditionally implied a nonaesthetic form of reception, according to which the object is more interesting for what it does than for what it represents or how it looks. This panel aims to move beyond standard claims about agency and to lend the term "talisman" an analytically effective meaning derived from, but not limited to, its emic fields of reference (e.g., Greek telesma, Arabic tilsam). Can the talisman be understood as a site where efficacy, representation, and aesthetics meet? Treatises on talismans prescribe astronomical conditions that must pertain at the moment of facture, the materials to be used, and the texts to be recited. The talisman thus stands at the intersection of multiple systems of knowledge and troubles basic assumptions regarding the relationship between art and reality. By investigating this nexus, we hope to reactivate the talisman as an engine of critical discourse. Historiographical, methodological, and historical contributions are welcome.
Design Studies Forum: Rethinking Labor
David Brody (Parsons The New School for Design)
This session addresses the difficult and nuanced relationship between labor and practice and labor and making. Currently scholarship in art history and design studies often focuses on either producers or consumers without grappling with questions about labor in relation to agency, materiality, or behavior. We assess the individuals who creatively design and make the world of things, and we also attempt to understand how and why consumers and collectors purchase design, art, and craft, but these approaches often ignore the role of work and the ways that cultural production hinders, facilitates, and represents labor. This session seeks papers that look at how art, craft, and design affect the world of work. Papers should question why certain practices and praxes enhance the work experience, while others conflict with labor in ways that have led to hardship and disagreement. Submissions will also be considered that discuss how labor is depicted and debated.
Contemporary Asian Craft Worlds
Rebecca M. Brown (Johns Hopkins University) and Jennifer Way (University of North Texas)
Craft—aesthetically engaged objects made by hand, often balancing function with attention to sensory qualities—anchored debates over authenticity, national identity, industrialization, neoimperial relations, and globalization during the nineteenth and twentieth centuries. This session considers how craft has transformed in the face of new economic and political contexts impacting the production and movement of existing and new aesthetic regimes in Asia. What role does craft play in regional Asian cultural capitals, in industries such as fashion and design, or in museums, fairs, and biennials deploying craft in the name of cultural diplomacy and in the context of high art? Contributors might examine the collaborative, appropriative, or exploitative relations with craft in Asia and across the world, unpack factory techniques used to make "handmade" objects for markets outside of Asia, examine narratives of aid and salvage in migrant communities, or engage with workers' movements. We welcome proposals that address craft, writ large, in any Asian region.
Reading Chinese Art
Katharine Burnett (University of California, Davis) and Elizabeth Childs-Johnson (Old Dominion University)
An interesting component running through Chinese art, theory, and criticism is the relationship between critical terms and visual art. Why are texts so significant to understanding Chinese art from practically the beginning of the written word during the Shang Dynasty up through modern times? Text types that illuminate art can range from inscriptions on Bronze Age vessels or oracle bones to learned inscriptions on paintings to self-reflective commentaries by nineteenth-century collectors. Some terms such as yi, inscribed on Bronze Age vessels and on oracle bones, illuminate early values and thought where history is otherwise elusive. Others, such as qi during the seventeenth century, reveal broad cultural discourses concerning originality, which have long been forgotten. This panel seeks papers that examine critical terms and ideas that help define values and/or eras. Interest here is on how textual material throughout Chinese history influences our understanding of that art.
The Art of the Deal: Dealers and the Global Art Market from 1860 to 1940
Lynn Catterson (Columbia University) and Charlotte Vignon (Frick Collection)
In 1896, when trying to sell a "Verrocchio" to Quincy Adams Shaw, the Florentine dealer Stefano Bardini explained that although it was of museum quality he could only sell it privately—a tactic to enhance Shaw's perception of the quality and authenticity of the object in question. The importance of dealers in the formation of collections cannot be underestimated, yet this topic is infrequently addressed in studies on collectors and collections. This session will explore the methods and means of transactions of fine and decorative art in the global art market from 1860 to 1940 from the perspective of the supplier. We are also interested in the many other functionaries who participate in this network, among them agents, scouts, intermediaries, restorers, fakers, decorators, and advisers. We welcome case studies as well as papers treating the various aspects of supply—from branding to marketing, from inventory to display, from restoration to pastiche to fabrication.
Art Collectives and the Contemporary World
Brianne Cohen (Université Catholique de Louvain) and Robert Bailey (University of Oklahoma)
This panel addresses how art collectives negotiate the demands of a contemporary world strongly marked by moments of crisis and uncertainty. Instances of creative, collaborative resistance have multiplied exponentially over the last fifty years—from art solidarities formed in response to specific political regimes to collectives tackling broader issues such as the planet's ecological sustainability. What different shapes have art collectives, beyond a modern or postmodern format, taken in the contemporary world? Which aspects of collectivity have allowed art to confound the reorganization of world power by a post-1989 neoliberal imaginary? How useful has art-historical scholarship been in analyzing collaborative art's social and political efficacy, and what other modes of scholarly investigation offer insight into such questions? By situating histories of collective art practice and theories of artistic collectivity relative to reconfigurations of global power, papers should address how art collectives are reflecting the poetics/politics of upheaval typical of our contemporary world.
How Should We Train the Next Generation of Art Critics?
John J. Corso (Oakland University)
In 2003 James Elkins asked, "What happened to art criticism?" Three years later, Raphael Rubinstein commiserated that the field was hopelessly stuck in a "critical mess." Both critics lamented that the field was shirking its duty to speak in a strong, critical voice. If this indeed characterizes the state of art criticism today, how does the current state of training contribute to the decline of contemporary criticism? More important, if criticism is to reconnect with its roots in proactive advocacy and aesthetic judgment, how should we train the next generation of art critics? This panel seeks proposals from art writers and critics of any training or stage of career. Practicing critics are encouraged to share personal narratives, institutional analyses, and/or qualitative or quantitative approaches to the topic. An ideal panel will feature a variety of experiences and will represent emerging-, mid-, and advanced-career perspectives.
Making and Being Made: Visual Representation and/of Citizenship
Corey Dzenko (University of North Carolina, Greensboro) and Theresa Avila (independent scholar)
Traditionally defined by an individual's membership and level of participation within a community, "citizenship" results in access to benefits or rights, as described by scholars such as Eric Hobsbawm. Yet citizenship moves beyond political framings. According to Aiwha Ong, cultural citizenship is a "dual process of self-making and being-made" but done so "within webs of power linked to the nation-state and civil society." Taking citizenship as a political position, cultural process, and intertwining of both, this panel examines the role of art and visual culture in reflecting, confirming, or challenging ideals of citizenship across historical periods and media. We seek proposals that engage with the questions: How does citizenship inform artistic and visual practices? And how do images inform citizenship? Topics may include but are not limited to nation building, civic practices, transnationalism, civil rights, politics of identity, labor, border zones, affects of belonging, and activism.
China in the Japanese Visual Imagination
Karen Fraser (Santa Clara University)
From the introduction of Buddhism to the adoption of its written characters, China has historically played a key role in shaping Japanese culture. Chinese visual culture also extensively influenced Japanese art. The classical Japanese aesthetic term kara-e designated "Chinese style" pictures, deliberately contrasted with the native yamato-e style, while Chinese ink painting inspired both Zen priest-painters and literati artists. This panel invites papers that go beyond basic stylistic and iconographic influences to investigate how Japanese artists conceived of China as a broader cultural entity, whether through overarching visual generalizations, representations of isolated aspects or practices of Chinese culture, or depictions of particular locations such as West Lake. Was "China" imagined as a monolithic cultural authority? An idealized utopia? A crumbling empire ripe for conquest? By considering the Japanese visualization of China across a broad range of media and time periods, this session seeks a greater understanding of the nuances and complications in the Sino-Japanese relationship and its visual manifestations in Japanese culture.
Paul Galvez (Wellesley College)
From its inception, abstract art was an art of installation. In many of its key moments, from Malevich to Mondrian and beyond, a dynamic relationship with the spatial conditions of a site was paramount. This panel on strategies of presenting abstraction invites papers analyzing the challenges posed when a work created for a specific context is re-installed elsewhere. How does a certain hang or placement affect our understanding of a given work? Does a mural-scale Pollock become diminished when hung on an enormous wall? What happens when a curator cannot obtain every member of a series of paintings? Are "exhibition copies" acceptable substitutes for more conceptual projects? How do artists adapt when they exhibit the same work in vastly different museums and galleries? By discussing specific examples—from the testimony of artists when they install their own work to curatorial and art-historical case studies, we will investigate the underlying premise that installation is always a form of interpretation.
Shifting Sands: "Ancient" Art and the Art-Historical Canon
Amy Gansell (St. John's University) and Ann Shafer (Rutgers University)
This session critiques the art-historical canon by investigating the terminology "ancient" across cultural boundaries. We define a "canon" as an established list of sites, monuments, and objects considered most representative of a tradition. Although the current canon has evolved to include global cultures, outmoded periodizations linger. When, how, and why did ancient art become canonized as such? We aim to take stock of the viability of our present criteria for classifying art as ancient, to investigate how regional subcanons of ancient material have developed, and to explore the impact of discovery, exhibition, and publication. Considering future frameworks of conceptualization, how might ancient art be situated within the global perspective? When issues of authenticity, provenance, and loss arise, should the canon preserve the memory? We welcome contributions from scholars of any period or culture, artists, publishers, and museum professionals whose work transforms the very concept of ancient art in the art-historical canon today.
White People: The Image of the European in Non-Western Art during the "Age of Exploration" (1400–1750)
James Harper and Philip Scher (University of Oregon)
How did the rest of the world see Europeans during the so-called Age of Exploration? This session focuses on images of "Westerners" dating from the onset of European expansion expansion to the beginning of the industrial period. While much has been written about Western images of Europe's others, this session reverses the direction of the gaze, considering the African, Asian, Pacific Islander, and Native North or South American as the makers and the European as the object. Whether their exposure to Europeans was fleeting or sustained, first- or secondhand, artists and artisans around the world distilled their impressions of the encounter into images of foreign soldiers, sailors, merchants, missionaries, explorers, and colonists. Culturally specific, these often tell as much about the makers as they do about those they depicted. Papers are invited from a variety of cultural traditions, and interdisciplinary approaches are encouraged.
Skeuomorphic: The Skeuomorph from the Acropolis to iOS
Nicholas Herman (Courtauld Institute of Art) and Sarah M. Guérin (Université de Montréal)
A skeuomorph... is an object that adopts essential structural features of its predecessor as ornament. While not strictly necessary, these features connect the new to the old, rendering an object recognizable or more palatable to its audience. Examples include stone modillions on Greek temples derived from the structural elements of wooden architecture; printed fonts resembling their handwritten antecedents; faux-wood paneling; and, most topically, touchscreen software that mimics the appearance of three-dimensional items such as notebooks, agendas, and clocks. At the intersection of ergonomics, historicism, and illusionism, the skeuomorph can be revealed as a frequent feature across many historical periods. This session seeks papers that consider instances of skeuomorphism from antiquity to the present, and solicits especially analyses that reach beyond descriptive categories to investigate the motivations, intentions, and ideologies behind seemingly redundant visual continuities that survive at times of technological change.
Creativity and the Contemporary Workshop
Lin Hightower and Jessica Stephenson (Kennesaw State University)
The workshop is a well-established subject of art-historical study, particularly for premodern art. Workshops are commonly defined as institutions where groups of artists or artisans share a physical workspace, a conceptual space of creativity, and work under the expertise of a senior member. Yet contemporary workshops reveal considerable variety of types from the traditional to new, emerging forms; thus, there is a need to more deeply conceptualize what workshops are and how they shape processes of creativity. This panel invites papers by practicing artists and art historians engaged with workshops as economic, sociocultural, and artistic institutions. We are particularly interested in the interrelationship of the workshop as economic and social institution and the workshop as a space where individual and collective artistic agency meet. Papers may examine the work of academically trained artists and workshops or art and craft workshops and collectives based in developing countries.
"Good Business Is the Best Art": Corporate, Commercial, and Business Models as Medium
Sarah Hollenberg (University of Utah) and Virginia Solomon (Parsons The New School for Design)
The later twentieth century witnessed a notable rise in the number of artistic practices that use corporate, commercial, and business models to realize a wide array of artworks. From Duchamp's Boit en Valise through the Fluxus employment of the mail-order catalogue to the practice of Takashi Murakami-as-brand, artists have built and manipulated the familiar structures and organizations of the corporate and business world into different aspects of their practice. Many of these projects have been considered primarily in terms of their modes of production or within the broader discourse of institutional critique. We invite papers that will shine a focused light on the use of commercial, corporate, or labor organizations and structures as artworks—as ends unto themselves rather than simply as means of fabrication or distribution—whether these works critique, embody, expand, or parody the familiar institutional forms of advanced capitalism.
The Meaning of Prices in the History of Art
Christian Huemer (Getty Research Institute) and Hans van Miegroet (Duke University)
Over the last few decades, price information for art markets of the past has been collected systematically and made accessible in larger aggregates. Against all expectations, this has not resulted in data-intensive and computationally intensive research due to all kinds of methodological and logistical challenges. Various types of regression analysis, for instance, are not used in the humanities, in spite of the fact that art historians critically analyzing "big data" could trigger significant epistemological breakthroughs. This is particularly true when investigating the relationship between prices (as proxy for revealed preferences or "taste") and various types of value, as well as their relationship to new forms of artistic creation, collecting patterns, buyer preferences, and so forth. While interest in how art is created, financed, distributed, and acquired throughout the centuries is not new, this session aims to solicit new types of questions revolving around the sociocultural formations underlying pricing mechanisms and value systems.
Historic Preservation and Changing Architectural Function
Maile Hutterer (Rutgers, The State University of New Jersey)
This session explores shifts in the visual and physical experience of premodern buildings and monuments as a consequence of their preservation, which intrinsically alters the way historians and visitors interact with those spaces. Sometimes this intervention comes in the form of fences or newly created parvis, and other times by means of changed accessibility, signage, or purpose. The session welcomes papers on subjects from all geographical locations. It seeks to understand more fully how structures operate as records that reflect changing social practice and how that social practice might be reconstructed. If the function of a monument changed, for what purpose was it adapted and was there any resulting amendment to the fabric? Does its preservation obscure or highlight the full range of activities for which it was used, and why or how might it do so? How do the theories and practices of architectural preservation and landmark status account for the intrinsically transformative nature of restoration and conservation?
Dreams of Utopia: The Postcolonial Art Institution
Erica Moiah James (Yale University)
This session examines postcolonialism in the context of museum practice. It seeks papers that engage the following questions from particularized viewpoints: How have art museums and galleries in post-colonies reengaged art history through collections, exhibitions, and programming to effect expanded narratives and alternative historical viewpoints, impact insider/outsider binaries, and instigate possible reassessments of value? Have museum policies and practices shifted in response to questions of canonization? How have postcolonial institutions attended to the expectations and demands of their constituencies and the evolution of these demands as the temporal distance from the event that may have officially, though possibly artificially, marked the onset of postcoloniality increased, such as independence, revolution, and so forth? Papers addressing practices of formal or informal art institutions in global post-colonies including the Pacific Islands, Southeast Asia, Africa, the Caribbean and Latin America, but also institutions in former colonial centers that have been attentive to and in some cases transformed by the imperatives of a postcolonial vision, are welcome.
The Not-So-Silent Partner: Artistic Practice and Collaboration
Monica Jovanovich-Kelley (University of California, San Diego) and MacKenzie Stevens (University of Southern California)
The use of the term "collaboration" today implies social engagement and relational aesthetics to the extent that earlier instances of collaboration are often discussed relative to these developments in contemporary art history. This session considers how collaboration is, and has always been, a vital part of the artistic process by including parties or relationships previously thought to be inconsequential. Specifically, we look to explore how collaboration is manifested in the conceptualization of a work and in the form that work takes. Thus, we ask what an investigation that focuses more on the conceptual and/or dialogical research process may yield. Do seemingly inconsequential ephemeral materials help illuminate the relationship between an artist and her collaborators? How might these elaborations challenge hierarchical models wherein the singular artist is credited with conceptualizing the artwork? We welcome papers from a wide range of time periods and geographic locations and encourage interdisciplinary approaches.
Semiautomatic Images: Making Art after the Internet
Cadence Kinsey (University College London) and John Hill (LuckyPDF)
This session will explore developments in recent art by looking at the increasingly permeable boundaries between artistic, commercial, and automated processes. Web 2.0 and social media has not only altered the way that some young artists now share their work with peers, public, galleries, and collectors but also altered the very processes of making and distributing work and the aesthetic forms it may take. Tumblr-style image streams, existing content readily available on the Web, and the high-res, high-production aesthetic of commercial and stock photography have become a central area of enquiry for internationally exhibiting artists such as Ed Atkins, Ryan Trecartin, and Helen Marten. Papers might address the emergence of the prosumer and its impact on spectatorship and models of labor; the use of algorithmic, outsourcing, and crowdsourcing processes in artistic production; the internet as moving image/time-based medium; stock or commercial images; and precedents and points of comparison from art history.
The Philosophy and Forms of Handmade Pottery
Janet Koplos (independent scholar)
Ceramic sculpture has become a regular inhabitant of art galleries, and artists in other mediums are attracted to handling clay to such an extent that Roberta Smith has described it as "the new video"—the medium everyone wants to try. But at the same time, a young generation has joined in the ongoing engagement with the visual and conceptual interests of utilitarian pottery. New types of tableware include cast noncircular forms, unmatched sets, piecing, poetic allusions, referential themes, and narrative drawing in addition to the wheel-thrown glazed work that has dominated the last half-century. The recent prestige of design and several philosophical, historical, sociological, and critical texts have provided justification for handmade pottery in the postindustrial era. Panel presentations will consider the highlights of functional pottery today and examine its intellectual underpinnings. What are the implications of the new forms? What is the symbolic value of pottery? Is current activity a fluke or a lasting genre of artistic expression?
The Tiny and the Fragmented: Miniature, Broken, and Otherwise "Incomplete" Objects in the Ancient World
Stephanie Langin-Hooper (Bowling Green State University) and S. Rebecca Martin (Boston University)
Was it because of, rather than in spite of, their small or fragmentary state that many artworks were valued in the ancient world? Miniature objects could be created with more care than the life-size versions for which they were supposedly cheap replacements, and deliberately partial representations did not always privilege a completed whole. Recent theoretical work suggests that tiny and fragmentary artworks had an appeal and a power that could function separately from their mimetic properties. Such objects challenge expectations of representation and have a particular command over the viewer, demanding intimate modes of looking and touching, while encouraging displacement of personal identity. The session explores the valences of power, identity, and interaction created by this understudied class of objects. We seek theoretically informed case studies addressing the meaning, function, or agency of any intentionally "incomplete" artworks from the ancient world.
Fashion and the Contemporary Avant-Garde
Charlene K. Lau (York University)
In the words of the critic and art historian Hal Foster, there is a "need for new narratives" in the history of the avant-garde. This session provides a platform for fashion within theoretical discussions of the contemporary vanguard and posits that fashion is one such genealogy of the avant-garde. However, the term "avant-garde" has become a catchall in fashion discourse for conceptual, experimental, or intellectual practices. A more critically rigorous definition of the avant-garde in fashion is needed for these new narratives to be possible, one which (re)draws the connections between the vanguard and its social and political aims. In this vein, papers from across disciplines are welcome, proposing topics including but not limited to art and fashion, curatorial studies, display culture, performance and theater studies, popular culture, and wearable technology. Art and design historians, artists, critics, curators, and designers are invited to apply.
Complicating the Picture: Intersections of Photography with Printmaking since 1990
Jimin Lee (University of California, Santa Cruz) and Ruth Pelzer-Montada (University of Edinburgh)
While the use of photography in printmaking and image manipulation in photography are nothing new, the emergence of digital technologies in the 1990s has brought both spheres closer together. Nevertheless, print and photography frequently occupy different educational, exhibitionary, and discursive spaces and involve diverse constituencies. Hence the aim of the panel is to begin to bridge these gaps and to consider some of the technical, historical, and theoretical terms, conditions, and possibilities of the interactions between print and photography, especially in a "post-medium" age. Invited are proposals from artists, printmakers, photographers, visual culture theorists, and art historians.
Open Session: Indigeneity and Contemporary Art
Kate Morris (Santa Clara University)
Global Peripheries: Art Biennials as Networks of Cultural Representation and Contestation
Cristian Nae George (Enescu University, Iasi) and Judy Peter (University of Johannesburg)
After 1989 many former cultural peripheries have destabilized the existing geopolitical distinctions dividing the art-historical imaginary, while postcolonial struggles for identity challenged dominant narratives and established new power relations. The concurrent rise of the art biennial as a global phenomenon is one of the intriguing aspects of world art history that may be questioned concerning its importance in advocating hybridization and decoloniality, while at the same time establishing new routes of cultural influence in exchange for the old commercial ones. Papers may address the extent to which art biennials in formerly "peripheral" areas may have contributed to the spread of modernism as a Western product; their discursive functions, ranging from emancipatory cultural practices to instruments of a renewed colonization of language, bodies, and time; their relation to the historical large-scale exhibitions; and their impact on the contested term "globalization," as well as on the construction of contemporary art history.
The Turbulent Decade: 1960s Art in East Asia
Thomas F. O'Leary (Saddleback College)
The 1960s provide a particularly useful point of departure from which to launch an investigation into East Asian artists' contributions to global radicalism. Bookended by protests in Japan against the Japan-America Mutual Security Treaty, as well as the April Revolution in South Korea and the nascent stages of China's Cultural Revolution, the 1960s are a constructive framework for a reconsideration of the methodologies of modern East Asian art history. Papers should address the experimental and revolutionary art practices of artists in East Asia within the context of larger art-historical debates and scholarship of the 1960s. How did the art of the period reflect local dynamics concurrently with international politics? How did art and visual culture answer both national and global concerns without remaining rooted to nativism? And are there theoretical and cultural implications of such radical art styles? Papers examining all forms of interventionist art practices in 1960s East Asia are welcome.
The Art and Architecture of Religious Pluralism
Timothy Parker (Norwich University)
This session invites papers on the historical, theoretical, and historiographical issues raised by the advent of artworks, liturgical objects, buildings, spaces, and sites designed expressly for interfaith worship or celebration. These issues pertain to the challenges of religious conflict, are inherently multidisciplinary, and deserve sustained and systematic research. Particularly welcome are papers addressing specific works of interfaith art or architecture—especially ones widely regarded as successful—in their historical and interdisciplinary contexts. Other possibilities include research on the interplay between liturgical and architectural challenges of interfaith spaces; studies of the architectural elements of interfaith events or gatherings, however temporary; proposals for historically informed theory to ground the design of interfaith art or architecture; historical analyses of art or architecture from inherently pluralist religious traditions (e.g., Baha'i temples) that suggest better conceptions of interfaith art and architecture generally; historiographical studies that critique the canonical treatment of "sacred space" and "sacred art" and seek to recast it along interfaith and interdisciplinary lines.
Global Video: Histories and Practices
Rebecca Peabody (Getty Research Institute) and Ken Rogers (York University)
This session focuses on two interrelated themes: the development of video in a global context, and the ways that the interdisciplinary study of video both complements and challenges art-historical conventions. This calls for video histories that are global and transnational, and critical paradigms that draw from art history when it is useful without being limited by its disciplinary confines. How did video art evolve in different regional and transnational contexts, and what are some of the social, technological, and aesthetic concerns that drive its production today? When is "video art" a helpful appellation, and when are the conventions of art history challenged by video and related media? How do issues around technology, labor, production, distribution, and ephemerality shape video makers' work? Diverse perspectives are sought—covering the early years of video art as well as more contemporary developments—as are a variety of disciplines: artists as well as scholars from fields concerned with visual production (sociology and media studies, for example, in addition to art history).
Original Copies: Art and the Practice of Copying
Stephanie Porras (Tulane University)
Technologies of copying—printing, casting, digital duplication—have always engendered debates about artistic authorship and invention. Copying can be viewed as a debasement and as creative praxis. Albrecht Dürer complained about copyists but also advised young artists learning to draw to "copy the work of good masters until you attain a free hand." Copying can also produce originality. Andy Warhol's copies of Brillo Boxes expose this paradox, asking (in Arthur Danto's words), "What is the difference between two things, exactly alike, one of which is art and one is not?" This session seeks papers addressing techniques and functions of artworks that copy other objects (drawings, prints, casts, rubbings, photographs) produced from the early modern period to today, as well as the legal, ethical, philosophical, and ontological issues embedded in copying. Covering a wide temporal and material range, the session aims to encourage a broader dialogue about the problematic status of the copy in the history of art.
Games and Gambits in Contemporary Art
Jaimey Hamilton Faris (University of Hawaii) and Mari Dumett (Fashion Institute of Technology, State University of New York)
Elements of games and game theory are increasingly important to contemporary art: rules of participation, complex systems analysis, strategizing tactics, chance, alternative realities, problem solving, competition, role play, and fun. This panel seeks to reconsider vital relationships among the aesthetics of art, gaming, and play. How can the discourse on participatory art practices be developed through a greater understanding of art's use of game and play logics to explore systemic relationships between representation and reality and individual and collective agency? How does art address questions of who is "being played" as much as who is "playing"? We invite papers that explore topics in a wide range: from art invested in open-ended structures of play to art that allegorizes the "game of life." Papers might discuss global multiplayer, real-time computer gaming, or more symbolic uses of chess gambits, sports, racing, and puzzles, from case-specific, historical, and theoretical perspectives.
Art-Historical Scholarship and Publishing in the Digital World
Emily Pugh (Center for Advanced Study in the Visual Arts, National Gallery of Art) and Petra Chu (Seton Hall University)
In recent years computing technologies have opened up new avenues of inquiry and new publishing formats for art-historical research. Yet these new opportunities are not without challenges and raise a number of questions. Do computer-based tools represent merely a more expedient way to answer existing art-historical research questions, or can they inspire art historians to ask (and answer) entirely new questions? What are the options available for publishing new kinds of scholarly data (datasets, three-dimensional images)? What about copyright? And funding? Are there models for best practices for collaborative projects or for working with technical specialists? What are the implications of such approaches for peer review and tenure? Scholars who have used computing technology in their research and publishing are invited to join this panel to discuss their approaches and practices, to analyze what has worked or has not, and in the process to answer some of the questions raised above.
When Nobody's Looking: Art in the Absence of Viewers
Beatrice Kitzinger (Stanford University) and Gregory Vershbow (International Center of Photography)
In the absence of anyone to see them directly, the effects of an artwork are often ongoing (or, in some instances, best accomplished). We seek to form a mixed panel of practicing artists and art historians of any period and field to present case studies that address the autonomy of artwork. Discussion may focus on the agency of art objects relative to the agency of their viewers or handlers, the concept of reception, mechanisms of concealing or revealing built into artworks, and the conditions under which art may be said to "work" without an audience. Cases might include images in closed books, objects packed in museum storage, planned or unforeseen decay, objects and images shut into tombs, hidden behind shutters, immured in walls. We welcome proposals that challenge the session title's implicit location of visuality at the center of artistic reception and proposals that include the demonstration of an artist's work.
What Have You Done for Art History Lately? Initiatives for the Future of a Discipline
Karen J. Leader (Florida Atlantic University) and Amy K. Hamlin (St. Catherine University)
This session emerges out of the so-called crisis in the humanities, and our objective is to change the conversation toward constructive engagement, using art history as a platform. This Open Forms session will showcase eight to ten initiatives. Examples might include projects that promote positive outcomes in the political and employment arena, classroom innovations that rejuvenate the discipline for a twenty-first-century audience, museum practices that capture the centrality of the physical encounter with the object in the digital age, or ideas that embrace crowdsourcing or collective activity. This session will represent the outcome of our multiyear, multiplatform project to partner with current and former CAA officers, CAA-affiliated committees and caucuses, and other art professionals. We invite proposals for short presentations on results-oriented initiatives that are concrete vs. anecdotal and that are grounded in best practices. A project website more thoroughly describes our vision: https://sites.google.com/site/arthistorythat/.
The Global in the Local: Art under and between World Systems, 1250–1550
Jennifer Purtle (University of Toronto) and Alexander Nagel (New York University)
This panel will address aspects of artistic circulation and the processing of artistic information between 1250 and 1550. We seek papers, from scholars working in any area of the world, that explore developing and emergent conceptions of geography, rather than applying modern geographical categories. Beyond the empirical facts of trade relations, we are interested in papers that are sensitive to how provenance and chronology shift as objects and techniques travel. Beyond consumerism and collections, we are interested in ideological formations. Beyond the presumed existence of oppositions between local and global, Christian and Muslim, East and West, we seek papers that explore alternative models for understanding how identities are formed, how spatial and temporal thinking works, how religion comes under new scrutiny, and how art is defined and redefined during an era of newly global interactivity.
Guerilla Approaches to the Decorative Arts and Design
Haneen Rabie (Princeton University) and Catherine Whalen (Bard Graduate Center)
The methodological conventions of art-historical practice remain inadequate for a thorough appreciation of objects classed as decorative art and design. In a broad "material turn," researchers in a diverse array of academic fields have begun to consider such objects and proffer alternative frameworks for their study. This panel seeks to move the decorative arts and design further toward the center of our own field with rich, rigorously analytical, multidisciplinary studies that treat them as both document and text, material and abstracted, evidentiary and productive of meaning. The organizers encourage "guerilla" approaches that strategically deploy extradisciplinary analytical tools as needed. We welcome submissions from scholars at all levels whose papers focus on decorative art and design while demonstrating thoughtfully derived theoretical, methodological, and interpretive models.
Performative Architecture before the Modern Era
Wei-Cheng Lin (University of North Carolina at Chapel Hill)
When speaking of how art engages viewers, one is already considering its performative potential as an active agent in shaping and mediating the world. This panel seeks more specifically to explore architecture's performativity, not as the structural frame of a theater, so to speak, but as the construction of a theatrical space as well as an essential component of the performance, before it was built with modern technologies. Recent research in architecture has already turned our attention less to what it looks like than what it does, thus shifting our focus to experience rather than interpretation of architecture, asking how it acts upon the beholder and transforms the perceived reality. We are chiefly interested in how architecture creates or provokes synesthetic and kinesthetic experience, and how architecture orchestrates the built environment in such a way that it, for example, performs the sacred, enacts memories, elicits desire, commands authority, and produces social drama.
Techniques of Reversal
Jennifer L. Roberts and David Pullins (Harvard University)
This panel explores reversal as a generative operation across a wide range of media, geography, and historical contexts including printmaking, casting, counterproofing, and photography. While art historians have often assumed that a technical understanding of these processes is sufficient, this panel aims to elucidate how basic physical operations that demand an understanding of an image and its inverse might inform more abstract modes of thinking. How is reversal inherent to processes of reproduction and of conceptualizing images in three dimensions? How might formal solutions result from material and technological change? How might "negative intelligence" embody broader cultural beliefs and ideas or engage with problems of symmetry, bodily orientation, and oppositionality? We hope to explore the perspectives of both makers and viewers. And while we seek to highlight historical and geographic breadth and diversity of media (including such traditionally underinterrogated forms as marquetry, metalwork, or weaving), contextual specificity will also be crucial, notably in relation to materials and technology.
Global Perspectives on the Museum
Elizabeth Rodini (Johns Hopkins University)
The emergence of the museum as part of Western nationalist, colonial, and Enlightenment philosophies and practices is well documented. Less familiar are the forms this institution took as it was adopted outside the West, in collaboration with a dominant external power or independently. This session invites speakers to consider forms of collecting, preservation, and display that have developed beyond Europe and Euro-America, intersecting with Western museum models and/or taking on distinct regional forms. It interprets "museum" broadly to include a range of contexts in which artifacts have been put on view and made the subject of interpretation. Papers might, for example, investigate indigenous approaches to curation and display; installations expressive of local or political identity; changes to historic museums in the postcolonial era; the global frame of "global art history"; or the impact of culturally distinct attitudes toward materiality, preservation, and the past on traditional galleries. Individual cases, regional types, and comparative studies are all of interest, including historical and more recent material.
At the Expositions: An Art History of National Displays of Culture, Technology, Design
Victoria L. Rovine (University of Florida)
From the late nineteenth to the early twentieth centuries, expositions and World's Fairs were presented throughout Europe, North America, and elsewhere. These multimedia events incorporated architecture, fine art, performance, design, fashion, and a variety of mass media. They were key instruments for the projection of national identities. As extraordinarily prominent visual expressions, the fairs provide material for a wide range of art-historical analysis. Proposals may address the fairs as works of art, as political statements, or as museums of culture, arts, and technology. What were the artistic impacts, intended and unintended, of these governmental celebrations? How did these events use the arts to depict national identities? How did their presentation of the non-Western "Other" shape public opinion, and how did the arts of these colonized cultures figure in their presentation? How did artists respond to the displays of technological and industrial advances at the expositions? And what was left out of these celebrations of national achievement?
Global Baroques: Shared Artistic Sensibilities in the Seventeenth and Eighteenth Centuries
Ünver Rüstem (Columbia University)
Arguably the first truly global artistic style, the Baroque achieved extraordinary reach during the seventeenth and eighteenth centuries, spreading far beyond its original European context. Little regard, however, has been paid to non-Western aspects of the Baroque outside the colonial framework, despite the style's manifest impact on regions such as the Ottoman Empire, Iran, India, and China. This session explores the Baroque's global dimensions in a manner commensurate with the phenomenon itself, encompassing topics and geographies that fall outside the field's traditional purview. Contributions are invited from scholars concerned with all global expressions of Baroque art and architecture, including Europeanists engaged in cross-cultural perspectives. Relevant topics include the Baroque as an international aesthetic of power; the roles of trade, export, and travel in spreading the style; the meaningfulness or otherwise of Baroque ornament in its global iterations; Orientalism, Occidentalism, and cultural appropriation in the Baroque; and the intellectual and conceptual factors behind the style's worldwide success.
The Performative Audience of Contemporary Art
Jessica Santone (University of Houston)
Since the 1960s audiences have been explicitly included in the meaning and/or making of art. Authorship, once rooted in the singular expression of the artist-subject, has been dispersed under postmodernism such that the "birth of the reader" entails the empowerment of the spectator as embodied, participatory, engaged, and creative. Audiences have become performative. This session will examine developments in art and its discourses over the past twenty years that have facilitated new roles for audiences, including the rise of relational aesthetics and its impact on curating; the spectacularization of performance and social practice art in the shift to an "experience economy"; the influence of social media on expectations for interactivity, remediation, and global networks; and studies of the affective dimensions of spectatorship and art consumption. Papers are invited from a range of scholars and cultural producers who address the performativity of audiences. Particularly welcome are papers that imagine the social, political, or economic implications of those audiences in their contemporary context.
Collecting and the Institutionalization of Contemporary Art (1990–2015)
Roberta Serpolli (Ca' Foscari University) and Eleonora Charans (University of Milan)
This session will analyze the relation between collecting and the institutionalization of contemporary art in both the United States and Europe. While sometimes controversial, institutional acquisitions from private collections can lead to significant issues about museum policy and public response as well as the time gap in acknowledging the new art forms. What is the role played by collectors in museums' acquisitions? What are the challenges faced by a museum in acquiring the recently collected artworks? Addressing the changing role of collectors and museums, this session investigates their confluence, thus fostering an interdisciplinary approach. Starting from an evaluation of the agreement between the Whitney Museum and the Met, the panel analyzes issues such as the collector as curator, the artist as collector, and the institutional reframing of a collection. We welcome contributions from art historians, curators, collectors, artists, and dealers examining historical antecedents and future perspectives.
Money Matters: The Art Market in Late Imperial and Modern China
Kuiyi Shen (University of California, San Diego) and Rui Zhang (Tsinghua University)
The relationship between the practice of art and its consumers has been well studied in European art history over the past several decades. Recent research demonstrates that the economic and social aspects of art production have played an equally important role in the creation and evaluation of Chinese art. While the role of patronage and art markets in premodern and modern China has gradually been demystified, the rapid rise of the Chinese art market over the past three decades has brought forth new questions. How should we situate the study of the contemporary art market within the larger scholarship of Chinese art history? In what ways does the current state of China's art market diverge from or continue its premodern patterns? This panel welcomes papers concentrating on different periods of Chinese art history that focus on the relevant economic and social ramifications of Chinese art.
Composite Art in the Colonies of Europe: Stealing, Smiting, Enshrining, Erasing, Recarving, and Recontextualizing
Kaylee Spencer (University of Wisconsin-River Falls) and Linnea Wren (Gustavus Adolphus College)
The term spolia, which derives from the Latin word for "spoils" of war, refers to architectural and sculptural materials reused in new monuments, thus creating composite works of art. This panel focuses on spoliated works of art that came into being through the encounter of Europe with the broader world during the Colonial era. What meanings were transferred from Europe to territories on other continents? To what extent was spoliation motivated by pragmatic necessities? How was the materiality of spolia understood by both colonizer and colonized? What potentials for propaganda, imperialism, compliance, or resistance existed in spoliated forms? How did spolia function in the rapidly shifting visual cultures of colonized territories? How do discussions of spoliation in colonial contexts inform dialogues surrounding art criticism today? To engender dialogues about these types of questions, we seek papers of geographic breadth between 1400 CE and the present.
Truth Telling and Parafiction: Practice and Theory
Monica Steinberg (Graduate Center, City University of New York) and Sarah Archino (Institut national d'histoire de l'art, Paris)
From Stephen Colbert's notion of "truthiness" to what Carrie Lambert-Beatty has termed "parafiction," works of art that function within, and call attention to, the gray area between fact and fiction have become increasingly prevalent. Recent exhibitions, including More Real? Art in the Age of Truthiness (2012), reflect the relevance of artistic strategies such as pranks, lies, deception, and impersonation. Still, the discursive space of parafiction remains in a nascent stage of analysis. We invite papers investigating the character, function, and implications of parafictional projects. We look to bring together practitioners and academics interested in analyzing the (art) history and politics of lies, falsehoods, and deception. Papers might address the relationship between contemporary projects and previous strategies of mimicry and détournement; whether parafictional strategies in art demonstrate a significant, ontological shift in daily life; or what methodological tools we might use to discuss contemporary notions of truthfulness and deception.
The Global History of Design and Material Culture
Paul Stirton (Bard Graduate Center)
In recent years, the "global history of art" has become a familiar theme in teaching and research, but the global history of design and the decorative arts remains a formidable prospect. As histories of design, craft, and material culture find a wider application in colleges, this session will address the problems of teaching at undergraduate and graduate level, seeking to confront both practical and theoretical questions: how to expand the canon and yet retain some degree of coherence to the field; the lack of introductory tools for teaching particular regions or subject areas; the problems of Eurocentrism; the separation of "indigenous" and "colonial" studies in the Americas; disciplinary boundaries between design, craft, decorative arts, and material culture; also the boundaries between art and design historians, anthropologists, and archaeologists; questioning the role of the survey as a pedagogical method. Papers may consider topics from any period or region, but should aim to highlight underlying conceptual, methodological, or pedagogical problems that relate to the larger histories of design and material culture.
Early Modern Cross-Cultural Conversions
Claudia Swan (Northwestern University) and Bronwen Wilson (University of East Anglia)
The mobility of people, things, and forms of knowledge between Islamic and European lands in the early modern world, and the intriguing ways in which artifacts activated conversations and creativity across geographical boundaries, have been the focus of much recent scholarly attention. This session seeks contributions concerning early modern cross-cultural and transregional conversions, transformations, and metamorphoses. Cross-cultural interaction has a long history, and one premise of this session is that societies and cultures are always already entangled. By using the terms "conversions," "transformations," and "metamorphoses," then, instead of "encounters" or "exchanges," this session shifts the focus away from categories of identity, otherness, and hybridity to explore the potential for creativity and imagination—for reorientations of material and pictorial forms—that are opened up by cross-cultural interplay. We seek papers that explore, for example, how forms and ideas were transformed or underwent conversion, and how disorientation, temporality, and concerns with religion manifested in visual and material forms. How might such forms allow us to rethink art-historical categories such as periodization and style?
In the Name of Affect . . .
Jeannine Tang (Bard College) and Soyoung Yoon (New School)
Theories of affect increasingly inform the language of contemporary art, in both its practice and analysis, as the turn to affect's vocabularies of immanence, capacity, becoming, event, force, intensity, and encounter are variously invoked. This turn addresses an analytical challenge faced by the humanities, examining new relations of bodies, technologies, and matter in the context of continuous war and counter/terrorism, precarious labor, and ecologies of fear and anxiety. Writing in the wake of affect and art, this panel begins with its waning, from reassessments of affect theory building on earlier psychoanalytic, Marxist, and poststructural theories, whose commitments to feminisms, queer theories, and anticolonial critiques texture our accounts of materialism, power knowledge, and contemporary subjectivity. How does affect theory emerge with/through artistic practice; pressure questions of transmission, (dis)identification, historical recurrence; offer new modalities and poetics of value, politics, institution, industry, and critique; attune us to art's material and expressive effects, and the infrastructural fields of culture's emergence?
Expanded Animation: Breaking the Frame
Lynn Tomlinson (Towson University)
"Animation," broadly defined, means the process of filling with life. Contemporary artists work with animation to give life to museum exhibitions, galleries, theatrical stages, and public spaces. With new media, accessible projection tools, and a retro-futurist return to old technologies, artists create automata, robots, kinetic sculpture, installations, and performances, bringing movement to their work. They follow in the footsteps of Robert Breer, Len Lye, Kathy Rose, and other experimental animators whose interest in movement moved their work beyond the frame or screen. Papers and presentations should address the issue of an expanded conception of animation in both contemporary and historical contexts, investigating work found outside festivals and screening rooms: in art galleries, on stage, or in public spaces. Presentations will look at artists using interdisciplinary methods to create moving images, objects, and performances; biomimetic automata and kinetic sculpture; digital puppetry; stop-motion animation; performance with animated projection; and projection mapping on architecture. Conference papers that include innovative visual presentation methods employing media or performance are encouraged.
The Ethics of Social Practice
Jonathan Wallis (Moore College of Art & Design)
A significant portion of recent social practice advocates for social justice, raising community awareness, and facilitating change within existing cultural and political conditions. Whether implicit or explicit, these and other motivating forces suggest potential ethical positioning that demarcates between right and wrong with regard to the social. To better understand the role (if any?) of ethics in social practice today, this session invites proposals that address situations in which decision making and participatory actions were affected or problematized by ethical issues. Are ethics of concern for artists, curators, and those who participate in social projects in the public domain and/or institutional settings? What role might ethics play in the development of various and conflicting identities, histories, and definitions of social engagement as an art form? What potential connections exist between political philosophy and the ethical motivations for social practice? Topics addressing any aspect of the relationship between ethics and social engagement in art are considered; presentation format is open-ended.
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31 October - 2 November 2014
[from H-ARTHIST, 2/17/14]
This annual conference builds on the legacy of feminist art-historical scholarship and pedagogy initiated by Norma Broude and Mary D. Garrard at American University. To further the inclusive spirit of their groundbreaking anthologies, we invite papers on subjects spanning the chronological spectrum, from the ancient world through the present, to foster a broad dialogue on feminist art-historical practice. Papers may address such topics as: artists, movements, and works of art and architecture; cultural institutions and critical discourses; practices of collecting, patronage, and display; the gendering of objects, spaces, and media; the reception of images; and issues of power, agency, gender, and sexuality within visual cultures. Submissions on under-represented art-historical fields, geographic areas, national traditions, and issues of race and ethnicity are encouraged.
To be considered for participation, please provide a single document in Microsoft Word. It should consist of a one-page, single-spaced proposal of unpublished work up to 500 words for a 20-minute presentation, followed by a curriculum vitae of no more than two pages. Please name the document "[last name]-proposal" and submit with the subject line "[last name]-proposal" to firstname.lastname@example.org.
Submission Deadline: May 15, 2014
Invitations to participate will be sent by July 1.
Keynote speaker: Professor Lisa Gail Collins (Vassar College)
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Mori Art Museum
9-10 October 2014
[courtesy of V. Bartlett, 4/15/14]
250-word abstract in English or 500-[character] abstract in Japanese by 16 May 2014
Selected speakers should be prepared to submit their full text in English or Japanese for review by 9 September 2014.
Tate Research Centre: Asia-Pacific, London and the Mori Art Museum, Tokyo, welcome contributions to a two-day international research symposium on artistic practices and discourses in Asia from 1945 to the present. This symposium demonstrates the shared focus on research that Tate and Mori Art Museum have developed in recent years, indicating an increasing need and benefit of scholarly research for all aspects of museum activities. The sessions interrogate how interdisciplinary and transnational artistic experiments from across Asia address political, technological and environmental changes as historical conditions to be celebrated or resisted. Taking the specific characteristics of twentieth- and twenty-first-century Japanese artistic cultures as a starting point, this symposium aims to examine their interactions within and beyond the Asian region as a whole. How have shifting geo-political concerns within the region determined the flow of human, financial and cultural capital, and affected the character of artistic production? How have artists in Asia responded to the history of their own nations, but also to cross-cultural and international concerns? The symposium also aims to generate conversations and debates that cross disciplinary boundaries, by addressing an artistic commitment to multimedia and interdisciplinary practice. How have artists in Japan and Asia interacted with the contemporary environment in collaborating with practitioners in architecture, fashion, design and urban planning? What does it mean to question boundaries between media when facing challenges posed by technological development, increasing urban population and environmental issues, challenges that find parallels throughout Asia?
We welcome papers that consider, but are not limited to:
The Urban Environment: City, Nature and Utopia
- how the physical geographic features of the Asian region have determined artistic, architectural and design practices;
- social, population and humanitarian concerns and their impact;
- responses to natural disaster and environmental issues;
- artistic practice as a space for testing ambitious or fantastical design, for modelling society, or for speculation on the future;
- the influence of scientific and technological achievements on cultural production
The Human Body: Performance and Design
- gender, artistic and political identities;
- the body as a site, tool or subject for artistic enquiry within a variety of media;
- the body as a nexus of interdisciplinary design approaches;
- the relationship of the body to its urban and natural environments, and vice versa
Japan in Asia, Japan in the World: Conflict, Collaboration and Pan-Asian Contributions
- artistic responses to war, occupation, revolution, imperialism, displacement or migration;
- the role of memory, subjectivity, personal and official narratives in artistic production;
- artistic engagement with radical politics;
- political contexts and social limits and their affect on artistic production;
- performance art and its potential relationship to protest;
- the durability of local or national referents;
- the impact of diasporas on cultural dissemination
Please e-mail abstract of up to 250 words in English or 500 [characters] in Japanese for 20-minute papers and a short biography to email@example.com AND firstname.lastname@example.org by Friday 16 May 2014. The papers can be presented in either English or Japanese.
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[from H-ASIA, 11/15/11]
The Journal of Northeast Asian History invites the submission of manuscripts on Northeast Asian history and territorial issues. Topics may include, but are not limited to, historical interaction in East Asia, imperialism and colonialism in Asia, historiographical issues, maritime and boundary issues, naming of geographical areas, monuments and memory, and history textbooks. The geographical scope includes Korea, China, Japan, Mongolia, Russia's maritime region, Central Asia, and other nearby areas. Papers focusing on current issues of boundary delineation and territorial sovereignty also are welcomed.
The journal is published semiannually, in June and December. There are no deadlines for the submission of manuscripts. However, the manuscript must reach the Editorial Office by March 15 to be considered for publication in the June issue and by September 15 for the December issue. All submissions will be refereed by specialists in the relevant field. Authors will be notified of the decision of the Editorial Board as promptly as possible as to whether their papers have been accepted for publication. Manuscripts may be edited according to the guidelines of the Editorial Board.
Inquiries and submissions may be sent to email@example.com, Northeast Asian History Foundation.
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[from H-ARTHIST, 11/11/13]
Call for papers for the next 3 volumes of n.paradoxa: international feminist art journal, for July 2014, January and July 2015.
n.paradoxa publishes the work of women writers, critics, artists and curators on the work of contemporary women artists (post-1970) from anywhere in the world. n.paradoxa is published twice a year in print and PDF. It is an academic and scholarly journal. n.paradoxa is published in London by KT press.
Editorial board: Katy Deepwell (editor), Hilary Robinson, Bisi Silva, Renee Baert, Silvia Eiblmayr, Joanna Frueh, Janis Jeffries, Hiroko Hagiwara
If you are a woman scholar/artist/curator/art historian/art critic and would like to submit an article on contemporary women's art practices (visual arts only, post-1970), discussions of new directions in feminist art theory in relation to their work or interviews with women artists or feminist curators to n.paradoxa, please contact the editor. n.paradoxa is keen to publish new research and comparative trans-national or international approaches in feminist scholarship about the works of contemporary women artists. Do not send finished articles. Articles are commissioned through negotiation with the editor, Katy Deepwell. Articles are published in print and in PDF format at www.ktpress.co.uk.
Please send, (more than one month in advance of the copy deadline), an outline (1-2 paragraphs) and a short resume (1 page only). Please also outline the relation of your proposal to the theme of a particular volume.
Volume 34 Lessons from History (July 2014)
Deadline for copy: 1 May 2014
Will the past help us explain the present? Is our interest in past events and historical figures a way of re-imagining the present or does the lesson work only to overcome our ignorance and curiosity about the past, reinforcing a sense of how things were different then? Many feminist art works have chosen as their subject matter female figures from history as a means to re-imagine and re-image the past in the present or to speculate about different forms of female subjectivity/subjection/objectification/resistance. n.paradoxa invites women artists, curators and critics to discuss art works (visual arts only) which look at women in the past in terms of family histories; social histories of women's labour or protest; stories about or based on women's lives--including their lives as artists--for this volume. Contributions where the subject/content of the artworks is based on any period in history are welcome but the artworks by women artists discussed must have been produced post-1970 to be considered. This volume would also welcome contributions about feminist art histories (or more precisely, histories of feminist art practices, post-1970) in terms of how we construct the "legacy" of the last 40 years. In-depth critiques of models in art history or histories of feminist art exhibitions which have been "national"; "global"; "generational" or "wave"-based are welcomed.
Volume 35 War (Jan 2015)
Deadline for copy: 1 November 2014
It is frequently stated that the number of wars in the world after the Second World War continues to increase, but that these wars are local, civil or "contained" as military conflicts in particular hotspots or sites. Everyone is conscious of how wars mean not only death in armed conflict but also aerial bombing, drones or military campaigns designed to terrorise a population, the displacement of many people as refugees and the disruption of all routines in everyday life. From the Vietnam War of the 1960s to the present conflicts in Syria, Afghanistan, Iraq, etc, feminist artists have responded and produced works which look at the impact of war on people's lives (particularly women); the stories of refugees and those living in camps; the landscapes produced as a result of war; and the division by conflicts of people and places. n.paradoxa seeks contributions which address the works of women artists on the subject of war: be it critical examinations of the military; responses to the devastation war causes; the stories of refugees and survivors; or the transformation of lives and families that results from war. The focus of the volume will be on works of women artists (post-1970, visual arts only).
Volume 36 Humour (July 2015)
Deadline for copy: 1 May 2015
Women's humour is often regarded as a neglected subject. Women's wit and cleverness recurs frequently in women artists' work. Irony, pastiche and parody have long been subjects of women's attempt to turn the male status quo on its head and subvert norms and mores. Humour is a tricky subject: one's person's sense of fun may not be shared by many. This volume will attempt to enlighten, amuse and tickle the reader's fancy by considering and presenting works by women artists which examine the ridiculous, the absurd and the strange that will still bring a subversive smile to a woman's face. Contributions by women artists which deal with jokes, humorous pieces, absurdity, irony, pastiche, parody and subversion of the status quo using slapstick and comedy will all be welcomed. Articles by women critics or curators who have attempted to present women's humour or have examined controversies which have arrived as a result will all be welcomed.
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University of Chicago
13-15 May 2015
[from H-NET, 4/20/14]
We seek papers for a workshop to be held May 13-15, 2015 dedicated to exploring the relationship between migration and material culture in the modern world (the 18th century to the present), sponsored by the University of Chicago's Neubauer Collegium for Culture and Society. We welcome paper proposals from both academics (including advanced graduate students) and practitioners—historians, anthropologists, archaeologists, public historians, librarians, archivists, and museum curators—who are working on the intersection between migration and material culture in any region of the world. We hope that selected papers will be published as a special issue or forum for the American Historical Review.
Both migration and material culture have profoundly shaped societies and cultures across the globe in the modern era. This workshop will define migration broadly, to include intra-state, international and intra-imperial migration, as well as "forced" and "voluntary" migrations. Our use of material culture is also inclusive, embracing the objects that furnish domestic interiors, architecture, tools, books, toys, clothing, modes of transportation, musical instruments, dance, and even food. The precise relationships between migration and material culture have varied dramatically across time, space, and political and social context. Our goal is to analyze and thereby be able to explain the diversity of these relationships and experiences.
Possible questions that papers might address include:
- What objects have migrants carried with them, and what can these objects tell us about processes and experiences of migration?
- How has migration been linked to cultural transfer in the realm of material culture?
- How have gender and generation been implicated in this dynamic?
- How has migration shaped the production as well as the consumption of particular objects?
- How has migration and return migration been linked to the transformation of material culture in sending countries?
- How has the circulation of material objects and consumer goods shaped imperial projects in the 19th and 20th centuries?
- How has material culture been linked to the imagination & consolidation of diasporic communities and minority cultures?
- What role has material culture played in the politics of migration, including ideas about “assimilation” and pluralism?
- What can material culture tell us about the emotional and social experiences of migration?
- How is material culture linked to individual or collective memory of migration?
- What is the role of material culture in forced migration or population transfers? What happens to the objects left behind in the aftermath of refugee movements?
These are only some of the potential topics that the workshop may address.
The three-day workshop will be held at the University of Chicago and will include both open sessions and working-sessions limited to the participants. We will also be visiting one or more museum/gallery/installation in the Chicago area. We particularly encourage proposals that engage the public history/historical sites of the city.
Please note that we will require participants to:
- submit their full papers one month in advance of the conference
- provide written comments on a set of related papers the week before the workshop
- be present for the entire workshop.
We ask that you both refrain from submitting proposals for work already published or committed elsewhere and that you agree to publish in the AHR forum should your paper be selected and the forum accepted by the journal.
We will cover travel and lodging.
Interested participants should send a 500 word abstract, an article or chapter (ms. or published on a related topic) and C.V. to firstname.lastname@example.org and email@example.com by June 15, 2014.
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[from H-ARHIST, 6/3/14]
The ephemeral, unsaleable artwork has become so prominent that the traditional art market, which values commodity over context, is becoming utterly divorced from the sociopolitical climate in which art is happening. The act of exhibiting work that is not-for-sale suggests a departure from our history of material culture and a paradigm shift in what motivates the artist to produce. Reflecting our emergence into the information age, the aesthetic value and materiality of the art object are no longer guaranteed. Contemporary art has social, pedagogical and even metaphysical properties. And, while these are all virtuous expansions that enrich the surrounding culture, they do little to reshape its stratified economy. To create a more accurate picture of an art market, we must first redefine what we consider value, how we consider labour, and perhaps (most begrudgingly) where authenticity comes into the mix. Possible topics and sub-topics include:
(Re)Positioning artistic labour
- Professionalization of the "arts worker"
- Delineating activism and social practice
Rapid growth of the contemporary art market
- Paying it forward—art as investment capital
- "Art Stars"/ Celebrity and status in determining worth
- The role of auction houses as arbiters of taste
Strategies for selling the "unsellable"
- Appraising and determining authorship in performance and relational aesthetics
- Digital reproduction (where is the aura?)
- "Owning" art on the Net or other distributed mediums
- The value of the act vs. the documentation
Art & Capitalism
- The "Exhibition Value" of an artwork (a redefinition of use value)
- Commodification of the Artist (as opposed to the work)
- Alternative economies—Is it possible for art to exist outside a capitalist framework? In being not-for-sale, does art evade commodity fetishism?
Electronic submissions (of final papers and more tentative proposals) will be accepted until June 20th, 2014, at Kapsula Magazine.
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Prague, Czech Republic
1-3 November 2014
[from H-NET, 4/17/14]
This multi-disciplinary project seeks to explore the crucial place that strangers, aliens and foreigners have for the constitution of self, communities and societies. In particular the project will assess world transformations, like phenomena we associate with the term "globalisation," new forms of migration and the massive movements of people across the globe, as well as the impact they have on the conceptions we hold of self and other. Looking to encourage innovative trans-disciplinary dialogues, we warmly welcome papers from all disciplines, professions and vocations which struggle to understand what it means for people, the world over, to forge a sense of self in rapidly changing contexts where it is no longer possible to ignore the importance of strangers, aliens and foreigners for our contemporary nations, societies and cultures. Presentations, papers, performances, panels and workshops are invited on any of the following themes:
1. Place/Space and Strangeness
- Impact of place on identity
- Place as stranger / Strange places
- Alien places/spacespaces
- Managing/manipulating strange spaces
- Demarcating strangers, aliens and foreigners
2. Virtual Strangers
- Bodies in the virtual space
- Creating virtual identities
- Gender in the virtual World
- Virtual communities
-Faith/believers in the virtual world
- Digital depictions of strangers, aliens and foreigners
3. Communicating Strangeness/Otherness
- Narratives of strangeness/otherness
- Recording strangeness / Discourses of otherness
- Strange expressions / Emotive others
- Alien discourses / Strange interpretations
- Strange speech / Hearing others
4. Alien Geographies
- Mapping strangeness
- Strange frontiers
- Other horizons
- Alien landscapes
- Alien markets / Transacting strangeness
- Strange, alien and foreign cartographies
5. Cultures of Otherness
- Venues for performing otherness (museums, galleries etc.)
- Acceptance/ rejection of cultural otherness
- Artifacts of otherness / Strange ornaments
- Adorning otherness / Designing strangers
- Consuming cultures (food, film, music, art, cuisine)
- Visualizing/remembering strangers, aliens and foreigners
Presentations will be considered on any related theme.
In order to support and encourage inter-disciplinarity engagement, it is our intention to create the possibility of starting dialogues between the parallel events running during this conference. Delegates are welcome to attend up to two sessions in each of the concurrent conferences. We also propose to produce cross-over sessions between these groups – and we welcome proposals which deal with the relationship between "Making Sense of: Dying and Death, Strangers, Aliens and Foreigners" and "Making Sense of: Play."
300-word abstracts should be submitted by Friday 27th June 2014. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 19th September 2014. 300 word abstracts should be submitted to the Organising Chairs; abstracts may be in Word or RTF formats, following this order: a) author(s), b) affiliation as you would like it to appear in programme, c) email address, d) title of proposal, e) body of proposal, f) up to 10 keywords. E-mails should be entitled: "Strangers 6 Abstract Submission."
Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Organising Chairs: Hassan Bashir, Rob Fisher
The conference is part of the Diversity and Recognition research projects, which in turn belong to the At the Interface programmes of Inter-Disciplinary.Net. It aims to bring together people from different areas and interests to share ideas and explore discussions which are innovative and challenging. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.
Inter-Disciplinary.Net believes it is a mark of personal courtesy and professional respect to your colleagues that all delegates should attend for the full duration of the meeting. If you are unable to make this commitment, please do not submit an abstract for presentation.
For further details of the conference, please visit: http://www.inter-disciplinary.net/at-the-interface/diversity-recognition/strangers-aliens-and-foreigners/call-for-papers/.
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.
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Manchester School of Art
30 October 2014
[from H-ARTHIST, 3/26/14]
Over 70 years ago, the anarcho-syndicalist art critic - Herbert Read - wrote "To Hell with Culture" (1941). This was an essay that sought to criticise the capitalist co-optation of culture, whilst simultaneously calling for a functional art within a democratic society. While Read understood function in terms of a natural beauty, an understanding perhaps based on his anarchist ideas coupled with a modernist conception of the artist, his essay provides a useful starting point for thinking about the commodification of art today, drawing upon Marxist, communist and anarchist ideas. Seventy years later, Read's warning about the commodification of culture under capitalism is almost prophetic. The neoliberal period has now adopted and embraced the figure of the (modernist) artist, and culture more widely, evident in recent support for research on "cultural value" and the increasingly fractious corporate sponsorship of the arts in Britain.
This one-day event coincides with the screening of director Huw Wahl's film on Read also titled To Hell with Culture (2014). The symposium intends to initiate a critical conversation around the commodification of culture, updating Read's ideas and taking the discussion beyond his 1941 essay and into present critical thought. In short, we ask what can critically engaged artists, activists and theorists learn through returning to Read's essay? Questions might include (but are not limited to): What role does art/culture/visual culture play under capitalism today? What is being done to critique it? Is it possible to make functional art counter to capitalism?
Suggested topics may also include:
- The commodification of art/culture
- Anarchism and art today
- Alternative/anti-capitalist artistic practices
- Read's legacy and contemporary art making
- Art, politics and culture under neoliberalism
- What is functional art under capitalism?
To accompany the conference, there will be a special issue of Anarchist Studies (due Autumn 2015) based on these themes. Please state in your e-mail if you would like your paper to be considered for both the conference and the journal issue.
Please e-mail abstracts of no more than 500 words with the title "To Hell with Culture?" to the conference organisers--Dani Child and Huw Wahl--by 30th June 2014.
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[from H-NET, 5/7/14]
The Czech and Slovak Sinological Conference provides a platform for experts, academics, and researchers from near and far to exchange their insights and thoughts on a wide spectrum of China related topics. Student presenters are also welcome and encouraged to participate. Papers on the following areas are particularly welcome:
- Chinese language and literature
- Chinese history and religion
- Chinese culture
- Chinese politics, economics and society.
Click here to submit your abstract (max. 300 words). Each presentation will last 20 minutes, followed by a 10-minute discussion.
Abstract submission deadline: June 30, 2014
Notification on acceptance: July 31, 2014
Final registration deadline (both speakers and attendants): September 30, 2014
Department of Asian Studies
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49th Annual UCLA Graduate Student Association
Los Angeles, CA
25 October 2014
[from H-ARTHIST, 5/21/14]
The graduate students of the department of Art History at the University of California, Los Angeles, invite proposals for a symposium to take place at the Hammer Museum, Los Angeles, in October 2014. We are looking for papers that engage with the notion of (re)mediation, broadly defined; (re)mediation can refer to remedy, reworking, or reuse as well as to questions of artistic medium and attendant technology. We seek papers from a wide variety of historical, cultural, methodological and disciplinary perspectives, and welcome submissions from all fields of art historical inquiry. Potential topics of interest include:
- Art, architecture, and environmental remediation: environmental engagement, spatial reuse and recontextualization, art and architecture as social or ecological stop-gaps, artistic intervention in spaces of tragedy, etc.
- Transhistorical mediation: the second lives of art objects, the appropriation and reuse of spolia, the status of the copy, etc.
- Technological remediation: the historical replacement of media and technology by newer forms more suited to historical circumstance; moves toward or away from advanced means of production; prosthesis; anachronism and nostalgia as relates to media and technology The boundaries of media: changing definitions of artistic medium, representations of one medium in another, the absence of medium, impacts of historical and contemporary technologies on questions of media, etc.
Please send abstracts of 300 words or fewer, as well as a current CV, to firstname.lastname@example.org no later than 5pm on July 1, 2014.
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University of Washington
15-16 May 2014
[from H-ASIA, 5/31/14]
The Center for Korean Studies at the University of Washington invites paper proposals for "Serialization in Asia," a conference on serialized cultural production to be held at the University of Washington, May 15-16, 2015.
The premodern and modern eras in Asia witnessed increasing creation and consumption of cultural products in serialized form. Beginning most prominently in the nineteenth century, seriality emerged as one of the core components of cultural productions in many fields, and it continues to become an ever more powerful mechanism in the twenty-first century, ubiquitous in fields as diverse as literature, radio, film, TV, comic books, games, and various web-based formats.
We will hold "Serialization in Asia" with the aim of opening up interdisciplinary and interregional discussions on the following questions: How will our understandings of cultural products and related phenomena change when we take seriality as a pivotal theme to examine them? In what ways does serialization shape, reshape, or complicate the work, its reception, and the medium through which it is delivered? How can we relate evolutions in new media to more conventional forms of serialization? How does seriality relate to our socio-cultural reality and our perception of the world around us? What socio-historical components have been involved in the seriality's flourishing in Asia, and how do those components differ from place to place? What similarities and differences are there between serial production in Asia and the rest of the world? How can we understand this specific but pervasive cultural form in relation to the formation of the modern?
We will ask participants to submit papers of 6,000-8,000 words to be circulated before the conference, so that the conference itself will serve as stage for informed and engaged discussion. After the conference, select participants may be invited to revise their papers in light of comments received to prepare them for publication as part of a planned edited volume.
Please email a 300–500 word proposal accompanied by a brief biography or CV to: Center for Korean Studies at email@example.com. Proposals should be submitted by July 1st, 2014 to receive full consideration.
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Art History Supplement, November 2014
[from H-ARTHIST, 3/27/14]
Launched in 2011, Art Histories Society (ArtHS) is a free, independent, online non-profit, educational, open network; working towards a public understanding of arts and their histories. ArtHS promotes, through its website, social media and its e-journal, advances in the science of history of art. ArtHS also proposes a critical direction towards the study of public and oral art history; and towards a hypothesis that personal stories and interpersonal relations shaped and constructed the science of art history.
Art History Supplement (Online edition: ISSN 2046-9225) is a bimonthly scholarly e-journal, published by Art Histories Society.
Issue 4.6, “Unorthodox Autobiographies” welcomes papers that engage an interdisciplinary and unconventional approach to the study of autobiography in art history and visual culture. "Unorthodox Autobiographies," is intended to challenge conventional discourses of autobiographical studies by rupturing its definitions, and thus opening it up to new lines of flight and states of inquiry. We aim to provide a scholarly venue for papers that would not rest comfortably in other, more traditional, scholarly publications. This issue of Art History Supplement is specifically intended to contribute to the growing discipline of autobiography, a typically literary-based disciplinary field of knowledge, in the visual sphere.
For the forthcoming issue of Art History Supplement, we seek
submissions from scholars, visual artists, artists, and art critics.
Possible topics or areas of interest include, but are certainly not
limited to, the following subjects:
- Dynamic representations of memory or affect
- Communications of historical or structural trauma
- "Selfies" and self-portraiture
- Social networking and online presence
- Autobiography as Otherness
- Queering autobiography
- Politics of public/private autobiographies
- Relationships between literary autobiography and visual autobiography
- Self-representation, psychotherapy, and confession
- Image archives and image banks
- Narcissism and overrepresentation
- Truths and falsehoods
- Technological mediations of identity.
Submissions should consist a minimum of 3000 words, a 100-150 word abstract, and a list of illustrations. Files should be submitted in English and in Microsoft WORD format. Each image should be sent as a separate file; jpeg or .tiff (min. 300 dpi). Please note that all necessary copyright documentation for all quoted material and/or all illustrations must be included in the submission package. For more information, visit: http://www.arths.org.uk/about/journal/author-s-guidelines.
Contact: Matthew Ryan Smith, Guest Editor
Deadline for abstracts: July 1, 2014
Deadline for papers: September 1, 2014
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[from H-ARTHIST, 5/22/14]
Bits and pieces of plastic floating in the sea, chemicals ending up on our plates through the food chain, pesticides and emissions polluting nature–toxic waste occupies a permanent place in our surroundings. Some politically active artists address this social and environmental poisoning through their works; like the Lucernian Hans Erni, who designed posters against nuclear energy, or David LaChapelle who shows the decadence of the people in his provocative collages. In the spirit of Paracelsus' "dosis sola venenum facit," his gas masks and the iconic Toxic Skulls have become a popular motif of graffiti art. Andreas Seibert combines the inconceivable artificial beauty of a contaminated Chinese river with the gruesome consequences for the locals in his photo documentation Huai He–Going with the flow. This contrasts with the mythical fountain of youth, a source that is said to give eternal life to everyone who drinks from it or bathes in its water, which in this case represents the natural and the pure – a seductive combination often used in advertising as well.
The Mercury Fountain by Alexander Calder at the Universal Exhibition of 1937 in Paris served as yet another display for the symbolism of poison in art. Through the use of mercury as an artistic material instead of water, the fountain symbolically glorified the resistance of democratic Spain against Franco in the 1930s.
Mercury as a positively connoted symbol of freedom or elixir of eternal life might seem odd today, though the fact that Qin Shi Huangdi, the first emperor of China, thought to be immortalized by the regular intake of mercury shows the social change in the use of poisons based on scientific progress. The topos of a female killer using venoms as an insidious tactic forms another age old tradition, as women were responsible for the preparation of food in general and therefore often possessed a good knowledge of plants and herbs.
Not only did poisons inspire motives in art, they were also used as stimulants: Writers like Edgar Allan Poe and Baudelaire were notorious for experimenting with opium and hashish, and even in our contemporary culture the so-called psychedelic art still enjoys some popularity: In 2011 the American performance artist Bryan Lewis Saunders gained some attention with 45 self-portraits created under the influence of 45 different drugs.
For the seventh edition of Bozzetto we ask for contributions on these and other facets of poison. Please send your submissions (texts and artistic contributions) to firstname.lastname@example.org until 1 July. Reviews and essays should not exceed 3500 characters (including spaces) or 5000 characters (including spaces, without footnotes) for scientific articles. Please add your contact details including a brief (3-4 sentences) info on your background. Only high resolution images can be accepted. More information at www.Bozzetto.ch.
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3rd Workshop of the Forum Art and Market
Institute of Art History and Center for Metropolitan Studies
Technische Universität Berlin
29 November 2014
[from H-ARTHIST, 5/30/14]
Those who exhibit art for sale will carefully consider the manner in which the objects are presented. Many such concepts are based on the evocation of a historic context: dealers in old master paintings, for instance, tend to show their selection in period frames and with furniture which stems from the same epoch as the exhibits. Galleries of contemporary art, on the other hand, often present their shows in so-called white cubes, futuristic spaces that avoid all periodization, thus suggesting the timeless appeal of the art they offer for sale. Other galleries again choose to dramatize their setting with unexpected, contrasting combinations of objects originating from different periods and a variety of regions.
The commercial gallery thus provides a space where the significance of art is set in complex relation to its market value. This rarely considered subject will be explored by the 3rd Workshop of the Forum Art and Market, TU Berlin. By investigating the strategies of cooperating and competing agents, this conference not only aims to reveal modes of presentation typical for specific periods; it also seeks to address the changing concepts of selling exhibitions as a reflection of the art market’s history from the 18th century to the present day.
Proposals for contributions may for instance address the following aspects:
Please send proposals (maximum 2000 characters), and a brief curriculum by 10 July 2014 to: email@example.com.
Convenors: Dr. Dorothee Wimmer, Dr. Johannes Nathan, Prof. Dr. Bénédicte Savoy, assisted by Lukas Fuchsgruber M.A.
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[from MCLC, 6/7/13 and 12/7/13]
Verge: Studies in Global Asias is a new journal that includes scholarship from scholars in both Asian and Asian American Studies. These two fields have traditionally defined themselves in opposition to one another, with the former focused on an area-studies, nationally and politically oriented approach, and the latter emphasizing epistemological categories, including ethnicity and citizenship, that drew mainly on the history of the United States. The past decade however has seen a series of rapprochements in which, for instance, categories "belonging" to Asian American Studies (ethnicity, race, diaspora) have been applied with increasing success to studies of Asia. For example Asian Studies has responded to the postnational turn in the humanities and social sciences by becoming increasingly open to rethinking its national and regional insularities, and to work that pushes, often literally, on the boundaries of Asia as both a place and a concept. At the same time, Asian American Studies has become increasingly aware of the ongoing importance of Asia to the Asian American experience, and thus more open to work that is transnational or multilingual, as well as to forms of scholarship that challenge the US-centrism of concepts governing the Asian diaspora.
Verge showcases scholarship on "Asian" topics from across the humanities and humanistic social sciences, while recognizing that the changing scope of "Asia" as a concept and method is today an object of vital critical concern. Deeply transnational and transhistorical in scope, Verge emphasizes thematic and conceptual links among the disciplines and regional/area studies formations that address Asia in a variety of particularist (national, subnational, individual) and generalist (national, regional, global) modes Responding to the ways in which large-scale social, cultural, and economic concepts like the world, the globe, or the universal (not to mention East Asian cousins like tianxia or datong) are reshaping the ways we think about the present, the past and the future, the journal publishes scholarship that occupies and enlarges the proximities among disciplinary and historical fields, from the ancient to the modern periods. The journal emphasizes multidisciplinary engagement—a crossing and dialogue of the disciplines that does not erase disciplinary differences, but uses them to make possible new conversations and new models of critical thought.
Issue 1: OPEN ISSUE
The history of scholarship on Asian America, when juxtaposed with the fields of Asian Studies, reminds us how much nations, national movements, and other forms of national development continue to exert powerful effects on the world in which we live. Such movements also remind us of the importance of inter-nationalism, of the kinds of networks that can spring up between states and which can work to disrupt the smooth passage of the planet into a utopian post-national future. The growing interest in the global and the transnational across disciplines thus brings the various Asia-oriented fields and disciplines—history and literature, Asia and Asian America, East and South, modern and premodern—closer together. This inaugural issue seeks to feature work that illustrates the diverse engagements across disciplines (literature, history, sociology, art history, political science, geography) and fields (Asian Studies and Asian American Studies) that are possible once we begin thinking about the possible convergences and divergences such divisions have traditionally represented. We welcome a range of perspectives; featured contributors include Ien Ang, Dean Chan, Alexandra Chang, Catherine Ceniza Choy, Magnus Fiskejo, Pika Ghosh, Evelyn Hu-Dehart, Yunte Huang, Suk-young Kim, Joachim Kurtz, Meera Lee, Wei Li, Colleen Lye, Sucheta Mazumdar, Tak-wing Ngo, Haun Saussy, David Palumbo-Liu, Sheldon Pollack, Shuh-mei Shih, Eleanor Ty, and Jeffrey Wasserstrom. Submission deadline: February 1, 2014.
Issue 2: COLLECTING (edited by Jonathan Abel and Charlotte Eubanks)
As a construct and product of powerful institutions from empires, to nation-states, museums, to universities, Asia has long been formulated at the level of the collection. Whether through royal court poetry compilations, colonial treasure hunters, art historians, bric a brac shop keepers, or librarians of rare archives, the role of collecting and classification has been deeply connected not only to definitions of what counts as Asia and who can be considered Asian, but also to how Asia continues to be configured and re-configured today. With this in mind, this special issue of Verge seeks to collect papers on the history, finance, psychology, politics and aesthetics of collecting Asia in Asia and beyond. This collection hopes not only to bring into relief how "Asia" has been created but also to promote new definitions of Asia. What, for instance, are the historical implications of government-sponsored poetry anthologies in Mughal India, Heian-era Japan, or 20th century North Korea? What do the contents of treasure-houses--at Angkor Wat, Yasukuni Shrine, or Vishwanath -tell us about evolving concepts of art and of the elasticity of cultural and national contours? When did Japan become a geographical base for the collection of Asia? Who collects Chinese books? How has Indian art been defined by curatorial practices? Why did South Korea begin to collect oral histories in the 1990s? What politics lie behind the exhibition of mainland Chinese posters in Taiwan? How much money do cultural foundations spend on maintaining collections? Where are the limits of Asian collections in geographical and diasporic terms? How do constructions of these collections impact our views of the collective, whether of Tibetan exiles in Dharamsala, Japanese internment camps in Indonesia, global Chinatowns, or adherents of new Asian religions in the Americas and former Soviet Republics? This issue is interested in the various cultures of collecting Asia and collecting Asians, in the many politics of collecting, in the odd financial restrictions on collectors, in the psychology of collecting, in the anthropology of how communities form around collected objects, and in the sociology around collective histories. Submission deadline: August 1, 2015
Issue 3: ASIAN URBANISMS AND URBANIZATIONS
(edited by Madhuri Desai and Shuang Shen)
In the contemporary age of globalization, the city has gained new importance and attention as a center of information industry, a node of transnational and translocal networks, and a significant site of capital, labor migration and culture (Saskia Sassen, Manuel Castells and David Harvey). While this renewed interest in the city both perpetuates and revises theories of the city as a metaphor of modernity (Walter Benjamin, Georg Simmel), it also opens up questions regarding the uniqueness and relevance of earlier cities and their experience of urbanization. When we move us away from Eurocentric understandings of modernity and time, it becomes increasingly possible to study non-European urbanisms in the past and at present with theoretical rigor and historical specificity. For this special issue, we invite submissions (around 8000 words) that explore urbanism as a site of comparison and connection among various Asian locales and beyond. We are interested in not just studies of Asian cities and their urban experience but also how "Asia" has been imagined both historically and contemporaneously, through urbanism and urbanization, and how "Asia" as a term of travel is registered in the urban space. This special issue will draw attention to the following questions: As cities become increasingly connected and similar to each other, how do they express their distinct identities as well as articulate their unique histories? Besides circulation, movement, and networks that have been much emphasized in contemporary studies of the city, how do borders, checkpoints, and passwords function in urban contexts? How does the city articulate connections between the local, the national, and the transnational? How does the Asian experience of urbanization and ideas surrounding Asian urbanism revise, rethink, and in some cases revive Asia's colonial past? What does the Western perspective on some Asian cities as unprecedented and futuristic tells us about the imagination of Asia in the global context? How do migrant and ethnic communities negotiate with and redefine the public space of the city? How is the urban public shared or fragmented by co-existing ethnic and religious communities? How is the rising cosmopolitanism of these cities challenged through migration and sharply defined ethnic and religious identities? We invite submissions that address these questions within the context of Early modern, colonial and contemporary urbanisms and urbanizations. Deadline: April 1, 2015
Issue 4: ASIAN EMPIRES & IMPERIALISM (edited by On-cho Ng and Erica
The nature of Asian empires in the past, as well as the definition of imperialism in contemporary times, is a topic of ongoing discussion among scholars from a wide range of fields. In this special issue ofVerge, we will explore a cluster of issues concerning the mechanics and influence of empires, imperial authority, and imperial types of influence over indigenous cultures and frontiers in Asia, as well as their diasporas abroad and in the USA. We invite submissions that address one or some of the following questions: How did various imperial efforts interact with local concerns to shape the history of cross-cultural interactions in this region? How did imperial regimes propose to solve the issue of a multi-ethnic empire? What were the roles of specific geographic and economic spheres in Asia (such as those of nomadic, agricultural, maritime, high altitude or lowland, and far-flung/diasporic cultures) in contributing to the distinctive quality of certain empires? How do certain characteristics of imperial administration and control in Asia compare to those of imperial states in other regions of the world? In addition to questions concerning the long history of Asian imperialism and comparisons with other empires, we also solicit submissions that speak to questions concerning contemporary Asian diasporas and their reactions to various forms of imperialism in the modern age. Questions might address such topics as "Yellow Peril" fears about Asian cultural imperialism; Japanese internment camps as a US response to Japanese imperial expansion in the Pacific; the Tibetan diaspora in South Asia and the Americas as a reaction to contemporary Chinese imperialism; Vietnamese responses to French, Chinese, or American imperialisms, and the treatment of Japanese-Americans in Hawaii in the aftermath of Pearl Harbor. Submission deadline: August 1, 2015
Grace Hui-chuan Wu
Pennsylvania State University
433 Burrowes Building
University Park, PA 16802
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[from MFEA, 6/12/10]
The BMFEA publishes articles by scholars worldwide on all aspects of ancient and classical East Asia and adjacent regions, including archaeology, art, and architecture; history and philosophy; literature and linguistics; and related fields.
Contributions seriously engaging contemporary critical thought in the humanities and social sciences are especially welcome.
All contributions, for general issues as well as for special thematic issues, are peer-reviewed. The BMFEA Editorial Advisory Board mainly consists of scholars based at European centers for Asia research. Please note that no new manuscripts are reviewed for publication until June 2010. The editor is Martin Svensson Ekström, Associate Professor, Stockholm University (firstname.lastname@example.org).
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[from AAS, 3/17/10]
The Association for Asian Studies announces a new scholarly book series—"Asia Past and Present: New Research from AAS"—to be published under the Association's own imprint. The series will be overseen by the AAS Editorial Board and the Series Editor, Martha Ann Selby, professor of Asian Studies at the University of Texas, Austin.
AAS expects to publish 2–3 books a year, each of them fully refereed and selected on the basis of exemplary, original, and enduring scholarship.
Submissions in all areas of Asian studies are welcome. AAS particularly hopes to support work in emerging or under-represented fields, such as South Asia, premodern Asia, language and literature, art history, and literary criticism. In addition to monographs, other forms of scholarly research—such as essay collections and translations—will be considered.
Authors interested in publishing in this new series should first consult the "Author Guidelines" and then e-mail excerpts of their manuscript (10,000–15,000 words, including a full Table of Contents and a representative sample chapter) along with a completed "Author Questionnaire" to Jonathan Wilson, AAS Publications Manager.
If, after initial evaluation by the series editor, your manuscript is selected to be sent for review, you must at that time be prepared to provide a complete manuscript. Only complete manuscripts will be reviewed. Completed manuscripts should adhere to the "Author Guidelines."
Authors must be current members of AAS at the time of submitting their initial manuscript excerpts for evaluation. In the case of edited volumes with multiple editors, if your manuscript is selected for review, each editor must hold AAS membership at the time of full manuscript submission (this requirement does not apply to contributors/single chapter authors).
For further information, please contact the Series Editor, Martha Ann Selby, or AAS Publications Manager, Jonathan Wilson.
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[from H-ASIA, 2/2/10]
Early Modern Japan: An Interdisciplinary Journal is a refereed, on-line journal of sixteenth to nineteenth century Japanese studies. In addition to scholarly articles and book reviews, we welcome translations, essays on teaching/teaching resources and other topics of professional interest that are not normally encompassed by other academic periodicals.
Inquiries regarding submission of manuscripts should be directed to Philip Brown, Editor. Inquiries regarding books for review or review manuscripts should be sent to Glynne Walley, Book Review Editor. A basic style sheet for manuscripts appears on the final page of each issue of Early Modern Japan.
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[from H-NET, 3/10/10]
Polymath: An Interdisciplinary Arts and Sciences Journal welcomes submissions from any academic field, though preference is given to papers with an interdisciplinary approach or a focus on interdisciplinarity. As such, our formatting guidelines embrace the plurality of each discipline's style. Authors are asked to make use of the style and formatting typical to their discipline with respect to citations, bibliographic reference, foot-noting, punctuation, and formatting of section and sub-section headers. Authors, however, must be consistent in their usage throughout the paper. Where possible, authors are recommended to include hyperlinks to citations.
Additionally we encourage the submission of other media such as images, video, sound, among others that the new technology makes possible. Submitting authors should also provide copies of these files with reasonable size constraints for video and sound via e-mail attachment to the editor.
Southern Illinois University Edwardsville
Edwardsville, IL 62026-1432
tel (618) 650-2177
fax (618) 650-3509
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[from H-ARTHIST, 4/14/10]
RIHA, the International Association of Research Institutes in the History of Art, is pleased to announce the launch of RIHA Journal, the new international online-journal for the history of art, on April 14, 2010. A joint project of 27 institutes in 18 countries, the journal provides an excellent medium for fostering international discourse among scholars. Funding is provided by the German Federal Government Commissioner for Culture and the Media (Beauftragter der Bundesregierung für Kultur und Medien, BKM).
RIHA Journal features research articles in either English, French, German, Italian, or Spanish, and invites submissions on the whole range of art historical topics and approaches. Manuscripts undergo a double blind peer review process and are published within few months from submission.
A not-for-profit e-journal committed to the principles of Open Access, RIHA Journal makes all articles available free of charge.
RIHA Journal welcomes submissions at any time. Please contact the RIHA institute in your country and/or field of expertise, or the managing editor.
Zentralinstitut für Kunstgeschichte
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[from Asian Studies Newsletter, Spring 2010]
The Trans-Asia Photography Review (TAP Review) is a new international refereed journal devoted to the discussion of historic and contemporary photography from Asia. Online and free of charge, it is published by Hampshire College in collaboration with the University of Michigan Lirary Scholarly Publishing Office. Its editorial boeard includes Raymond Lum (Harvard University), Michael Chen (Taipei), Gu Zheng (Shanghai), Iizawa Kotaro (Tokyo), Lee Hongeun (Museum of Photography, Seoul), Young Min Moon (University of Massachuseets), David Odo (Yale University), Christopher Phillips (International Center of Photography, New York), Ram Rahman (New Delhi), Ajay Sinha (Mount Holyoke College), and Alexander Supartono (Jakarta), The editor is Sandra Matthews (Hampshire College).
TAP Review offers a forum in which a nuanced, detailed history of photography in Asia can be articulated, and in which contemporary works can be assessed in historical and cultural contexts. The first issue will be launched September 1, 2010. The journal welcomes submissions of articles and curatorial projects. All submissions are sent anonymously to two reviewers. For more information, or to join the mailing list, please visit http://asianphotos.hampshire.edu.
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[from H-NET, 7/6/10]
Palimpsest is a peer-reviewed journal of interdisciplinary inquiry. The editors seek submissions of innovative interpretive analyses in all fields. Essays may be drawn from any humanities, social science, or other fields including history, literature, philosophy, environment, psychology, sociology, fine arts, language, economics, business, and medicine. A palimpsest is a manuscript on which the original text has been rubbed or scraped away and written over, with shadows and nuances of the original text sometimes visible underneath. As a metaphor for our journal, a palimpsest describes the state of text in the information age: shadows, traces, and pluralities of texts shaped by the input of many minds and voices. There is no pristine text but nuances of other texts visible underneath and written over. As a critical metaphor, Palimpsest is meant to suggest that all areas of study have multiple layers of meaning, which the scholar may discover by "rubbing away" the old to reveal new insight. Palimpsest seeks to establish a dynamic forum for interdisciplinary discourse in the search of new paradigms and ways of seeing.
Papers may be submitted for consideration using any citation format; the final format for those accepted will be submitted in a modified version of the Chicago Manual of Style. The author's name should appear only on the title page and in the file name of the submitted document (jones.doc). Manuscript length is standard, from 6,000 to 8,000 words. Online submissions are encouraged as attachments in doc or rtf files. For safe delivery please write "Palimpsest submission" in the subject line. Our website is under construction, but you may direct inquiries and submit manuscripts to Dr. Fred van Hartesveldt. Online submissions are preferred, but if you must submit hard copies, please send three copies SASE to:
Fred van Hartesveldt
Department of History
1005 State University Drive
Fort Valley State University
Fort Valley, GA 31030.
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[from H-ASIA, 7/12/10]
Journal of Central Asia and the Caucasian Studies (JCACS) is a refereed journal and published twice (Winter and Summer) a year. JCACS publishes scholarly articles in Turkish and English from all over the world. The Editorial Office of the JCACS is in the International Strategic Research Organisation (ISRO) central building in Ankara, Turkey. However the journal is an independent publication in terms of scientific research and the editors decide its publication policy.
JCACS focuses on legal, political, sociological, cultural, social, religious, anthropological and economic studies regarding the Central Asia, Caucasus and neighbouring states' (Turkey, Iran, Pakistan, India, Afghanistan, China, Mongolia, Russia) and regions' (Black Sea, South Asia, Middle East, Far East) relations with the Central Asia and the Caucasus.
The journal encourages interdisciplinary studies. Manuscripts submitted to JCACS should be original and challenging, and should not be under consideration by another publication at the time of submission.
We also welcome short pieces on recent developments and review articles.
Articles submitted for consideration of publication are subject to peer review. The editorial board and editors take consideration whether submitted manuscript follows the rules of scientific writing. The appropriate articles are then sent to two referees known for their academic reputation in their respective areas.
The Editors and referees use three-step guidelines in assessing submissions:
i) Literary quality: Writing style, usage of the language, organisation (paragraphing, syntax, flow etc.)
ii) Use of references. Referencing, sources, relationships of the footnotes to the text.
iii) Scholarship quality: Depth of research, quality; contribution, originality of the contribution (new and creative thought) and plausibility of the author's argument.
Upon the referees' decision, the articles will be published in the journal, or rejected for publication. The review process lasts from five to 15 weeks. Questions regarding the status of submissions should be directed to the Editor by e-mail at email@example.com or firstname.lastname@example.org. The referee reports are kept confidential and stored in the archives for five years.
JCACS's aim is to generate a productive dialogue and exchange between theorists, writers and practitioners in disparate locations. JCACS assumes that one of the main problems in Central Asian and Caucasian studies is lack of dialogue between writers and scholars from different cultural backgrounds.
All manuscripts and editorial correspondence and enquiries should be addressed to the JCACS Editorial Office (The Office).
We prefer electronic submission to email@example.com or firstname.lastname@example.org as a Microsoft word attachment file. Please be sure that you received a confirmation from The Office. Manuscripts should be one-and-half or double spaced throughout (including all quotations and footnotes) and typed in English on single sides of A4 paper. Generous margins on both sides of the page should be allowed. Pages should be numbered consecutively. The author should retain a copy, as submitted manuscripts cannot be returned. Full names of the author(s) should be given, an address for correspondence, and where possible a contact telephone number, facsimile number and e-mail address.
Articles as a rule should not exceed 10.000 words, not including footnotes. Book reviews should be about 2.500 word-length for one book, or maximum 3.500 words for two or more books.
Style and Proofs
Authors are responsible for ensuring that their manuscripts conform to the JCACS style. Editors will not undertake retyping of manuscripts before publication. Please note that authors are expected to correct and return proofs of accepted articles within two weeks of receipt.
Titles and Sub-Titles: Titles in the article should be 12 punt, bold and in uppercase form. The sub-titles should be 12 punt and in the title case form.
Footnotes: In the case of books the following order should be observed in footnotes: Author(s), Title, (Place of Publishing: Publisher, Year), Page. For example:
1. Begali Qosimov, Istiqlol Qahramonlari: Mahmud Khoja Behbudiy, Tanlangan Asarlar, (Tashkent: Ma'naviyot, 1997), p. 45.
In articles: Author(s), "Article Title", Journal Title, Vol., No., Year, Page.
2. Chantal Lemercier-Quelquejay, "Abdul Kayum Al-Nasuri: A Tatar Reformer of the 19th Century", Central Asian Survey, Vol. 1, No. 4, April 1983, pp. 122-124.
Book Reviews: Book reviews should be preceded by full publication details including price and ISBN number:
Dale F. Eickelman, The Middle East and Central Asia: An Anthropological Perspective, 4. Edition, (Upper Saddle River, NJ: Prentice Hall, 2001). 384 sayfa. Biblo. Index. $48.40. ISBN: 0130336785
Current and recent academic and professional affiliations, and recent major publications for the Notes on Contributors should be supplied with the articles. It should not exceed 150 words.
The authors should send a 200-word abstract of the manuscripts. For more information about the journal feel free to contact with the editors.
DEMIRTEPE & Esra HATIPOGLU
Assisting Editor: Hasan Selim ÖZERTEM
Editorial Office: JCACS/ OAKA, Ayten Sokak, No: 21, Mebusevleri, Tandogan, Ankara, TURKEY
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[from H-NET, 7/21/10]
Asian Women seeks submissions for recent gender issues such as women and welfare, women's rights, eco-feminism, health, women and bio-technology, women and history, men's studies and other relevant themes in gender studies. Asian Women is accepting submissions for general theme.
Asian Women, an interdisciplinary journal covering various Women's Studies, Men's Studies and Gender Studies themes, hopes to share intelligent original papers as well as case studies with you. Any contributions of theoretical papers, regional reports, or case studies based on feminist studies and Asian studies will be welcomed. The editors welcome submissions that are based on either collaborative or independent scholarship. They also receive submissions from a wide variety of Asia and other countries. Contributors need to send their manuscripts to the Research Institute of Asian Women any time. For more information, contact:
Research Institute of Asian Women
Sookmyung Women's University
52 Hyochangwon-gil, Youngsan-ku
Seoul, Korea 140-742.
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[from World Art, 9/5/10]
Two issues of World Art are published each year. All contributions are peer reviewed, under consultation with the journal's Advisory Board. Some volumes are guest edited and, where appropriate, contributions will be grouped by theme. Issues alternate between those which are general in content and those which engage specific themes.
Upcoming themes include: "Heritage Futures" (publication date Mar 2012); "Museums and the Marginalised" (Mar 2013); "Visualising the Exotic" (Mar 2014).
The editors seek original material with intellectual integrity. Text as well as image-based contributions are welcome. Picture or photo essays, with critical commentary will also be considered.
[For categories of content, a style guide and submission guidelines, please consult http://www.tandf.co.uk/journals/journal.asp?issn=2150-0894&linktype=44.]
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[from H-NET, 12/10/10]
In association withmthe International
Society for the Study of Time (ISST)
Founded in 1966
Edited by an international board of scholars and representing the interdisciplinary investigation of all subjects related to time and temporality, the journal is dedicated to the cross-fertilization of scholarly ideas from the humanities, fine arts, sciences, medical and social sciences, business and law, design and technology, and all other innovative and developing fields exploring the nature of time.
KronoScope invites critical contributions from all disciplines; submissions are accepted on a continuing basis.
Manuscripts of not more than 8000 words, and using The Chicago Manual of Style, may be submitted electronically to the Managing Editor Dr. C. Clausius. We also welcome review articles as well as creative work pertaining to studies in temporality. For further submission guidelines, please visit the Brill website or the ISST website.
KronoScope: Journal for the Study of Time
Department of Modern Languages
University of Western Ontario
tel (519) 433-0041 x4425
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[courtesy of Antiqua, 1/14/11]
Antiqua (eISSN 2038-9604) is a new, peer-reviewed, Open Access journal intended to archaeologists and scientists having particular interests in the application of scientific techniques and methodologies to all areas of archaeology. Our journal publishes Original Research papers as as well as Rapid Communications, Case Histories, Editorials, and Letters. The journal seeks to provide an international, rapid forum for archaeologists to share their own knowledge.
Open Access journals are an ideal platform for the publication of your research enabling you to reach the widest available audience of professionals in your field of expertise. Publication in our journals means that your research articles will be available for free access online being immediately citable. PAGEPress shortens the time needed before publication, offers a high quality peer-review system, highly-professional scientific copyediting, DOI assignment, and submission to many online directories such as the Directory of Open Access Journals, arXiv, GEOBASE, Inspec, Chemical Abstracts Service, IndexCopernicus, Google Scholar, Scopus, EBSCOHost, Socolar, OpenJGate and others.
PAGEPress strongly support the mission of the Council of Science Editors (CSE): "CSE's purpose is to serve members in the scientific, scientific publishing, and information science communities by fostering networking, education, discussion, and exchange and to be an authoritative resource on current and emerging issues in the communication of scientific information." All individuals collaborating with PAGEPress are strongly invited to comply with this mission.
Open access publishing does have its costs. Since PAGEPress does not have subscription charges for its research content it can defray publishing costs from the Article Processing Charges (APC). This is because PAGEPress believes that the interests of the scientific community can best be served by an immediate, worldwide, unlimited, open access to the full text of research articles. The price for publication of any type of articles in our journal is EUR 350,00.
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[from H-NET, 5/7/11]
For the past 20 years, Review of Culture (RC) has served the needs of Chinese, Portuguese and English readers by issuing both Chinese and International (Portuguese and English) editions. A major academic quarterly dealing with Macao history and culture, RC aims to foster the exchange of ideas relating to Chinese and Western cultures, to reflect the unique identity of Macao and to stimulate ideas and discussions of topics related to Macao culture and history, establishing an intellectual forum for "Macao Studies." RC - International edition is putting out this call for articles.
Please contact us with projects and articles that fall within our editorial guidelines. In a nutshell: Macao Studies, (Related) Sinology, Asia/China-Europe/West Encounter in the field of Humanities. More on the RC editorial guidelines in our on-line edition.
At the moment, a line of research we are pursuing is Anglo-American presence in Macao and the South China Seas and Sino-American historic relations.
Other projects under development:
- 100 years of Portuguese and Chinese republics (1910/1911)
- Western coats of arms in Chinese porcelains and pottery
- 500 years of Portugal-Siam relations and the role of Macau (RC is associated with the official commemorations that are taking place in Lisbon and Bangkok)
- Malacca 500 years (1511-2011)
- Macau in the origins of the Chinese migration to (Portuguese) Africa
- Macanese diaspora(s)
We accept (preferably) original articles but we also consider papers that were only presented in public lectures/conferences and not yet published.
Royalties vary between 500 and 1,000 American dollars, depending on originality and length. Academic papers will have usually 7,000-10,000 words. Short essays and book reviews are also welcome.
After approval of a paper
we usually ask for a set of materials, as follows:
- Digital article with automatic footnotes
- Bibliography (References)
- Abstract (150-250 words)
- Bionote of the Author (up to 80 words)
- Illustrations or suggestions of illustrations with a clear indication of the source.
Since it was founded, in 1987, hundreds of researchers worldwide had contributed to RC. I sincerely hope you or a fellow researcher of your group of contacts can become another valuable contributor.
Revista de Cultura/Review of Culture
Cultural Affairs Bureau of Macau SAR
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[from JFS, 1/27/11]
The Journal of Feminist Scholarship is a new twice-yearly, peer-reviewed, open-access journal published online and aimed at promoting feminist scholarship across the disciplines, as well as expanding the reach and definitions of feminist research.
Why a new journal? Why now?
We believe it is time to explore the state of feminist scholarship at the turn of the new century, and we see the endeavor as part of a larger question of where feminism itself is heading. For example, we ask whether it still makes sense to talk of the "waves" of feminism. If so, what is the status of the third wave? Is there a post-third wave? We wish to encourage a discussion of feminist thought for the twenty-first century. What are its directions today, and what relationship does it sustain with the foundations laid down by feminist inquiry and action in earlier centuries? We aim to publish work that explores the multiple theoretical paradigms and political agendas of contemporary and historical feminist scholarship and the potential intersections and tensions between these paradigms and agendas. We are especially interested in examining productive controversies and divergences between local and global contexts of feminism. We also welcome submissions that focus on feminist pedagogies and activism.
Please visit the submissions page to see our guidelines for authors and our contact page for contact information for the JFS. The rest of the site is currently under construction.
Catherine Villanueva Gardner
Anna M. Klobucka
Jeannette E. Riley
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[from SEAA, 1/31/11]
The Bulletin of the Society for East Asian Archaeology (BSEAA) (ISSN 1864-6018, print version: ISSN 1864-6026, ed. Barbara Seyock, Tuebingen) was initiated in March 2007, and two volumes have been published since. BSEAA welcomes essays on East Asian archaeology, and it moreover provides a means of publishing smaller manuscripts such as field reports, project outlines, conference reports and papers, book reviews, museum roundups etc. The contributions appear online at varying intervals over the year. BSEAA is not peer-reviewed. The editor(s), however, reserves the right to seek for additional opinion, to edit the manuscripts, or to decline the publication of manuscripts inappropriate to the aims and objectives of SEAA.
BSEAA is an open access publication, with the exception of a 3-months preview period for SEAA members and authors. The average delay between submitting your manuscript and having it published is about 4 to 6 weeks. Colour photos and illustrations are welcome. Non English-native speakers receive a helping hand.
Please refer to the Contribution Guidelines for further information.
All contributions should be sent by e-mail to the editor.
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[from H-ASIA, 5/31/11]
We are seeking academics and bona fide scholars to write and submit finished papers and review papers to our scholarly online publication (established 1995), the International Journal of Tantric Studies. The IJTS is open to all bona fide scholars in Hindu and Buddhist Tantric and Tantra-related studies, translations and translators in Sanskrit, Bengali, Vernacular, Tibetan, Chinese, Japanese, etc. We are looking for articles that engage any aspect of this broad theme.
Before submitting your paper / paper review, please read our Submission Guidelines. Send proposals to Enrica Garzilli.
We plan to publish all the IJTS papers in hard copy shortly depending on the next issue, hopefully by the end of the year.
Enrica Garzilli (Editor-in-Chief), Michael Witzel (Managing Editor), Roberto Donatoni, Minoru Hara, David N. Lorenzen, Benjamin Prejado, Michael Rabe, Debabrata Sensharma, Karel van Kooij.
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[from H-NET, 5/1/11]
New Global Studies celebrates its fifth anniversary in 2011. Edited by Nayan Chanda (Yale), Akira Iriye (Harvard), Bruce Mazlish (MIT) and Saskia Sassen (Columbia), NGS is one of the only peer-reviewed journals that explores and analyzes globalization from the perspective of multiple disciplines. It invites contributions from the humanities and the social sciences that address the range of contemporary global phenomena, as well as the emergence of global consciousness in time. Comparative and interdisciplinary contributions are especially encouraged.
Contributors to NGS have included William McNeill, Yi-Fu Tuan, David Edgerton, William Keylor, Patrice Higonnet, Jessica Gienow-Hecht, Dominic Sachsenmaier, Peggy Levitt, Werner Sollors, David Apter, Paul Bracken, Irving Louis Horowitz, Stanley Engerman, Alastair Crooke, and many others.
More information about the journal's Aims and Scope may be found at http://www.bepress.com/ngs/aimsandscope.html.
We also welcome the submission of book reviews and review essays, which may be sent directly to the reviews editor, Benjamin Sacks.
New Global Studies
Cambridge, MA 02138
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[from H-ASIA, 7/8/11]
International Journal of Intangible Heritage seeks to be an inter-communicative and interdisciplinary channel for scholarly research on intangible heritage around the world with respect to its preservation, transmission and promotion. With critical academic articles, provocative viewpoints and reviews, the IJIH, a peer-reviewed academic journal tries to enrich discourses on intangible heritage that reflects the connections between intangible heritage and people. International Journal of Intangible Heritage is an annual-basis publication officially supported by the International Council of Museums (ICOM) with its publication secretariat office in the Cultural Exchange and Education Division, the National Folk Museum of Korea.
For further information and inquiries, please refer to the oficial webpage of IJIH.
International Journal of Intangible Heritage
Cultural Exchange & Education Division
The National Folk Museum of Korea
37 Samcheong-no, Jongno-gu
Seoul Korea 110-820
tel +82 (0)2-3704-3101, 3122, 3123
fax +82 (0)2-3704-3149
For editorial policy etc.
Editor-in-Chief: Professor Amareswar Galla
e-mail: <email@example.com>, <firstname.lastname@example.org>
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[from CAA, 6/29/11]
Exposure, the journal of the Society for Photographic Education (SPE), invites submissions for scholarly articles, interviews, conversations, art and cultural criticism, pedagogical essays, book and exhibition reviews, and any manuscripts that engage with the contemporary conversation on photography and related media. A leading voice in the conversation on photography and related media for over thirty years, Exposure publishes an inclusive range of images and ideas by those passionate about photographic discourse.
For publication consideration, please submit an abstract of no more than one hundred words, a list of illustrations, and a biographical statement of no more than fifty words. Detailed submission guidelines and more information on the journal can be found on the Web site at https://www.spenational.org/publications/exposure. Submissions are accepted year-round.
For more information, contact Stacey McCarroll Cutshaw, Editor of Exposure.
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[from H-ASIA, 8/3/11]
Palgrave Studies in the History of the Media was launched in 2010 with the objective of becoming a leading international series in media history. Its overriding objective is to publish high caliber research in the field which will help shape current interpretations not only of the media, in any of its forms, but also of the powerful relationship between the media and politics, society, and the economy.
A number of important monographs have already appeared: Dr Christoph Muller's West-Germans against the West (2010) and Professor Michael Krysto's American Radio in China (April 2011). More studies are due out soon, not least Professor Joel Weiner's Americanization of the British Press (October 2011).
The series editors would welcome monograph proposals on any aspect of the history of the media from the mediaeval and early modern periods up to the present day.
Informal enquiries are very welcome. Proposals can be completed on Palgrave's standard form and submitted to:
Director, Centre for the History of the Media
School of History and Archives
University College Dublin
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[from MCLC, 8/11/11]
The Journal of Asian Studies has begun using Editorial Manager, a web-based manuscript submission system.
We ask that all new manuscript submissions be submitted through Editorial Manager. Please note that if you currently have a manuscript under review, it will not show up in the database. Before submitting a manuscript for consideration, please read the "Requirements for Manuscript Submission" to ensure that your work conforms with the Journal's guidelines on style and formatting.
If you have previously submitted a manuscript, served as a reviewer, or helped us in some other way, we invite you to register with Editorial Manager and update your contact information. Please let us know about your areas of interest, and if you would like to review books and/or manuscripts. Once you are in the system, you can also submit manuscripts to JAS. You will not have to reenter your contact or specialty information after you have registered unless you need to update your information. If you ever forget your password, you can ask to have it sent to you.
If you have questions that you can not answer through Editorial Manager, please feel free to send an e-mail to email@example.com.
Jeff Wasserstrom, Editor
Jennifer Munger, Managing Editor
Journal of Asian Studies
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[from H-ASIA, 8/11/11]
The International Journal of Islamic Architecture (IJIA) publishes bi-annually, peer reviewed articles on the urban design and planning, architecture and landscape architecture of the historic Islamic world, encompassing the Middle East and parts of Africa and Asia, but also the more recent geographies of Islam in its global dimensions. The main emphasis is on the detailed analysis of the practical, historical and theoretical aspects of architecture, with a focus on both design and its reception. The journal also aims to encourage dialogue and discussion between practitioners and scholars. Articles that bridge the academic-practitioner divide are highly encouraged.
IJIA is now soliciting manuscripts in the following categories:
Design in Theory: DiT manuscripts focus on the history, theory and critical analyses of architecture, urban planning and design and landscape architecture. Essays submitted should be a minimum of 5,000 words but not more than 8,000 words.
Design in Practice: DiP manuscripts focus on the practice of architecture, planning and landscape design. It is preferential that DiP papers focus on contextual and/or conceptual issues, analysis or critique of proposals or built projects. Submissions may also include interviews or practitioner reflections or lessons learned. Manuscripts should range from 2,000 to 3,000 words.
Book, Media and Exhibition Reviews: For those are interested in writing book/media/exhibition reviews for IJIA , please submit your CV and your areas of expertise and interest and the books/media/exhibition you wish to review to Nancy Um, the Reviews Editor, for consideration. Unsolicited reviews will not be accepted. The length of the reviews should generally not exceed 1000 words for one book review essay and no more than 1800 words for an essay that reviews multiple books.
For information and for guidelines on submission please visit the IJIA website. E-mail the editors at firstname.lastname@example.org for any additional questions or information.
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[from H-ASIA, 8/22/11]
Hangzhou Normal University has established a new Academy of Chinese Studies (Guoxue Yuan); and among its five Centers is an International Center for Research on the Song (Guoji Song Yanjiu Zhongxin). The Song Center and its new journal (Guoji Song Yanjiu) take a broad view of the Song, so it is not limited to history, but encompasses other disciplines, such as the fine arts, literature, archeology, etc. Studies of the Western Xia, the Liao, Jin and Yuan are welcome, especially as they relate to the Song. Moreover, the Center and its journal invite research on Song studies in later dynasties in East Asia and also during the Modern era worldwide. In the future, the Center will announce programs to assist the research of graduate students and professors; however, the focus at present is the journal.
Hoyt Tillman (Tian Hao) is serving as chief editor of the journal in close collaboration with Professor Deng Xiaonan of Peking University and other members of the editorial board. The journal will publish research articles and book reviews in either Chinese or English. In addition, the journal will publish Chinese translations of selected important articles in other languages.
English and Chinese articles should be submitted via e-mail attachment and supplemented by a mailed hardcopy. Please send inquiries and article manuscripts to email@example.com and/or to firstname.lastname@example.org.
Mailing addresses for hard copies are:
School of Historical, Philosophical and Religious Studies
P. O. Box 874302
Arizona State University
Tempe, AZ 85287-4302
Department of History
Format and style issues follow the Harvard Journal of Asiatic Studies for English language articles and Lishi Yanjiu for Chinese language articles.
The journal also welcomes longer articles than are usually published in China. The journal will be published annually beginning in May 2012.
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[from H-ASIA, 8/24/11]
Routledge Critical Studies in Buddhism is a comprehensive study of the Buddhist tradition. The series explores this complex and extensive tradition from a variety of perspectives, using a range of different methodologies. The series is diverse in its focus, including historical, philological, cultural, and sociological investigations into the manifold features and expressions of Buddhism worldwide. It also presents works of constructive and reflective analysis, including the role of Buddhist thought and scholarship in a contemporary, critical context and in the light of current social issues.
The series is expansive and imaginative in scope, spanning more than two and a half millennia of Buddhist history. It is receptive to all original, scholarly works that are of significance and interest to the broader field of Buddhist Studies. Books published in the series are first issued in a high-quality durable hardcover format geared toward institutional sales, and then they are subsequently published in an affordable paper format through the Routledge Paperbacks Direct program. Books in the series benefit from Routledges strong international presence, which markets and distributes books worldwide.
Please send your proposals
Dorothea Schaefter, Editor for Asian Studies at Routledge
Stephen C. Berkwitz, Department of Religious Studies, Missouri State University.
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[from CAA, 9/1/11]
The Art Bulletin welcomes submissions from scholars worldwide and at every stage in their career. To facilitate the process, CAA has prepared guidelines for authors who wish to submit a manuscript for consideration and for those preparing an accepted manuscript for publication.
Please submit manuscripts and letters to the editor to:
Department of History of Art
University of Warwick
Coventry CV4 7HS
The Art Bulletin no longer accepts hard-copy submissions. All submissions must be sent electronically, either via e-mail or a large-file transfer service such as YouSendIt.com. All files must be in Microsoft Word or a Microsoft Word–compatible format. Please review the submission guidelines for more information.
The Art Bulletin does not accept unsolicited book and exhibition reviews. Inquiries, letters regarding reviews, and commissioned reviews should be sent to:
College Art Association
New York, NY 10004.
Books for review should be mailed to:
College Art Association
New York, NY 10004.
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[from H-NET, 9/23/11]
Troika is an undergraduate journal in Slavic, East European and Eurasian studies at UC Berkeley. The first issue of Troika came out this Spring. The journal publishes outstanding undergraduate student work in Eastern European and Eurasian studies. This may include, but is not limited to, academic research papers, creative writing, photography, artwork and memoirs. If you would like to submit your academic work to Troika, please e-mail it as an attachment to email@example.com, and please include your name, university, major (or intended major), and graduation year. All submissions must be original, unpublished work. We gladly accept papers and other creative works written for classes. Please limit your submission to 3000 words. Only one submission per person will be considered during each submission period. If you are submitting photography, please include a short description of the photograph. If you are unsure whether your submission is appropriate for the journal, or if you have any other questions, feel free to send an e-mail to firstname.lastname@example.org.
Troika is sponsored by the Institute for Slavic, East European and Eurasian Studies as well as the Slavic Department and the ASUC. Additional information and a pdf version of the first issue of the journal are available on our website: http://www.ocf.berkeley.edu/~troika/.
There will also be print versions of the journal available in the UC Berkeley Slavic Department. If you would like to request a copy of one, feel free to e-mail us at email@example.com.
University of California, Berkeley
tel (609) 651-1578
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[from MCLC, 10/30/11]
Art Review is an illustrated bilingual international academic journal which publishes essays and reviews on all types of art, artists and art theories. Contributions in either English or Chinese are eagerly solicited. The journal is sponsored by Sichuan University, one of the most prestigious universities in China.
Art Review provides a broad field for various approaches and arguments. It covers not only essays on art history, art criticism and aesthetic theory, but also interdisciplinary art studies such as philosophical, psychological, anthropological, semiotic, sociological, politico-economic, or any other approaches so long as it aims at a enlightening interpretation of art.
Art Review advocates the idea of "BIG ART," with no constrains on the genres and subject of the art to be studied. The genres covered not only could be traditional art (painting, sculpture, architecture, calligraphy, music, dance, drama, folk art, ethnic art, cinema, etc), but also any form of art so long as you sufficiently argue that it is art. For instance, Art Review expects studies on "industrial" art such as advertisement, packaging, fashion, toys and gifts design, etc. Art Reviewparticularly welcomes studies on environment art, such as landscape, gardening, decoration, and digital art design such as video game and animation.
Contributions should follow the APA style.
Editor: Shunqin Cao
Executive Editor: Yirong Hu
Contacts of Art Review: <firstname.lastname@example.org> (international) + <email@example.com> (domestic)
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[from H-ASIA, 11/3/11]
Brill Series on Modern
East Asia in Global Historical Perspective
Series Editors: Billy K.L. So and Madeleine Zelin
Prasenjit Duara (National University of Singapore)
Wang Fan-sen (Academia Sinica)
Rana Mitter (Oxford University) Joshua Fogel (York University, Toronto)
John Makeham (Australian National University)
Charles Armstrong (Columbia University)
Tomobe Kenichi (Osaka University)
The economic emergence of East Asia--first Japan, followed by the Little Dragons and Southeast Asia, and the recent rise of China, has produced a paradigm shift in the study of the East Asian regions. Not only has an earlier understanding based on adaptation to Western models given way to a re-evaluation of the interface between the local and the global, but scholarship itself has become increasingly transnational. This is evidenced in hitherto unseen levels of transnational collaboration, conferences and research programs, and the creation of on-line archives and virtual intellectual communities. East Asia, broadly defined to include both northeast and Southeast Asia, has contributed greatly to this shift. This series aims at providing a platform for the products of this scholarship, encouraging interdisciplinary, transnational and comparative research on the countries and peoples of the East Asian region, and their regional and global interactions. In an effort to reflect the full range of collaborations that are now taking place across the globe this series will feature monographs and edited volumes as well as translated works that explore the global processes of change in East Asia and the historical role of East Asia in the creation of the institutions, ideas, and practices that constitute our contemporary world.
Brill welcomes submissions of book proposals and manuscripts for consideration for inclusion in the series. Submissions should be in English and can be sent to the attention of the Series Editors, Billy So, Madeleine Zelin, or the Publishing Editor, Qin Higley.
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[from AAH, 1/23/12]
Submissions are invited from authors (artists and scholars) who can make a provocative contribution to this book series. We are particularly looking for further titles in the area of socio-political aesthetics or global aesthetics.
The RadicalAesthetics-RadicalArt (RaRa) series of books expands the parameters of art and aesthetics in a creative and meaningful way beyond visual traditions. Encompassing the multisensory, collaborative, participatory and transitory practices that have developed over the last twenty years, Radical Aesthetics-Radical Art is an innovative and revolutionary take on the intersection between theory and practice. The series aims to:
Titles already commissioned include:
Practical Aesthetics: Events, Affects and Art after 9/11- Jill Bennett (July 2012)
Eco-Aesthetics - Malcolm Miles
Indigenous Aesthetics: Art, Activism and Autonomy – Dylan Miner
Durational Aesthetics: Contemporary Art and the Prolongation of Time – Paul O'Neill and Mick Wilson
Proposals should be 3 to 5 sides A4 and include:
Author details should include:
Proposals should be e-mailed to both series editors by the end of March and for further information regarding submission please contact J.Tormey@lboro.ac.uk and G.Whiteley@lboro.ac.uk.
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[from H-ARTHIST, 1/17/12]
Sammelband für die Teilnahme von NachwuchswissenschaftlerInnen - mit begleitendem Kolloquium zum Thema: "Wechselbeziehungen zwischen Text und Bild - Komplementarität, kultureller Bezug, Analogie"
In diesem Sammelband und dem für Juni/Juli 2012 an der Humboldt-Universität anberaumten Kolloquium für NachwuchswissenschaftlerInnen (es schliesst an das Kolloquium "Die Schrift findet zum Bild" (im Juni/Juli 2011) an), wird den verschiedenartigen Wechselbeziehungen und -wirkungen von Texten und Bildern nachgegangen. Ein erster Überblick über vielfältige inhaltliche und formale Varianten von Beziehungen zwischen literarischem Text und gemaltem Bild ergab eine Unterteilung in komplementäre und symbiotische "Schreibweisen". Vertiefend und erweiternd soll nunmehr drei Ansätzen einer Betrachtung Raum gegeben werden:
1. Der Untersuchung "komplementärer" (kompensatorischer) Beziehungen zwischen Text und Bild, innerhalb derer sich Bild und Text nicht entsprechen, sich nicht ergänzen oder erklären (wie Bibelillustrationen, Emblemata, Merkbilder), aber dennoch aufeinander bezogen sind, in Abhängigkeit stehen bzw. sich zu einer Synthese oder Symbiose erweitern. Es geht um dialektisch angelegte Überschreitungen der Grenzen von Ausdrucksweisen im jeweiligen Medium, indem komplementäre (kompensatorische) Ausdruckspotentiale der jeweils anderen Gattung einbezogen werden. "Sinn" oder "Bedeutung" des schriftstellerisch-bildnerischen Verbundes oszillieren zwischen den beiden Medien, ergeben sich aus der gegenseitigen Beeinflussung und Erweiterung. Gefragt wird hier nach intermedialen Verschränkungen sowie ob diese möglicherweise genderspezifisch zu differenzieren sind. Keines der Medien ist vorrangig; sie stehen in einer nicht-hierarchischen Beziehung zueinander. Beispiele für gattungsübergreifende Fusionen finden sich bei Else Lasker-Schüler, Unica Zürn, Friederike Mayröker, Frida Kahlo.
2. Ein weiterer Ansatz der Betrachtung soll sich auf die Verbindung von getrennt entstandenen Texten und Bildern beziehen, die allerdings kulturell verhafteten Prinzipien einer Wechselwirkung unterlagen. Hier wären geistes- und kulturgeschichtlichen (literarischen, philosophischen, künstlerischen) Zusammenhängen nachzugehen, transmediale Einflüsse und Übereinstimmungen zu erkennen, d.h. auch ein Netzwerk von Bezügen (anhand von Quellenstudien) zu erarbeiten. Es könnte gezeigt werden, wie Werke der bildenden Kunst bzw. der Literatur nicht selten unlösbar im Zusammenhang der aktuellen Kulturszene (ent-)stehen, wie hier auch (weibliche) Genealogien (Bezüge zwischen LiteratInnen und KünstlerInnen) auszumachen sind. Vergleichende Analysen von Texten und Bildern zielen darauf ab, ihre kulturelle, auch genderspezifische Zusammengehörigkeit festzustellen. Herausragend sind hier die Beiträge von Reinhard Brandt (Philosophie in Bildern) über u.a. Las Meninas von Velazquez oder Die Schule von Athen von Raffael.
3. Darüber hinaus fordern "analogische" Entsprechungen zur Diskussion heraus: Selbst wenn Text und Bild unvergleichbarscheinen, möglicherweise verschiedenen Epochen angehören, können sie auf analoge Ausdrucksintentionen verweisen. Als Beispiel sei die Darstellung des Ehebruchs in Madame Bovary genannt, den Flaubert literarisch verhüllt, ebenso wie Jan Vermeer van Delft in seinem Bild Das Glas Wein den Moralbruch der Verführung der Dame durch den Kavalier. Der Fokus der Betrachtung läge hier auf-eventuell auch genderspezifisch zu differenzierende-Darstellungstechniken zum Beispiel des Unausgesprochenen oder Nicht-Dargestellten. Fragen ergeben sich, wie anhand der medial zu unterscheidenden Darstellungsweisen ein gleicher künstlerischer Ausdruck (z.B. des "Innehaltens", einer "Anspannung", eines "Moments höchster Dramatik") erzeugt wird. Bei einem solchen Vorgehen wären die unterschiedlichen Ausdruckspotentiale von Literatur und bildender Kunst exemplarisch an ihrer zeitlosen Gegenüberstellung bewußt zu machen. Die sich ergebenden Parallelen beruhen nicht zwingend auf einer wechselseitigen Rezeption, vielmehr auf Konstanten bzw. Grundstrukturen der literarischen und bildkünstlerischen Produktion.
InteressentInnen am Sammelband (2 Bände) und/oder Kolloquium nehmen bitte Kontakt auf mit:
Professor Dr. Renate
Philosophische Fakultät II
Unter den Linden 6
tel +49 (0)30-2093-5146; 30-2123-2668
Philosophische Fakultät II
Unter den Linden 6
tel +49 (0)163 574 11 17
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[courtesy of M. Schimmelpfennig, 2/9/12]
Theoretical Studies in Literature and Art (TSLA), which was initiated in 1980 and published bimonthly, is one of the most highly ranked academic journals in China that publish original research articles in arts and humanities, especially in literary theory. From 2012 year onwards, TSLA will publish original academic articles that are written in English. Articles that deal with any issues in literary theory, critical theory, aesthetics, philosophy of art, cultural studies will be welcome. Discussions of Asian issues, particularly issues concerning China are encouraged but not required.
The length of papers should be about 6000-12000 words and in MLA format. The papers will be peer-reviewed, and the final decision about publication will be notified in four months. Authors can send e-mails to inquire the status if they receive no feedback in two months.
Queries and contributions can be sent to firstname.lastname@example.org. Contributions must be sent as attachments in either rtf(s) or Word 97-2003 file(s) with "contribution from xxx (i.e. your name)" as the subject heading.
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[courtesy of K. Burnett, 2/16/12]
The Journal of the Royal Asiatic Society China in Shanghai publishes original research articles of up to 10,000 words (shorter articles are also welcome) on Chinese culture and society, past and present, with a focus on mainland China. Original articles, which will be peer-reviewed, must be previously unpublished, and make a contribution to the field. The Journal encourages contributions from both inside and outside the academy, and also accepts for consideration material that falls outside the boundaries of traditional scholarship including, but not limited to, photo-essays, interviews, translations, maps, essays. The Journal also publishes timely reviews of books on all aspects of Chinese history, culture and society.
All material should be submitted as an electronic attachment to the editor. A separate cover sheet should include the following:
Title of work
Contributor's name and contact information
Abstract of up to 300 words
For peer review, the main body of the text should not include the author's name. Text should be double-spaced, left-aligned, 12pt, in an easily read font such as Times New Roman, and paginated. The first line of paragraphs should be indented.
Illustrations should be high quality JPEG or TIFF files, and able to reproduce well in black and white. Authors are responsible for securing copyright permissions, and for any associated costs.
Submissions will be acknowledged by e-mail. Original articles that in the opinion of the editor (working with the editorial advisory committee) make a significant contribution to the field will be sent to one independent peer reviewer. The Journal operates a "doubleblind" system of review which means that neither the reviewer nor the writer is informed of the other's identity. Following peer review, an article may be accepted, accepted with revisions, or declined.
Authors of accepted original articles will be sent a proof before publication. This is for final checking only, as no substantial revisions are possible at this stage.
The journal uses British English. For punctuation, vocabulary and Romanization of Chinese, please refer to the Hong Kong University Press Style Manual.
Notes should appear at the end of the article, and be formatted according to The Chicago Manual of Style. The notes and bibliography system, or the author-date system may be used according to whether your paper falls into the category of humanities, or physical/social sciences. A quick guide is available at http://www.chicagomanualofstyle.org/tools_citationguide.html.
For archival sources, please follow the format requested by the repository.
The editor welcomes enquiries at email@example.com.
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[from H-ASIA, 1/26/12]
I have recently agreed to assume the co-editorship of the journal Asian Ethnology. Asian Ethnology is a semi-annual, peer-reviewed journal dedicated to the promotion of ethnographic and ethnological research on the peoples and cultures of Asia. Though rendered entirely in English, the journal draws manuscript submissions from across Asia and Europe as well as North America. Topically, it occupies a special niche located at the intersection of Anthropology, Folklore, and Asian Studies. The journal has been particularly instrumental in bringing the important work of Asian scholars (that is, scholars of Asian nationality) to the attention of an English readership, thereby helping to mitigate Western domination of the global academic arena.
Formerly called Asian Folklore Studies, the journal was founded by Austrian ethnologist Matthias Eder in Beijing, China in 1942. Under threat from the Maoist takeover in 1949, Eder relocated to Nanzan University in Nagoya, Japan, from where the journal has been based ever since. We are especially interested in submissions on the following topics:
narratives, performances, and other forms of cultural representations
popular religious concepts
vernacular approaches to health and healing
collective memory and uses of the past
cultural transformations in diasporas
Generally, each issue of the journal contains at least one or two articles on the South Asian region, so we encourage you to submit your work to us. We also encourage thematic issues (e.g., an issue on Chinese folklore guest edited by Thomas DuBois is forthcoming). More information on the journal can be found on the home page.
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[from H-ARTHIST, 4/16/12]
"Studies in Art Historiography," published by Ashgate, welcomes contributions from architectural historians. Much recent historiography has focused on scholars of "Art History" but many of these made considerable contributions to architectural history, from Heinrich Wölfflin whose Renaissance und Barock is essentially architectural history, to Rudolf Wittkower whose impact is usually assessed in relation to the architectural profession and Modernist architecture. Cornelius Gurlitt, Geoffrey Scott, Hans Sedlmayr, Nikolaus Pevsner, Colin Rowe, Venturi and Scott Brown are just some of the names that come to mind and Studies in Art Historiography welcomes proposals for volumes dedicated to relevant themes in architectural historiography as well as individual studies of significant figures in the field.
More information about our book series and submission guidelines are available at http://arthistoriography.wordpress.com/studies-in-art-historiography-submission-guidelines/.
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[from H-ARTHIST, 3/3/12]
Digital Humanities Research and Publication in NCAW
Nineteenth-Century Art Worldwide has received a grant from the Mellon Foundation for a three-year capacity-building initiative to maximize the possibilities of the journal electronic delivery. With this in mind, NCAW is soliciting potential articles that take full advantage of new web technologies either in the research or the publication phase, or both. The Mellon grant is intended to help authors in the development phase of their articles as well as to aid NCAW in the implementation phase. NCAW is seeking scholarship that engages in one or more of the following, interrelated areas of investigation:
Data Mining and Analysis:
Use of data analytics programs (e.g., SEASR, Network Workbench) to investigate connections among particular groups or individuals, such as artists, writers, art dealers, art markets and other networks of exchange (social networks). See for example "Mapping the Republic of Letters," produced by researchers and technologists at Stanford University.
Geographic Information Systems (GIS) and Mapping:
Use of maps in concert with data sets (e.g., depictions of sites, location of objects, paths of travel) in order to investigate and communicate change over time and space. The website for the project "Imago Urbis: Giuseppe Vasi's Grand Tour of Rome," for example, links Giambattista Nolli's 1748 map of Rome with vedute created by Vasi, providing insight into the vedutismo tradition as well as the urban development of Rome in the eighteenth century.
High-Resolution imaging and dynamic image presentation:
Use of panoramic and/or high-resolution imagery to view, for example, panoramas, conservation images (x-ray, infrared reflectography), moving images. The QTVR panoramas of world architecture produced by Columbia University, are an example of the kind of image viewing interface that could be used in support of scholarship on, for example, panorama paintings or large-scale architectural installations.
Authors are not expected to have extensive technical expertise themselves; instead NCAW will work with them to help in realizing the computing aspects of their project. Authors should, however, be generally knowledgeable about the technological possibilities related to their project and should be able to articulate how both specific computer-based research methods and the online publication format connect with the research questions on which their project focuses. In addition, authors should expect to collaborate with technical experts on the realization of their projects. To this end, proposals which give some indication of how authors envision working with such experts, or which identify specific collaborative partners will be preferred. Finally, proposals should outline projects which are relatively small-scale, able to be realized within a time span of about three to six months and requiring around 100 hours of development work.
Interested contributors are asked to submit a 500-word abstract that describes the author's (or authors') project and explains how it fits within the areas described above and why advanced computing technologies are necessary for conducting this research and/or for presenting the resulting scholarship. In addition, they are asked to provide a short CV and a budget. For further information or to submit an application for funding, e-mail to Petra Chu and Emily Pugh.
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[courtesy of R. Woodfield, 3/6/12]
The Journal of Art Historiography is an Open Access journal that exists to support and promote the study of the history and practice of art historical writing. The historiography of art has been strongly influenced by traditions inaugurated by Giorgio Vasari, Winckelmann and German academics of the nineteenth and early twentieth centuries. Consequent to the expansion of universities, museums and galleries, the field has evolved to include areas outside of its traditional boundaries.
There is a double danger that contemporary scholarship will forget its earlier legacy and that it will neglect the urgency and rigour with which those early debates were conducted. The earlier legacy remains embedded in ‘normal' practice. More recent art history also stands in need of its own scrutiny. The journal is committed to studying art historical scholarship, in its institutional and conceptual foundations, from the past to the present day in all areas and all periods.
This journal will ignore the disciplinary boundaries imposed by the Anglophone expression "art history" and allow and encourage the full range of enquiry that encompassed the visual arts in its broadest sense as well as topics now falling within archaeology, anthropology, ethnography and other specialist disciplines and approaches. It will welcome contributions from young and established scholars and is aimed at building an expanded audience for what has hitherto been a much specialised topic of investigation.
Besides articles, it will accept notes, reviews, letters, bibliographical surveys and translations. It will be published every June and December and include both peer-reviewed and commissioned contributions.
It will be the first contemporary journal dedicated specifically to the study of art historiography and its ambition is to make it the point of first call for scholars and students interested in that area. It is being supported by the Department of the History of Art at the University of Birmingham. In collaboration with Ashgate it also publishes Monographs in Art Historiography.
Editor: R. Woodfield
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[from H-ASIA, 3/11/12]
The Journal of Chinese Military History, edited by David A. Graff and David Curtis Wright, is a peer-reviewed semi-annual from Brill that will begin publication in 2012. It publishes both research articles and book reviews, aiming to fill the need for a journal devoted specifically to China's martial past. It takes the broadest possible view of military history, embracing both the study of battles and campaigns and the broader, social-history oriented approaches that have come to be known as "the new military history," and it covers all of the Chinese past, from prehistory through the pre-imperial and imperial periods down to the present day, aiming to publish a balanced mix of articles that represent a variety of different approaches and address both the modern and pre-modern periods of Chinese history. The Journal of Chinese Military History also welcomes comparative and theoretical work, as well as studies of the military interactions between China and other states and peoples, including East Asian neighbors such as Japan, Korea, and Vietnam.
Manuscripts for articles should be between 7,500 and 20,000 words, double-spaced, and submitted electronically as MS Word documents.
Article submissions may be
sent to either of the editors:
David A. Graff (Kansas State University)
David Curtis Wright (University of Calgary)
If you are interested in reviewing books for the journal, please contact the Book Review Editor, Kenneth M. Swope (Ball State University).
Yingcong Dai (William Paterson University)
Nicola Di Cosmo (Institute for Advanced Study)
Xiaobing Li (University of Central Oklahoma)
Peter Lorge (Vanderbilt University)
Arthur Waldron (University of Pennsylvania)
Peter Worthing (Texas Christian University)
Robin D.S. Yates (McGill University)
Xiaoming Zhang (U.S. Air War College)
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[from H-ASIA, 4/18/12]
We are pleased to announce the launch of the Journal of the British Association for Chinese Studies (JBACS, ISSN 2048-0601), the new official journal of the British Association for Chinese Studies (BACS).
This is a peer-reviewed e-journal publishing original and innovative research in the multidisciplinary field of Chinese Studies, with articles in a wide range of subject areas--history, economics, politics, society, archaeology, language, literature, philosophy, culture, gender, international relations and law--relating to modern and pre-modern China.
We welcome submissions from all scholars with a focus on China, including items that cross disciplinary boundaries or do not otherwise match the subject areas listed above. All research articles in this journal undergo rigorous peer review, based on initial editor screening and anonymous double-blind refereeing by two referees. If you would like to submit an article or a book review, please check the submission guidelines available on our website. All queries and material should be submitted by e-mail [to] firstname.lastname@example.org.
Don Starr (Durham University)
Sarah Dauncey (University of Sheffield)
Tim Barrett (School of Oriental and African Studies)
Robert Bickers (University of Bristol)
Harriet Evans (University of Westminster)
Stephan Feuchtwang (London School of Economics)
Natascha Gentz (University of Edinburgh)
Michel Hockx (School of Oriental and African Studies)
Rana Mitter (University of Oxford)
Roel Sterckx (University of Cambridge)
Tim Wright (University of Sheffield, Emeritus)
Shujie Yao (University of Nottingham)
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[from H-ASIA, 5/22/12]
Cross-Currents: East Asian History and Culture Review (e-ISSN: 2158-9674) is a peer-reviewed quarterly online journal that uses new technologies to facilitate a dialogue among East Asia scholars around the world that is enhanced by audio-visual and multilingual features. The e-journal is embedded in a web-based platform with functions for collaboration, discussion, and an innovative editing and publishing process. The semi-annual print issues of Cross-Currents (ISSN: 2158-9666) published by University of Hawai'i Press feature articles and review essays that have been selected from the journal's online counterpart for their scholarly excellence and relevance to the journal's mission.
Cross-Currents offers its readers up-to-date research findings, emerging trends, and cutting-edge perspectives concerning East Asian history and culture from scholars in both English-speaking and Asian language-speaking academic communities. A joint enterprise of the Research Institute of Korean Studies at Korea University (RIKS) and the Institute of East Asian Studies at the University of California, Berkeley (IEAS), Cross-Currents seeks to balance issues traditionally addressed by Western humanities and social science journals with issues of immediate concern to scholars in China, Japan, Korea, and Vietnam. This English-language journal includes scholarship on material from the sixteenth century to the present day that has significant implications for current models of understanding East Asian history and culture. An editorial board consisting of established scholars in Asia and North America provides oversight of the journal, in collaboration with two faculty co-editors (one each at Korea University and UC Berkeley).
The editors invite online submissions of original, unpublished research articles. The submission process and complete information about manuscript preparation can be found at http://cross-currents.berkeley.edu/e-journal/authors. Cross-Currents also features photo essays, review essays, annotated bibliographies, and summaries of important recent publications in C/J/K/V. We welcome proposals for these categories as well.Requests for further information may be directed to the managing editor.
Keila Diehl, Ph.D.
Cross-Currents: East Asian History and Culture Review
Institute of East Asian Studies
University of California, Berkeley
2223 Fulton Street, 6th Floor
Berkeley, CA 94720-2318
tel (510) 643-5104
fax (510) 643-7062
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[from H-NET, 3/13/13]
Journal of Asia Pacific Studies (JAPS) is calling for papers for the May issue. JAPS is a peer-reviewed academic journal published in Florida, USA. The journal is published both in print and online. JAPS is indexed by EBSCOhost and other prestigous databases.
Editor in Chief
Journal of Asia Pacific Studies
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[courtesy of S. Abe, 6/5/12]
Dear Colleagues and Friends,
I would like to update you on some new developments in Archives of Asian Art:
Editor and Chair of the Editorial Board
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[from H-ASIA, 6/12/12 and 7/11/12]
Dissertation Reviews is a website that features friendly, non-critical overviews of recently defended and unpublished dissertations. Dissertation Reviews currently covers 15 fields, including Chinese History, Japan Studies, Korean Studies, South Asian Studies, Southeast Asian Studies, Inner Asian Studies, Tibetan and Himalayan Studies and many more.
The goal of the site is to offer all scholars a glimpse of the "immediate present" of the field. Rather than reviewing monographs, the publication of which may take a number of years after the completion of a project, the site is dedicated to examining what is happening right now in the field.
The Asia-related branches of Dissertation Reviews are currently seeking new dissertations to be featured in the 2012-2013 season. If you would like to have your dissertation reviewed (2011 defense onwards), or would like to contribute a review, please contact us at: email@example.com. For more details, please visit the sites below:
Overview of the Site
"Dissertation Reviews: An Introduction" by Thomas Mullaney
If you work in any of the fields listed below, and have recently spent time/will spend time conducting research in archives, libraries, special collections, museums, private collections, etc., please contact us at firstname.lastname@example.org.
- Asian Art History
- Chinese History
- Inner Asian Studies
- Islamic Studies
- Japan Studies
- Korean Studies
- South Asian Studies
- Southeast Asian Studies
- Tibetan and Himalayan Studies
Editor-in-Chief: Thomas Mullaney
Managing Editor: Leon Rocha (University of Cambridge)
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[from H-ASIA, 7/11/12]
Intellectual history has long held a central place in the scholarly traditions of France, Germany, and Britain, as well as China. The new journal Intellectual History aims to promote this disciplinary field in the world of Chinese-language scholarship, especially that of Taiwan, though we will also publish English-language articles. We hope to stimulate thinking about intellectual history in the broadest terms and to encourage a community of scholars to forge closer ties.
The new journal is interested in the processes by which individual texts and particular systems of thought have been made, developed and appropriated in different civilizations at different periods of history. In this context the word 'text' will be taken to cover philosophical, scientific and literary texts, art objects, music, experimental instruments, and etc. Intellectual History will be open to all contributions that touch upon the development of thought in China and in the rest of the world, and that consider theoretical and methodological issues. We welcome contributions that report findings of historical investigations and of textual analyses; moreover, we especially welcome innovative and suggestive approaches to new research topics of historical interest.
Intellectual History's inaugural issue will be published by Lianjing Publishing Company in the spring of 2013. The journal will publish semi-annually in Chinese and English. Chinese style sheet: please see Xinshixue; English: please see Modern Intellectual History. Paper submissions and queries to: email@example.com.
Editors: Chen Jeng-guo (Academia Sinica), Lu Miawfen (Academia Sinica), Carl K. Y. Shaw (Academia Sinica), Peter Zarrow (Academia Sinica)
Advisory board: David Armitage (Harvard), Peter Bol (Harvard), Chang Hao (Hong Kong University of Science and Technology), Chen Ruo-shuei (Taiwan University), Benjamin Elman (Princeton), Ge Zhaoguang (Fudan), Knud Haakonssen (University of Sussex), Huang Chin-hsing (Academia Sinica), Jonathan Israel (Institute for Advanced Studies, Princeton), Lin Yusheng (University of Wisconsin), Luo Zhitian (Sichuan University and Peking University), Murata Yujiro (University of Tokyo), Nicholas Phillipson (Edinburgh University), Wang Fan-sen (Academia Sinica), Yu Ying-shih (Princeton)
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[from Asian Archaeology, 1/16/12]
Asian Archaeology is an annual journal that is sponsored by Research Center for Chinese Frontier Archaeology (RCCFA), Jilin University (the Key Institute of Humanities and Social Sciences granted by the Ministry of education, PRC). The first issue will be published in 2012.
Asian Archaeology is an academic English journal that publishes original papers on the new discoveries, achievements and viewpoints of Chinese archaeology, also concerning the new discoveries and research of other parts of Asian and Oceanian areas, mainly for overseas scholars. Asian Archaeology will draw up the four columns or theses as follows:
1) Chinese archaeology. It includes reports and research of new archaeological materials in Chinese archaeology.
2) Asian archaeology. It includes the new discoveries and research of other parts of Asian and Oceanian areas.
3) Archaeological sciences. It includes new archaeological methods, theories, and practice on various subdisciplines of, archaeological sciences, including Archaeometry, Zooarchaeology, Paleoethnobotany, Physical Anthropology, Environmental Archaeology, Molecular Archaeology, Biochemical Archaeology, and so on.
4) Newsletters. It includes the important new discoveries of China and other parts of Asia.
We accept English manuscripts that are best about 8,000 to 10,000 words in length (including figures and references). A manuscript should be prepared with an abstract (about 600 words), a list of five keywords and a brief introduction of authors. The Manuscripts are contributed by bidirectional Anonymous Paper Reviewing System. If the manuscript is printed, author will be presented five sample journals and copyright royalties.
E-mail for submission: firstname.lastname@example.org
Correspondence should be
Research Center for Chinese Frontier Archaeology (RCCFA)
(No. 244, Kuangyaming Building, Qianwei Campus), No. 2699
tel +(86) 431-85166321
fax +(86) 431-85166320.
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[from H-NET, 11/29/12]
A new quarterly journal is to be launched by Brill: The Journal of Jesuit Studies. Each issue of the journal will contain an extensive review section that looks at all aspects of Jesuit history (from the sixteenth century to the present day, and in all corners of the globe), as well as books that explore the Jesuit role in the arts and sciences, theology, education, literature, and the many other avenues of Jesuitica. We will also include numerous reviews on the broader history of post-1500 Christianity and other related topics.
Publishers are invited to send copies for review consideration to the following address:
Journal of Jesuit Studies
Department of Theology and Religion
Durham DH1 3RS
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[from H-NET, 11/27/12]
The Buddhist College of Singapore has just launched a new peer-reviewed Chinese & English journal of Buddhist Studies, the Singaporean Journal of Buddhist Studies. The first issue is to be published in a year or so, after that it will be published twice a year.
It accepts unpublished research papers on all aspects of Buddhist Studies. Interested scholars can send their work to email@example.com.
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[from H-ARTHIST, 12/17/12]
Die Diskussion um Kunst und Öffentlichkeit ist zurzeit nicht nur in Zürich sehr aktuell–Stichwort Hafenkräne!–und trotzdem ist es für Interessierte und Beteiligte schwierig, die Debatten zu verfolgen, da diese in verschiedenen Kontexten stattfinden und in unterschiedlichen Medien publiziert werden. Common, das neue Journal für Kunst im öffentlichen Raum, soll dieses Defizit beheben, indem es die unterschiedlichen Diskussionen zu Kunst und Öffentlichkeit bündelt und einem breiten Publikum vermittelt.
Kunst im öffentlichen Raum hat in den letzten Jahren stark an Aufmerksamkeit gewonnen: sie fällt auf, polarisiert, wird öffentlich (und meist kontrovers!) diskutiert. Dank ihrer Situationsbezogenheit, Einzigartigkeit und Exklusivität haben sich künstlerische Projekte im öffentlichen Raum als vielseitig verwendbares Instrument erwiesen, das von der öffentlichen Hand und von Privaten als Fördermittel und Aufwertungsmassnahme, für Standortmarketing und Werbung, aber auch zur Identitätsstiftung eingesetzt werden. Allerdings sind Informationen zu Kunstprojekten, die in Sphären des Öffentlichen stattfinden, nur mühsam auffindbar. Sie werden nur punktuell publiziert und sind vorwiegend in der Tagespresse, oder in Eigenpublikationen der Firmen oder der öffentlichen Hand zu finden. Es fehlt eine Plattform, welche die Projekte und Diskussionen bündelt und vermittelt.
Common ist ein unabhängiges, internationales Webjournal, das sich mit Fragen um künstlerische Verfahren in Sphären des Öffentlichen beschäftigt. Es schafft eine interdisziplinäre Plattform für einen kritischen Diskurs über theoretische und praktische Konzepte von Kunst, die sich engagiert mit dem Öffentlichen auseinandersetzt. Common besteht aus einem Journalteil mit redaktionell betreuten Beiträgen, in denen AutorInnen das Thema reflektieren, und aus einem Diskussionsteil, in welchem die Texte durch ein breites Publikum kommentiert werden und so das Thema erweitert wird. Common wird von Michèle Novak (Editor) herausgegeben; das Journal erscheint dreimal jährlich in digitaler Form und einmal als gedruckte Jahresausgabe im Verlag Buch & Netz.
Common interessiert sich für Projekte, die einen Beitrag zur öffentlichen Verhandlung des gemeinsam Genutzten, des Zusammenlebens, sowie der Funktion, Ästhetik und Bedeutung des Öffentlichen leisten und darüber hinaus eine neue Sicht, Öffnungen oder Verschiebungen der Praxis und der Nutzungen des Stadtraumes beabsichtigen. Experten und Akteure aus den Bereichen Bildende Kunst, Theater, Musik, Architektur, Landschaftsarchitektur, Stadtentwicklung, Humangeographie, Soziologie und Philosophie bringen ihre Perspektiven ein und denken kritisch mit. Common interessiert sich für eine Durchlässigkeit der disziplinären Diskurse, für die Verdichtung und Reibung verschiedener Konzepte und Herangehensweisen. Wir nehmen aktuelle Tendenzen auf, arbeiten am Topos des "Öffentlichen Raumes" und an der entsprechenden Begriffs- und Themenbildung.
Common widmet sich jeweils einem aktuellen Thema, das breit und kontrovers diskutiert wird. Akteure und Interessierte aus unterschiedlichen disziplinären Blickwinkeln beschreiben, reflektieren und diskutieren Projekte, Verfahren, Konzepte und Theorien. Sie denken mit an der Entwicklung und Umsetzung von neuen Ideen für den öffentlichen Gebrauch. Der englische Begriff "common" verweist mit seinem Wortsinn auf das Gemeinsame, Alltägliche und auch Gebräuchliche, welches im Sinne der weiteren Bedeutung des Wortes, der Allmende, reflektiert wird.
Anfang Dezember wird die erste Nummer des interdisziplinären Onlinejournals Common–Journal für Kunst & Öffentlichkeit aufgeschaltet. Aus der Perspektive von Bildender Kunst, Landschaftsarchitektur, Musik und Theater wird darin zum Thema "Ideologien der Kompensation–künstlerische Verfahren im öffentlichen Gebrauch" berichtet und diskutiert. Wenn künstlerische Projekte im öffentlichen Raum stattfinden und öffentliche Sphären suchen, dann stehen immer auch Ideologien als Herkunft und Motivation der engagierten Positionen und Projekte im Hintergrund. Mit welchen inneren Bildern von Raum, Öffentlichkeit und Gesellschaft werden Künstler aktiv? Welches sind die Konzepte und Entwürfe hinter der Analyse und künstlerischen Bearbeitung der vorgefundenen Situation? Und was sind die Ziele eines Projektes am spezifischen Ort? In dieser Ausgabe werden daher Ideologien als Engagement für eine jeweils spezifische Öffentlichkeit verstanden; und Kompensationen sind entweder selber Korrektive und Veränderungen oder können solche initiieren. Kompensation wäre in diesem Zusammenhang also weniger als Ausgleich, sondern eher als Erweiterung, Verschiebung, Neubewertung und Veränderung des Vorgefundenen zu verstehen. Dies ist vielleicht auch der Grund, warum das Kompensatorische so wunderbare Überraschungspotentiale in sich birgt.
Kontakt und Chefredaktion:
tel +41 (0)78 761 92 72
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[from H-ASIA, 12/20/12]
The University of San Francisco Center for the Pacific Rim is pleased to announce the call for papers for Asia Pacific: Perspectives. The editors welcome submissions from all fields of the social sciences and the humanities that focus on the Asia Pacific region, especially those adopting a comparative, interdisciplinary approach to issues of interrelatedness in the Asia Pacific region.
Asia Pacific: Perspectives (ISSN: 2167-1699) is a peer-reviewed electronic journal published twice a year by the University of San Francisco Center for the Pacific Rim. Our task is to inform public opinion through publications that express divergent views and ideas that promote cross-cultural understanding, tolerance, and the dissemination of knowledge. The journal offers a forum for the exchange of ideas from both established scholars in the field and graduate students.
To submit a paper, Send a single DOUBLE-SPACED copy with any and all inclusions to the editors. Electronic copies must be in MS Word or compatible format; tables, charts or images may be inserted in the text document or be included as separate files. Further guidelines are posted at http://www.usfca.edu/pacificrim/perspectives/. Submissions should be addressed to:
Barnes, Managing Editor
Asia Pacific: Perspectives
The Center for the Pacific Rim
University of San Francisco
2130 Fulton Street
San Francisco, CA 94117-1080.
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[from H-NET, 12/16/12]
Brill has founded a monograph Series of Jesuit Studies.
Associated with the Journal of Jesuit Studies, SJS will target those areas of scholarship on Jesuit history in its broader context that have been lamentably neglected but it will also invite contributions of important but hard to find monographs in other languages, which we shall encourage to be translated.
Contact: Dr. Robert A. Maryks
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[from H-ASIA, 1/6/13]
The American Journal of Chinese Studies is soliciting manuscripts in the humanities (including history, literature, religion, fine arts, philosophy, etc.) that focus on Chinese communities, including mainland China (past and present), Taiwan, Hong Kong and the Chinese Diaspora.
AJCS is a peer-reviewed interdisciplinary journal published by the American Association for Chinese Studies. Past issues have included humanistic work, but the emphasis was on social sciences. The editorial board is looking to increase the number of humanistic papers published in the journal.
For questions about submission and subscriptions contact the journal editor:
Department of Political Science
The University of Texas at San Antonio
San Antonio, TX 78249.
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[from H-ARTHIST, 1/6/13]
The editors of the Journal of Curatorial Studies invite proposals for original research articles on the subject of curating, exhibitions and display culture. The journal also seeks reviews of recent exhibitions, books and conferences.
The Journal of Curatorial Studies is an international, peer-reviewed publication that explores the increasing relevance of curating and exhibitions and their impact on institutions, audiences, aesthetics and display culture. Inviting perspectives from visual studies, art history, critical theory, cultural studies and other academic fields, the journal welcomes a diversity of disciplinary approaches on curating and exhibitions broadly defined. By catalyzing debate and serving as a venue for the emerging discipline of curatorial studies, this journal encourages the development of the theory, practice and history of curating, as well as the analysis of exhibitions and display culture in general.
Potential topics include:
- critical case studies of curators and exhibitions
- curatorial methodologies and transdisciplinary strategies
- curatorial media (e.g., social, digital and virtual)
- the cultural politics of display
- exhibition typologies and histories
- curatorial ethics and aesthetics
- curating and globalization
- para-curating: artworld rituals, openings, tours, prizes
- curating collections, archives and commissions
- display practices in popular and mass culture
The Journal of Curatorial Studies publishes three times a year and considers submissions on a continuing basis. Please send a 250-word abstract and a CV to the editors. Essays run 5-6000 words. Please send submissions and correspondence to the Editors: Jim Drobnick (OCAD University) and Jennifer Fisher (York University).
The first issue of the Journal of Curatorial Studies is available free on-line: http://www.intellectbooks.co.uk/journals/view-Journal,id=205/. Visit the journal on Facebook to keep informed about new developments.
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[from MCLC, 3/16/13]
Eurosinica is a book series for monographs of various thematic focuses, sharing the goal of studying culture and literature in contemporary or historical contexts. The series, under the imprint of Peter Lang, was founded in 1984 by the German sinologist Günther Debon (1921–2005) and the Canadian comparatist Adrian Hsia (1938–2010); so far, thirteen books have been published. While the founding editors placed the emphasis on the transfer processes of classical literary works and motifs between cultures, the continuation of their work requires new approaches.
Rather than operate within the conceptual framework of "cultural dialogue" between an East and a West viewed as distinct entities, the series editors tend to a view of cultures in contact. Eurosinica is accordingly open for studies and interpretation of authors, personalities, genres and individual works committed to an understanding of humanity as a common source of values which, rather than be impeded by cultural, linguistic or ethnic disparity, are being reshaped and reinvented in different settings.
From the basic concept the series' founders have contributed, we will carry on the approach to literature, the arts and history as transnational narratives emerging out of distinct contextualization and relying on as well as contributing to both the European and the Sinic cultural spheres. We explicitly welcome well-argued innovative interpretations of classical works, as we do historical and translation studies. At a time of ongoing global changes of aesthetic and critical paradigms, Eurosinica does not intend to propose the East-West-paradigm as a last refuge for intellectual cultural conservatism, but rather envisages new critical approaches to the sporadic process of aesthetic and historical interactions ("contacts") between formerly allegedly "separated" cultural spheres.
Eurosinica expects to publish between one and two volumes annually and aims for a balance between studies of contemporary or ancient focus. It thereby seeks to counter the trend of separating research on classical and modern issues.
Eurosinica will consider manuscripts in European languages. The series editors and board members are scholars at universities in the Baltic and Nordic countries of Europe, as well as in mainland China, Japan, Taiwan, Hong Kong and Macao. They represent the disciplines of comparative literature, cultural studies and history in European and East Asian languages.
As a series, Eurosinica is directed and managed by AsiaRes, the Baltic Research Center for East Asian studies at the University of Latvia in Riga and the Department of Oriental Studies at Stockholm University). For further information, please write to Eurosinica@asiares.lv or firstname.lastname@example.org.
Frank Kraushaar (Tallinn University; AsiaRes University of Latvia)
Irmy Schweiger (University of Stockholm/Sweden)
He Chengzhou (Nanjing)
Mark Gamsa (Tel Aviv/ Riga)
Sher-shiueh Li (Taibei)
Shu-ching Ho (Düsseldorf)
Lucie Berner (Macao)
Tatsuo Takahashi (Tokyo)
Rossella Ferrari (London)
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[from H-NET, 3/2/13]
The Chinese Buddhist Encyclopedia is a large-scale and vast web project with numerous different aspects and purposes:
1) provide easy access to vast amount of materials for everyone with access to internet
2) create a platform for Chinese and English speaking Buddhists to interact, co-operate, work and study together
3) gather all available existing digitized materials, review them, categorize and post them online
4) collaborate with relevant universities, monasteries, institutions, libraries, museums and individuals from around the globe 5) continue digitizing more materials
6) use the advantages of modern technology to develop different forms of Buddhist education (both on and offline)
7) create a international team of specialists interested in those topics, who would collaborate and meet on regular bases.
The author and main organizer of Chinese Buddhist Encyclopedia is Vello Vaartnou. The CBE project was officially started in December 2012, when Vaartnou presented the idea of the CBE at the ECAI conference in University of California, Berkeley, USA.
We are looking for volunteer editors for the Chinese Buddhist Encyclopedia project. CBE needs a lot of data research and editing. Usually every editor has their own Buddhism-related topic(s) (English and Chinese speakers). Which he/she would gather as much material as possible.
Together we can make a difference and build up huge online Buddhist source. So we welcome everyone who could contribute their valuable time by editing and adding materials from different sources all over the internet. Also we are looking for people who has some computer skills as well do help develop the system little better. There is much work to do so anyone who would like to give their contribution for the Chinese Buddhist Encyclopedia project are most WELCOME to do so.
If you think you want to participate then please visit our http://www.friends-in-dharma.com and http://www.chinabuddhismencyclopedia.com for more information or e-mail email@example.com.
Head of Estonian Nyingma
Perth, Western Australia
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[from H-NET, 4/3/13]
Launching in 2014, the bi-annual academic journal Asiascape: Digital Asia now invites submissions for research articles that explore the political, social, and cultural impact of digital media in Asia. Although we do not exclude scholarship in digital culture and culture studies, Asiascape: Digital Asia's focus is on research from the social sciences, arts, media and communication studies, information and computer sciences, and area studies.
Bringing together state-of-the-art research from these fields, 'Asiascape: Digital Asia' examines the role that information, communication, and other digital technologies play in Asian societies (Japan, the Koreas, China, Hong Kong, Macao, Taiwan, India, Pakistan, Nepal, Sri Lanka, Bangladesh, Myanmar, Laos, Thailand, Vietnam, Cambodia, Malaysia, Singapore, Indonesia, and the Philippines), as well as in intra-regional dynamics and transnational links between the region and other parts of the world. The peer-reviewed journal addresses issues such as:
- media converge in the digital age
- transnational flows of digital culture,
- the politics of network societies,
- online activism and digital challenges to state power,
- the workings of social and participatory media, and
- the dynamics of digital play.
The editors welcome contributions that analyse these issues through research that takes seriously the workings of ICT in different contexts, that critically theorizes such workings, and that is based on authoritative empirical analysis. We particularly encourage inter- and multi- disciplinary research that adopts digital methods, as well as theoretically-minded work that critically explores how ICTs can be understood through the lenses of different realities in Asia.
Asiascape: Digital Asia further welcomes reviews of book on the topics outlined above, with a specific focus on reviews that introduce non-Asian related works and scholars to the area-studies community, and research on Asia to the larger field of digital media and communication studies. In addition, the editors encourage reviews of relevant conferences, as well as of digital platforms and media products from Asia, such as social media websites, video sharing services, games, digital tools, etc.
Manuscript submissions should not exceed a length of 10,000 words, including notes and references. Review articles should not exceed 1,000 words. Asiascape: Digital Asia only accepts English-language articles.
All inquiries regarding article submissions can be addressed to:
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[from H-ARTHIST, 3/8/13]
Architectural Histories, the new open access journal of the European Architectural History Network (EAHN), is now online and open to submissions.
Architectural Histories is an international, blind peer-reviewed scholarly journal that creates a space where historically grounded research into all aspects of architecture and the built environment can be made public, consulted, and discussed. The journal is open to historical, historiographic, theoretical, and critical contributions that engage with architecture and the built environment from a historical perspective.
We invite original contributions of the highest quality from scholars and critics in all stages of their career. The journal especially welcomes contributions that stimulate reflection and dialogue about the place of history and historical research within the varied and multifaceted ways in which architecture and the built environment are studied and debated today, across disciplines, cultures and regions.
We publish scholarly articles as well as position papers, shorter pieces addressing topical issues in our field of interest. For more information and guidelines, please visit journal.eahn.org. To submit a paper, please register for the journal and submit online. Questions and queries may be addressed to the editor-in-chief, Maarten Delbeke.
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[from AAH, 3/12/13]
Third Text is an international art and visual culture journal founded in 1987 and has to date published 121 issues. The journal occupies a forefront position at the research interface of contemporary art practice and critical theory.
Third Text invites submissions of original articles that will contribute radically new perspectives on the global artworld and its challenges to the ecology of contemporary art practices in the aftermath of postcolonial and institutional critiques. The journal welcomes varied explorations of visual art, cinema, video, photography, performance and activist art. Articles of 6000 words are preferred but lengthier ones will be considered on merit. Contributors should consult authors' guidelines on submissions.
Third Text has launched a bi-monthly online platform which also calls for original submissions of articles and reviews (1500 words) to be published under Creative Commons Agreement with authors.
Third Text is a peer-reviewed journal.
Submissions and questions should be addressed to Basia Sliwinska, Associate Editor, at firstname.lastname@example.org.
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[from H-NET, 4/11/13]
ARCHITECTURE_MPS (Architecture, Media, Politics, Society), ISSN 2050-9006
The journal's themes revolve around the relationship of architecture(s) in the politico-media-complex. Areas of interest include (but are not restricted to: architecture, landscape design, urbanism, critical studies, human geography, media studies, design. It is published monthly on-line and has a two yearly print version. It is indexed with all the main databases including Avery Index, EBSCO, ProQuest, Ulrichsweb etc.
In addition to full papers submitted for peer review, abstracts and works in progress will be accepted for initial consideration.
Dr. Graham Cairns
Ravensbourne (University College)
tel +44 (0)20 3040 3500
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[from H-ARTHIST, 5/3/13]
Book series from Ashgate Publishing
Series Editor: Michael Yonan (University of Missouri)
The Histories of Material Culture and Collecting, 1700-1950 provides a forum for the broad study of object acquisition and collecting practices in their global dimensions from the eighteenth through the mid-twentieth centuries. The series seeks to illuminate the intersections between material culture studies, art history, and the history of collecting. HMCC takes as its starting point the idea that objects both contributed to the formation of knowledge in the past and likewise contribute to our understanding of the past today. The human relationship to objects has proven a rich field of scholarly inquiry, with much recent scholarship either anthropological or sociological rather than art historical in perspective. Underpinning this series is the idea that the physical nature of objects contributes substantially to their social meanings, and therefore that the visual, tactile, and sensual dimensions of objects are critical to their interpretation. HMCC therefore seeks to bridge anthropology and art history, sociology and aesthetics. It encompasses the following areas of concern:
1. Material culture in its broadest dimension, including the high arts of painting and sculpture, the decorative arts (furniture, ceramics, metalwork, etc.), and everyday objects of all kinds.
2. Collecting practices, be they institutionalized activities associated with museums, governmental authorities, and religious entities, or collecting done by individuals and social groups.
3. The role of objects in defining self, community, and difference in an increasingly international and globalized world, with cross-cultural exchange and travel the central modes of object transfer.
4. Objects as constitutive of historical narratives, be they devised by historical figures seeking to understand their past or in the form of modern scholarly narratives.
The series publishes interdisciplinary and comparative research on objects that addresses one or more of these perspectives and includes monographs, thematic studies, and edited volumes of essays. A list of current and forthcoming titles in the series can be viewed at http://www.ashgate.com/Default.aspx?page=4163.
Proposals should take the form of either:
1. a preliminary letter of inquiry, briefly describing the project; or
2. a formal prospectus including: abstract, brief statement of your critical methodology, table of contents, sample chapter, estimated word count, estimate of the number and type of illustrations to be included, and a c.v.
Please send a copy of either type of proposal to the series editor and
Professor Michael Yonan
Margaret Michniewicz, Commissioning Editor
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[from H-ARTHIST, 7/11/13]
Museum and Curatorial Studies Review is a new peer-reviewed journal powered by the University of California, Berkeley Electronic Press, and the California Digital Library. Each issue will feature full-length academic articles, exhibition reviews, book reviews and dialogic contributions (such as interviews and open letters).
Volume 1, Number 1 will be published very soon. The editors are now seeking contributions to journal's second issue.
All submissions should be sent electronically in MS Word format and follow The Chicago Manual of Style. The details for each submission type are below:
Article (6,000-9000 words): send a fully drafted, polished version of the paper to be blind peer reviewed.
Interview, open letter, or other conversational piece (2,000-6,000 words): send a 300-400 word proposal for the item [Note: interviewers are responsible for all transcription work]. Final drafts are also welcome.
Exhibition review (1,000-2,500 words): send a 250 word proposal that includes a description of the exhibition you intend to review and a brief discussion of its significance to the field of museum and curatorial studies.
Book review (1,000-1,500 words): send a 250 word proposal that includes a description of the book you intend to review and a brief discussion of its significance to the field of museum and curatorial studies.
E-mail submissions and inquiries to: email@example.com.
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[from H-NET, 4/11/13]
We are delighted to announce the development of the new Intellect East Asian Journal of Popular Culture and to issue a general call for papers. In the last few decades there has been a huge rise in the interest in East Asian popular culture. The East Asian Journal of Popular Culture will be engaging directly with that trend. From film to music; art to translation and fashion to tourism, this journal will offer a forum where multidisciplinary work can come together in new and exciting ways.
The East Asian Journal of Popular Culture is the first academic peer-reviewed journal for scholars, teachers, and students from around the world who have an active and passionate interest in the popular culture of East Asia. The journal is devoted to all aspects of Popular Culture in East Asia. With the growth in popularity of Asian visual products in the Western world and the increasing strength of the Asian markets, this publication fulfils the need for an international journal that allows Western and Asian film, media, literary, music, fashion, digital media, television, art and cultural scholars alike to engage in discussion. The journal encourages articles that are both localised (towards a specific popular culture trend, figure or industry) as well as articles that are more global in their outlook (forging links between East Asian popular culture and wider global issues).
We welcome papers on any of these and related topics. If you would like to submit a paper or contact us about a proposed special edition please e-mail firstname.lastname@example.org or one of the editors for further advice. This journal will also be offering in English reviews of Asian Language publications devoted to popular culture. This will bring Asian-based material via detailed summaries and reviews to an English Language readership. If you are interested in acting as a reviewer or are interested in proposing a book to be reviewed please contact the reviews editor.
Editors: Kate Taylor-Jones (Bangor University), Ann Heylen (National Taiwan Normal University), John Berra
Reviews Editor: Chris Howard (Chongqing University)
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[from H-ASIA, 8/1/13]
It gives us great pleasure to announce the publication of the e-Journal of East and Central Asian Religions (e-JECAR), edited by Ian Astley and Henrik Sørensen, and hosted by the University of Edinburgh, UK. The journal has an international editorial board and submissions will be peer-reviewed. The first volume is scheduled for release in September 2013.
e-JECAR is concerned with the development and interaction of the religious cultures of East and Central Asia, whether historically or in the present. In particular we seek to disseminate original research on primary sources that span geographical and disciplinary boundaries. The work to appear in e-JECAR is of three types: (i) extensive research articles; (ii) essays from emerging scholars, to give (typically) younger scholars the opportunity to present recently completed work (e.g. a doctoral thesis) or to describe new work that they may be embarking on (such as a post-doctoral project or a new database); and (iii) review articles that engage with issues raised by recently published research (please note that we do not publish short, mainly descriptive book reviews).
e-JECAR is published in electronic form only and is offered to the academic community and the general public in the spirit of open scholarship and open-source technology. Authors are encouraged to exploit the opportunities offered by new technology, e.g. in including graphic materials and audio-visual sources that inform their work.
The journal will thus initially have three sections:
We invite substantial studies of topics covered by the journal's remit. Submissions which range across the borders of the countries of East and Central Asia (both historically and in the present) and those which avail themselves of multi-media technology in an innovative manner, are particularly welcome. The first volume will include studies by Friederike Assandri, Stephan-Peter Bumbacher, Carmen Meinert, Licia Di Giacinto, and Henrik H. Sørensen.
2. Emerging Scholars
The purpose of this section is to provide a forum for emerging scholars to present their work (typically but not necessarily work from a recent doctoral thesis) in a manner which is more formal and permanent than short reviews or postings to e-mail distribution lists. It is expected that contributors to this section will have completed their PhD or be in the final stages of completing their doctoral thesis or dissertation. Items will normally be in the region of 3,000 to 5,000 words.
3. Review Articles
Review articles are extended essays which address an issue that features in more than one major study. Whilst submissions may focus on one work, it is expected that authors will write with reference to other relevant studies in the field. We do not envisage publishing brief synopses that address critical issues incidentally. The normal length for items in this section is also 3,000 to 5,000 words.
We have elected to distribute the studies in this journal freely to the scholarly community, under the terms of the Creative Commons licence and in line with the policies of major funding bodies in the UK. Thanks are due to the University of Edinburgh, which is providing the hosting service and technical assistance for setting up and maintaining the site.
Henrik Sørensen and Ian Astley
The e-Journal of East & Central Asian Religions (e-JECAR) ISSN 2053-1079 (Online)
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[from JJA, 8/14/13]
The Japanese Journal of Archaeology (JJA) features peer-reviewed original research and review articles written in English, primarily, but not exclusively, concerning 1) archaeological studies of Japanese archipelago, and 2) archaeological studies of any region and any time-periods in the world undertaken by Japanese archaeologists, their collaborators, scholars who are affiliated with Japanese institutions or scholars who specialise in Japanese archaeology. The Chief Editor welcomes queries about the suitability of manuscripts to the JJA. Please read Notes to Contributors and Style Sheet carefully when you prepare your manuscript.
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[from H-ASIA, 9/26/13]
Transnational Subjects: History, Society and Culture is a journal for cultural and transnational history post-1500. The journal is print and online, and fully peer-reviewed. We invite essays on all aspects of transnational and cultural history (4,000-7,000 words) and shorter report-type articles (less than 3,000 words) demonstrating transnational history work. We also particularly welcome digital submissions, including audio/visual work that would not be suitable for a traditional journal. Digital content will also be peer-reviewed and published on our website. Send proposals to email@example.com.
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[courtesy of J. Kee, 12/1/13]
ARTMargins invites authors to submit full-length articles (maximum 8000 words) for possible publication. Please send inquiries or proposals to the managing editor. All submissions are peer-reviewed.
Published by MIT Press, ARTMargins publishes scholarly articles and essays about contemporary art, politics, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, including Asia. The journal seeks a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in postmodernism and post-colonialism, and their critiques; art and politics in transitional countries and regions; post-socialism and neo-liberalism; and the problem of global art and global art history and its methodologies, among other things.
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[courtesy of R. Eitel-Porter, 2/26/14]
Print Quarterly is the leading peer-reviewed journal dedicated to the art of the print from its origins to the present. The journal, which publishes recent scholarship on a wide range of topics encompassing printmakers, iconography and social and cultural history, would like to encourage original contributions from scholars working on Asian topics.
Recent contributions have included such diverse subjects as Francesco Salviati, the influence of a seventeenth-century fencing manual, Jean-Etienne Liotard, a quiz on an unidentified etching, the collector Pierre-Jean Mariette, Utagawa Kuniyoshi, Whistler, Soviet and Vietnamese posters, Jim Dine, comic strips, Ad Reinhardt, William Kentridge and digital prints.
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[from H-ASIA, 1/14/14]
New Studies of Modern Japan, a book series published by Lexington Books/Rowman & Littlefield and edited by Doug Slaymaker (University of Kentucky) and Bill Tsutsui (Southern Methodist University) invites proposals, inquiries, and manuscript submissions.
New Studies of Modern Japan is a multidisciplinary series that consists primarily of original studies on a broad spectrum of topics dealing with Japan since the mid-nineteenth century. Additionally, the series aims to bring back into print classic works that shed new light on contemporary Japan. The series speaks to cultural studies (literature, translations, film), history, and social sciences audiences. We publish compelling works of scholarship, by both established and rising scholars in the field, on a broad arena of topics, in order to nuance our understandings of Japan and the Japanese. Information on the series is available online at https://rowman.com/Page/LEXSeries.
Prospective authors are encouraged to contact Doug Slaymaker or Bill Tsutsui.
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modified 28 Jun 2014.
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