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.
8-9 May 2015
[from H-Arthist, 7/2/14]
The dynamic relationships between cities and their rivers, a landscape of potentially critical adaptability and resilience, is the focus of the 2015 Garden and Landscape Studies Symposium at Dumbarton Oaks. Building on the emergence of urban humanities and urban landscape history, we propose to consider the urban river as a city-making landscape deserving of careful reading and analysis: past, present, and future.
The subject of this symposium builds on a new multi-year initiative in urban landscape studies, which Dumbarton Oaks is launching in 2015 with support from the Andrew W. Mellon Foundation. Its principal goal is to create a dialogue between designers and scholars to address the landscape consequences of advancing urbanization. With this task in mind, the 2015 symposium aims to bring together the work of contemporary designers with the historical perspectives of scholars, encouraging practitioners and historians to bridge the gaps between their modes of thinking. We consider historians to include those in art history, urban history, and architectural history among others. We would particularly welcome proposals for collaborative or paired presentations by designers and historians working on similar topics or the same city.
Please submit a 300 word abstract to Thaisa Way by September 14, 2014 to be considered for the 2015 Dumbarton Oaks Garden and Landscape Studies symposium: "River Cities: Historical and Contemporary." If accepted, full papers will be due on March 1, 2015 for presentation in May 2015 (most likely May 8-9, 2015). For more information, contact Thaisa Way, University of Washington, (206) 685-2523.
back to page index
36th Annual Conference of the Nineteenth Century Studies Association
26-28 March 2015
[from H-Arthist, 5/16/14]
We seek papers and panels that investigate elements of the material world belonging to the long nineteenth century. Topics may include collecting, possession(s), things and thing theories, realism, hoarding, bric-a-brac, souvenirs, historic houses (interiors and rooms), buildings and "truth to materials," collecting folklore and songs, Atlantic trade, colonial objects, commodity fetishism, animals as things (taxidermy, zoos, taxonomies), people as things (slavery, human zoos, relics, death masks), cabinets of curiosity, closets, antiquities, museum displays, theatrical stages and sets, textures, books and manuscripts as objects, the materiality of texts, art materials, food, fraudulent items or the luxury trade. We invite alternate interpretations of the theme as well.
Please email 250-word abstracts for 20-minute papers along with one-page CVs to the program chairs by September 30, 2014 to email@example.com. Paper abstracts should include author's name, institutional affiliation, and paper title in the heading. We welcome panel proposals with three panelists and a moderator or alternative formats with pre-circulated papers and discussion.
Please note that submission of a proposal constitutes a commitment to attend the conference if the proposal is accepted. All proposals received will be acknowledged, and presenters will be notified in November 2014. Graduate students whose proposals are accepted may, at that point, submit complete papers in competition for a travel grant to help cover transportation and lodging expenses. Scholars who live outside the North American continent, whose proposals have been accepted, may submit a full paper to be considered for the International Scholar Travel Grant (see NCSA website for additional requirements ).
back to page index
20-23 May 2015
[from H-Arthist, 7/11/14]
The conference organized by the Vereinigung der Kunsthistorikerinnen und Kunsthistoriker in der Schweiz (VKKS) in collaboration with the University of Bern, and the ETH Zurich under the aegis of the Comité International de l'Histoire de l'Art (CIHA) takes as its starting point the derivation of the ancient Greek verb krinein ("to divide", "to decide", "to separate"), which relates to both "crisis" and "critique." How can we make fruitful the concept of crisis, which is mainly used in the fields of economy, politics and psychology for the field of art history? What has become of the many cases of crisis–be it art, art history, the museum, the market, etc.–which have been proclaimed during the last decade. Is the idea of the artistic crisis, as a moment of radical change within an individual career, a topos from the historiography of romantic and modernist art, still useful today? Does the notion of political or economic crisis help to understand changes in the realm of art? And can the practice of art criticism and its normative criteria of value and quality, which during the 20th century got separated from the academic practice of art historiography, inspire the methodology of the discipline as a whole?
Proposals from all geographical and temporal areas of art history and related disciplines, which reflect on the theoretical potential or the concepts of critique and crisis, are welcome.
These three documents will be sent by e-mail [by 1st October 2014] to the following address:
1) A proposal for communication, not exceeding 1000 words, in one of the five official languages of the CIHA (German, English, French, Italian, Spanish).
2) A summary in English of the proposal, not exceeding 250 words.
3) A selected Curriculum Vitae.
Peter J. Schneemann (University of Bern; CIHA)
Philip Ursprung (ETH Zurich; CIHA)
Jan Blanc (University of Geneva; VKKS)
Dario Gamboni (University of Geneva)
Andreas Münch, Director of the Federal Art Collection, Bern)
Kornelia Imesch Oechslin (University of Lausanne; CIHA)
Peter J. Schneemann (University of Bern; CIHA)
back to page index
New York University Abu Dhabi
8-10 March 2015
[from H-Arthist, 7/4/14]
Our understanding of the histories and practices of photography is changing as more and more critical attention is being paid to photographic cultures from outside of Europe and North America, and to new forms and functions emergent in a variety of contemporary social and political contexts and digital formats. This conference will bring together up to forty scholars, photographers, curators and archivists from around the world in order to undertake new explorations of photography's past and its present.
Models for global, regional and local histories of photography are being rethought as a growing number of case studies develop our knowledge of previously unexamined or little known traditions as well as individual photographers. New visual vocabularies and practices are being constructed in vernacular, documentary and fine art forms; the same vocabularies and practices can also challenge these very categories and are often characterized by a turn to local histories and mythologies and personal experiences and needs. Emergent nations and cultural groups are using photography to construct their own histories and a sense of shared cultural heritage. At the same time, both photographers and photographs increasingly move between cultures, and the space between the local and the global has become a space of situatedness in its own right.
Documentary photography has been the object of critique but photography committed to human rights or "peace photography" is thriving–not just in new forms but also through new strategies of intervention. The concern with aesthetics has similarly been out of favor in some quarters but there is also a renewed interest in the relationship of aesthetics and ethics.
In such contexts, the work of archives, galleries, photo agencies, festivals and other cultural organizations committed to the photographic image is more important than ever, as is the role of visual education. Where there is little state support for photography, such institutions often carry the responsibility for creating, preserving and disseminating photographic culture.
These are some of the areas and issues the conference aims to examine. The conference will focus in particular on the Middle East, North Africa and Asia. However, work about and from other regions is also welcomed, as are suggestions for other topics.
We invite both scholarly papers as well as presentations by those working with photography outside the academy. The organizers plan to publish a volume of selected papers and presentations. In addition, we would like to gather together important and previously un-translated writings on photography from the non-English-speaking world with a view of publishing an anthology in English. We would very much welcome suggestions and contributions in this area.
All travel, accommodation and subsistence expenses will be covered for all participants presenting at the conference. The conference is funded and hosted by the New York University Abu Dhabi Institute. It is organized in collaboration with the Arab Image Foundation.
Shamoon Zamir (NYUAD)
Issam Nassar (Arab Image Foundation)
Possible topics for proposals include, but are not limited to:
- New visual vocabularies in photography
- Archives & archival practices
- Alternative histories of photography
- Photography & human rights/ "Peace Photography"
- Photography and history
- Photography and aesthetics
- Cross-cultural encounters & movements
- Photographic genres, modes and audiences
- Image & text/the photobook
Proposals for papers or presentations, or for panels should provide as much detail as possible but should not exceed 500 words. Proposals will be reviewed by the principal organizers and an advisory committee. All papers and presentations will be 20 minutes. Submit a 500-word abstract and a 150 word biographical note to Özge Calafato. Proposals should be submitted in the following format:
Name of the author(s)
Telephone and e-mail address
Title of proposal
Body of proposal
DEADLINE FOR SUBMISSION: October 3, 2014. You will be notified by November 7, 2014 regarding the status of your proposal.
back to page index
II CHAM International Conference
15-18 July 2015
[from H-NET, 8/1/14]
It is certainly a commonplace to say that knowledge transfer is never neutral, occurring in specific conditions that interfere in whatever is being transferred, and between subjects formed and conditioned differently, which implies that meanings change while being "transferred". Nevertheless, working on global realities, and being confronted with relationships established diachronically as well as synchronically, we shall question the practices and the concepts that contribute to the way these transfers occur. The II CHAM International Conference, conceived as a starting point of a strategic project on "Frontiers", will discuss "Knowledge transfer and cultural exchanges" from two perspectives, although not necessarily put apart. A methodological and conceptual perspective aims at questioning practices and concepts associated to knowledge transfer: the concept of generation, the concept of network, the concept of learning, the concepts of reception and appropriation, the concepts of "alterity" and cultural areas (hence, cultural frontiers) among others. A historical perspective aims at identifying and discussing specific situations of knowledge transfer, comprehending values, customs, narratives, or scientific knowledge, and taking place in specific institutional, social and cultural realities, including family, school, or whatever exchange space is concerned.
We invite scholars from all humanities and social science disciplines to submit panel proposals on the following themes:
1. New directions in historiography
2. The strength of traditions
3. Identities, heritage and conflict
4. Language, communication, and translation
5. Making sense of the globe: space and territory
6. Networks and cultural power
7. Circulation and consumption of material and visual culture
8. Nature, science and world views
10. Learning: formal and informal
11. Obstacles and constraints to cultural transfer
12. Frontiers: visible and invisible
13. Culture and State
To propose a panel or for more information please visit the conference webpage: http://www.nomadit.co.uk/cham/cham2015/. The call for panels closes on 18th October.
back to page index
Freie Universität Berlin
12-14 February 2015
[from H-Arthist, 9/1/14]
"Situating Global Art" is a conference that aims to interrogate the notion of global art and its current transformation and adaptation in local forms of art practice, display, and artistic critique. The guiding question concerns the mutual constitutions of global art and locality, or the relation between situated, local art practices and the globalization of art.
Since the late 1980s, the term "global art" has come to replace both the notions of "modern art" and "world art" when referring to the visibility of today's art worlds. The discursive shift to global art was accompanied by the emergence of new types of art museums and a proliferation of art events in global cities such as Abu Dhabi, Istanbul, Beijing, or Moscow. In these new kinds of events and institutions, curators and artists seek to break away from the old binaries that have for so long defined the art world: distinctions between modern art and traditional artifact, between the Western center and the Non-Western periphery, or between historical art periods and ahistorical cultural legacies. Transcending these dichotomies, the term global art has been established to call attention to poly-centered, plural, and transnational art worlds under postcolonial conditions. Yet this process of globalizing art can also be criticized for producing its own hegemonic and exclusive effects. A global conception of art leads to a reconfiguration of the global as well as the local, and therefore to new normativities and power relations.
From this ambiguous point of departure, the "Situating Global Art" conference proposes to focus on recent art practices that are connected to the global art discourse while at the same time queering or resisting the new hegemonic narratives produced by that discourse. We would like to scrutinize the dynamics that unfold between the institutionalization of global art in specific sites on the one hand and local art practices on the other. More precisely, we are interested in the mechanisms, conflicts, and struggles that lead to new hegemonies and exclusions. In addition, we would like to ask how alternative articulations of the local, traditional, indigenous, or tribal become means of constituting site-specific versions of the global.
We would like to invite contributions that focus on particular art practices, festivals, or exhibitions, and on the ways in which they adopt, appropriate, transform, or reject the de-colonizing but also re-centralizing effects of a global art discourse.
Please submit your proposal including the title, an abstract (300-500 words) and a short bio before October 20, 2014 to firstname.lastname@example.org.
back to page index
5-9 July 2015
[from H-ASIA, 9/12/14]
Deadline proposals: 30 October 2014
Deadline ICAS Book Prize: 15 October 2014
ICAS 9 Adelaide, South Australia, will be held at the Adelaide Convention Centre from 5-9 July 2015. It will be hosted by an internationally networked team of experts, spearheaded by Adelaide's three leading public universities: University of Adelaide, Flinders University, and the University of South Australia. It is supported by the Asian Studies Association of Australia. 1,500 to 2,500 Asia specialists are expected to attend.
ICAS 9 also incorporates the annual conference of the Australian Political Studies Association (APSA) and the biennial conferences of the Chinese Studies Association of Australia (CSAA), the South Asian Studies Association of Australia, the Malaysia and Singapore Society of Australia. ICAS participants will have automatic right to attend these conference sessions also, providing unprecedented opportunities for networking and new research linkages.
ICAS 9 boasts two new formats aimed at promoting publications/dissertations by convention participants: the Book Presentation Carousel and the PhD Pitch.
Please note that all abstracts and presentations should be in English. Submission of proposals can be made using ICAS 9 registration forms, available from http://icas9.com/abstracts.php. General information about ICAS 9 can be found at www.icas9.com. You can connect with colleagues through our Facebook page www.facebook.com/AsiaScholars, where you can share information or discuss the possibilities of forming a panel.
Participants are expected to fund their own travel and accommodation.
back to page index
25-27 June 2015
[from H-Arthist, 9/21/14]
Colloque international organisé par l'Institut national d'histoire de l'art, l'Université du Québec à Montréal et le LARHRA UMR 5190 de Lyon
La satire, soit l'attaque moqueuse, contestataire ou réformatrice d'un individu, d'un groupe, d'une époque, voire de toute une culture, constitue l'une des armes privilégiées de la fonction critique des images et, au-delà, de l'ensemble des artefacts visuels. Se constituant en genre littéraire dès l'Antiquité, la satire a gagné les beaux-arts et les arts graphiques à l'âge classique, seule ou en conjonction avec l'écrit. Ce sont toutefois les médias modernes - édition, presse, expositions, télévision, internet - qui, en élargissant progressivement sa sphère d'influence, ont renouvelé ses formes et ses objectifs, et augmenté leur efficacité. Autorisant une diffusion planétaire et presque instantanée des images satiriques, internet et les technologies numériques n'ont pas seulement transformé la matérialité et les moyens d'action de cette imagerie et leurs effets socio-politiques, ils ont aussi affecté les formes de la recherche sur le satirique en donnant accès de plus en plus rapidement à des corpus extrêmement vastes. La satire est ainsi partout, et aucun acteur ni canal de diffusion ne peut prétendre désormais en contrôler ses usages généralisés.
Ce colloque porte sur la satire visuelle du 18 e siècle à nos jours, entendue comme genre aussi bien que comme registre, selon que l'on s'intéresse à un type de représentations (caricaturale, en particulier) ou à une veine (le satirique) traversant de multiples champs, parmi lesquels celui de l'art contemporain. Envisagée dans sa visualité même, elle recouvre des objets, particuliers ou partagés, des mécanismes et des effets spécifiques que nous souhaitons interroger à partir des études visuelles.
Pour lire l'intégralité de l'appel à contributions, cliquez ici. Les propositions d'intervention de 30 minutes seront adressées avant le 30 octobre 2014 à email@example.com afin d'être examinées par le comité scientifique. Elles comprendront 500 mots maximum et seront accompagnées d'une courte bio-bibliographie.
back to page index
54th Annual Meeting
University of Virginia
16-18 January 2015
[from MCLC, 7/14/14]
I am delighted to announce that the 54th Annual Meeting of the Southeast Conference for Asian Studies will take place January 16–18, 2015, at University of Virginia. Information about the conference can be found online at: http://www.uky.edu/Centers/Asia/SECAAS/.
Our meeting's success comes from vibrant presentations that reflect the diversity of our research and teaching on Asia. I invite you to participate by submitting a proposal for an individual presentation or a full panel of papers. Proposals must be submitted no later than October 31, 2014. Please use the submission form available on the conference website ("Call for Papers") and e-mail, fax, or post the form to our 2015 Program Chair, Dr. Xiaoyuan Liu. Direct any questions about conference logistics to Dr. Charles A. Laughlin, our local arrangements chair. Refer to the website for information on the conference registration fee, hotels, transportation, and program.
Corcoran Dept. of History
University of Virginia
Nau Hall-South Lawn
Charlottesville, VA 22904
tel (434) 924-6968
Charles A. Laughlin
Local Arrangement Chair
Dept. of East Asian Languages, Literature, & Cultures
University of Virginia
Charlottesville, VA 22904
tel (434) 924-8950
SEC/AAS dues are $20 ($10 for students). Conference participants must be dues-paying members. Please find the membership form on our website (“Membership Information”). Send SEC/AAS dues to:
Dept. of History
6b Faculty Hall
Murray State University
Murray, KY 42071-3341.
All SEC/AAS memberswill receive a copy of the SEC/AAS's peer-reviewed journal the Southeast Review of Asian Studies (SERAS).
Three grants in the amount of $200 are available for graduate students presenting papers. Those wishing to be considered for these grants should note this on their paper proposals. Preference will be given to students in the Southeast regions who must travel more than two hundred miles to attend.
Professor Michel Hockx, the director of the China Institute at SOAS and a professor of Chinese literature, will deliver a keynote speech on "The Internet and Contemporary Chinese Culture" on the evening of Saturday, January 17.
Professor Li-ling Hsiao
University of North Carolina-Chapel Hill
back to page index
[from H-Arthist, 9/18/14]
The Journal of Art Theory and Practice is a peer-reviewed publication. The journal is published twice a year in print and is affiliated with the professional society called Korean Society of Art Theories. In December 2014 we plan to publish a thematic issue: "Mathematics and Visual Images," for which we would like to encourage submissions. We welcome submissions from art historians, critics, artists, curators, philosophers, administrators, and other art scholars and professionals.
The Journal seek[s] discussions on the mathematical implications of visual art in the fabric of art-historical, aesthetical, and theoretical perspectives, the usage of mathematics in the creation of works of art, and a new understanding of art from a mathematical or scientific point of view. Possible discussion includes the relationship between mathematics and arts where technology and electronic media have served as a primary means of expression. The term "arts" is intended to include, but not be limited to, visual art, architecture, film, video art, and new media. All perspectives and methodologies are welcome.
Please send a completed article and a CV (including institutional affiliation and contact information) by October 31, 2014 to firstname.lastname@example.org. Articles in English language only will be considered. Please provide your complete institutional/home address, telephone numbers, fax, email, and short biography in the cover letter. Please refer to the following author guidelines. Decisions on submissions will be announced by November 10, 2014.
Articles should not be more than 5,000 words long including notes, bibliography, and abstract. Use double spacing and Times New Roman 10 points. Use footnotes. Please provide the title of article, the name of the author, the institution at the beginning of the article. Please include your complete institutional/home address, telephone numbers, fax and e-mail. All submissions should be accompanied by a 150-200 word abstract as well as 5 keywords. Please provide bibliography at the end of the article. Follow the Chicago Manual of Style.
Up to a maximum of 15 images can be submitted with the article. JPEG only. Please provide images in a separate file. It is the responsibility of the author to supply all necessary images to the correct specification--300dpi scans, jpeg--and to obtain copyright permission to reproduce the images they wish to use in their article. This permission must be for print reproduction. We cannot reproduce any images without this permission (permission may be in the form of an e-mail, but in all cases must originate from the copyright holder). All images must be supplied with full captions (see below).
All images should be submitted with the following information as a list at the end of the article titled CAPTIONS.: artist's name, title of work--in italic, media, dimensions (h x w cm), date of work, collection (or place of exhibition), i.e.,: Lani Maestro, Cradle, cheesecloth, sisal strings, palm mats, 1618 x 964cm, 1996, collection of the artist (no full stop at end of caption). Indicate in your text the approximate place for an image to appear thus: [IMAGE 1].
back to page index
2015 Tufts University Art History Graduate Symposium
7 March 2015
[from H-Arthist, 10/2/14]
It has been almost 50 years since Guy Debord wrote The Society of the Spectacle and thinkers after him have given various iterations of the influential concept of "spectacle." Can we extend those arguments regarding the role of spectacle in the creation (or destruction?), dissemination, consumption of visual culture from antiquity to the present? The 2015 Tufts University Art History Graduate Symposium invites participants to consider how critical theory shapes historical interpretations of spectacular objects in specific contexts. We encourage submissions that consider how individual artists or institutions use material and visual culture to manipulate audiences through spectacle, as well as the audience responses produced. Submissions that offer contributions to art history, visual culture, literature, cultural studies, and related fields are all welcome.
We invite graduate students to submit a 300-word abstract for a twenty-minute presentation, along with a current CV by October 31, 2014.
All questions and submissions should be sent to email@example.com.
back to page index
AAS-in-ASIA 2015 Conference
22-24 June 2015
[from AAS, 9/8/14]
The AAS-in-ASIA Program Committee seeks proposals dealing with all regions of Asia on subjects covering a wide range of scholarly disciplines and professional fields under the theme "Asia in Motion: Ideas, Institutions, Identities." Proposals addressing this theme are encouraged on topics as diverse as political and economic changes, literary and cultural expression, environmental sustainability, media and pop cultural production, food and energy policy, new models for Asian enterprise and business, as well as issues of globalization and urban growth.
Panels are welcomed from scholars throughout the field of Asian studies, wherever they may be based academically, and are especially encouraged from scholars representing academic communities that are relatively underrepresented in international meetings. One of the goals of this AAS-in-ASIA conference is to foster lines of dialogue and scholarly communication that cross the ordinary (often nation-specific) boundaries of academic networks. The program committee will strongly favor and give preference to proposals that include participants from two or more countries, whether the panel focuses on a single nation or culture or focuses on some comparative dimension. The program discourages panel proposals from a group of scholars coming from the same institution. Generally speaking, panels with diverse (gender, academic rank, national origin, disciplinary approach) participation will be favored over narrowly constructed panels. Panels that address topics of broad relevance will also be preferred.
The deadline for proposal submissions is October 31, 2014 at 5:00 p.m. EST. All proposals must be submitted electronically via the proposal submission website. After submission, your proposal will be forwarded to the Program Committee for review. You will find detailed instructions for submissions below. You may also access detailed information about the conference (FAQs, venue, transportation, program, accommodation, etc.) via the links on the left-hand side menu.
If you have any questions regarding panel participation that are not answered in this Call for Proposals or FAQ, please contact Justin McDaniel.
For technical assistance regarding use of the proposal submission system, please contact the AAS at firstname.lastname@example.org.
back to page index
4th Global Conference
22-25 March 2015
[from H-NET, 10/2/14]
This inter- and multidisciplinary conference focuses on the relationship between the monstrous and the geographic. We welcome proposals by academics, teachers, independent researchers, students, artists, NGOs and anyone interested in manifestations of monstrosity in space. Possible topics may include topics as diverse as ancient burial sites, haunted houses, post-apocalyptic landscapes, and even recent topographical manifestations of the Gaza conflict or the crash site of Malaysia Airlines Flight 17. Even if they no longer bear the physical markers of violence, devastation and human suffering geographical locations are often imbued with memories of horror that are passed on from generation to generation through various textual, audial and visual media.
Apart from historical events of monstrosity the scope of our conference entails imagined monstrosities and future landscapes of annihilation and death. Philosophical discussions are just as much welcome as artistic performances and explorations of literary, filmic or musical case studies of evil and the monstrous. The following questions may trigger ideas for presentations: What is the relationship between evil and the monstrous? Is the monstrous always rooted in the element of evil? Can disasters caused by nature be regarded as evil? Can we talk about geographies of poverty, hunger and homelessness in relation to monstrosity? Can evil and/or monstrosity be immanent to place or are they performed by cultural discourse, rituals and practices of memory? How do the monstrous and the geographic intersect in architecture, the arts, popular culture, politics, and the sciences?
We welcome presentations, papers, reports, performances,
work-in-progress, workshops and pre-formed panels from all academic
disciplines. Presentations may include but are not limited to the
- Unknown worlds
- Dystopic landscapes
- Sites of heterotopia
- Malevolent regions
- Bodies as maps and maps as bodies
- Places of isolation, incarceration and madness
- Places of rituals and incest
- Sites of experimentation
- Evil planets and dimensions
- Worlds as dark reflections/twins of Earth
- Alien landscapes
- Sites of environmental disasters (both natural and manmade)
- Sites of starvation, disaster and pestilence
- De-militarized zones and no-man's lands
- Monstrostiy and liminality
- Religion, ritual and monstrosity
- Haunted sites and spectral spaces
- Sites of conflict and violence
- Terrain vague, abandoned buildings
- The architecture of death and destruction (sites of torture and extermination)
- Geographical manifestations of the uncanny
- Tourism and monstrous geographies
- Monstrous dreamscapes
- Monstrous materialities
- Ethics and morality in relation to monstrosity and evil
- Monstrous geographies of the body and the mind
The Steering Group particularly welcomes the submission of pre-formed panel proposals.
300 word abstracts should be submitted by Friday 31st October 2014. All submissions are minimally double blind peer reviewed where appropriate. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 23rd January 2015. Abstracts should be submitted simultaneously to the Organising Chairs; abstracts may be in Word or RTF formats with the following information and in this order:
b) affiliation as you would like it to appear in programme,
c) e-mail address,
d) title of abstract,
e) body of abstract,
f) up to 10 keywords.
E-mails should be entitled: MG4 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.
The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at the conference must be in English and will be eligible for publication in an ISBN eBook. Selected papers may be developed for publication in a themed hard copy volume(s). All publications from the conference will require editors, to be chosen from interested delegates from the conference.
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/evil/monstrous-geographies/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.
back to page index
Sprengel Museum Hannover
19-20 June 2015
[from H-Arthist, 9/7/14]
Die Tagung widmet sich dem Nachleben von Darstellungstraditionen der Naturgeschichte durch Aneignungen in der Kunst des 20. und 21. Jahrhunderts und damit dem Austausch und der Differenz naturwissenschaftlicher und ästhetischer Bildstrategien. Bei der Wiedergabe und Erfindung von Bildern der Natur haben Künstlerinnen und Künstler bis heute gleichsam als naturkundliche Forscher fungiert. Anders als in der Frühen Neuzeit, in der vor allem die mimetische Dokumentation und Idealisierung der Naturbereiche eine vordergründige Rolle spielte, gewann vor allem seit Beginn des 20. Jahrhunderts die ku?nstlerische Imagination mit ihren Adaptionen und Neuschöpfungen an Bedeutung, gestaltete den Bildinhalt mit und gab neben einer forschenden Herangehensweise auch Fiktionen der Naturgeschichte Raum.
Ziel der Tagung ist es, die Verbindung von Kunst und Naturgeschichte in ihren verschiedenen Ausprägungen – seien sie kunsttheoretisch, (quasi-)wissenschaftlich oder experimentell- künstlerisch – während des 20. und 21. Jahrhunderts zu untersuchen. Es gilt, künstlerische Strategien der Darstellung von Naturwissen und der Entwicklung von Natur herauszuarbeiten. Unter diesen verschiedenen Perspektiven einer künstlerischen Naturerfassung ist nicht außer Acht zu lassen, dass auch der Mensch sich immer in Relation zur Natur gesetzt hat. Aufgrund neuer wissenschaftlicher Theorien und Ansätze, neuer Instrumente und Beobachtungsmedien, ökologischer und ökonomischer Paradigmenwechsel, fortschreitender und sich ausweitender Industrialisierung und nicht zuletzt der zwei Weltkriege ist das Verhältnis des Menschen zur Natur in der Moderne ein grundlegend problematisches. Die Vielfalt der belebten und unbelebten Natur erweist sich damit als ein künstlerisches Wissens- und "Forschungsgebiet." Zu den Bezugspunkten einer solchen Naturrezeption zählen u. a. der Zugang von Künstlerinnen und Künstlern zu wissenschaftlichen Erkenntnissen und die Aneignung von naturkundlichen Formsprachen, Ordnungsprinzipien und Methoden.
Mit Blick auf das Spannungsfeld von Objektivität und Imagination in der Naturbeobachtung und -darstellung sollen offene Fragen geklärt werden zu Gemeinsamkeiten von Kunst und Wissenschaft und zu den Grenzen ihres Zusammenwirkens, zum Bild als Vermittlungsinstanz von Wissen, zur Ästhetik von Natur und zum Einfluss der Kunst auf die Naturforschung. Beiträge können zu folgenden Schwerpunkten und Themen eingereicht werden:
Es geht darum, die Grundlagen für eine Kunst herauszustellen, die sich mit Naturkunde und ihrer Darstellung befasst. Dazu zählen einerseits wissenschaftliche Publikationen, auf die in der Kunst Bezug genommen worden ist und die als grundlegend für Fragestellungen von Kunst und Naturkunde im 20. und 21. Jahrhundert verstanden werden können, andererseits Quellen und Materialien, mit denen die Kunst naturwissenschaftliche Erkenntnisse reflektiert und verarbeitet hat. Der Einfluss von philosophischen Strömungen, Wissenschaftsdiskursen, ökologischen Erkenntnissen oder ideologischen Programmen auf die Auseinandersetzung von Künstlerinnen und Künstlern mit Naturkunde ist ebenfalls zu beleuchten. Darüber hinaus sind auch Künstlerkommentare (z. B. Joseph Beuys) oder konkrete Dialoge zwischen Kunst und Naturkunde von Interesse, wie sie sich auf verschiedenen Ebenen immer wieder ergeben haben, zum Beispiel in der Geschichte des Naturfilms.
Naturbeobachtung/Naturwahrnehmung [Observation/perception of nature]
Ein wichtiger Bereich bezieht sich auf den Aspekt der Wahrnehmung, des Beobachtens und Sehens. Zu untersuchen sind Analogien und Differenzen zwischen einer auf Objektivität basierenden Naturwissenschaft und einer subjektiven Bildpraxis (u. a. Paul Klee, Willi Baumeister, Wols). Der Wahrnehmungsaspekt umfasst die Frage danach, was und wie die Naturkunde (als Wissenschaft) über ihre Institutionen vermittelt oder von welchem Standort aus Natur erforscht wird, gemeint ist z. B. die künstlerische Arbeit in Naturkundemuseen (u. a. Emil Nolde, Ernst-Ludwig Kirchner), auch in Gegenüberstellung zur Arbeit in der Natur. Die fachkundlichen Ordnungen von Naturmaterialien und ihre Präsentationen können dabei zur Ausgangsbasis für die künstlerische Komposition und Umsetzung werden.
Die Rolle des Künstlers [The role of the artist]
Mit der Moderne geriet das traditionelle Rollenbild des Künstlers ins Wanken. Insbesondere wenn Wissenschaftlichkeit in der künstlerischen Praxis Anwendung findet, ist diese Rolle neu zu überdenken. Diesen Typus eines ‚Künstler-Forschers‘ gilt es, in seiner Funktion und Konsequenz zu beschreiben und für die Moderne greifbar zu machen (u. a. Eadweard Muybridge, Karl Blossfeldt, Jean Painleve?). Den Strategien der Objektivierung, wie sie die Wissenschaft methodisch einsetzt, steht das (Auto-)Biografische gegenüber, das immer wieder Einzug in Naturzeichnungen bzw. wissenschaftlich-künstlerische Darstellungen genommen hat (u. a. Ernst Haeckel).
Adaption von Ordnungsprinzipien [Adaptation of principles of order]
In Bezug auf das mit dem 19. Jahrhundert entstehende wissenschaftliche Inventar sind künstlerische Auseinandersetzungen mit Ordnungen, Systemen und Methoden der Naturwissenschaft zu behandeln. Ebenso wie Formen naturhistorischer Aufzeichnung (lexikalische, enzyklopädische u. a.) wurden diese von Künstlerinnen und Künstlern bewusst oder unbewusst adaptiert (Marcel Duchamp, Hans Arp, Sol LeWitt, Gerhard Richter, Max Ernst, Marc Dion).
Neuschöpfungen von Naturgeschichte [Re-creations of natural history]
Zu wichtigen Parametern zählt auch die Nähe zur historia naturalis selbst. Künstlerinnen und Künstler haben sich dieses Wissenskomplexes und seiner Teilbereiche angenommen und immer wieder zu eigenen Naturgeschichten gefunden. Die Werke und ihre Bedeutung, vor allem in direktem Bezug auf Vorbilder, können in den Blick genommen werden (u. a. Max Ernst, Damien Hirst). Nicht ausschließlich zur ‚Naturgeschichte‘, auch über den Aspekt der Schöpfung von Natur und die in ihr wirkenden Kräfte und Gewalten, ihre chaotischen Zustände und Ordnungssysteme haben Künstlerinnen und Künstler zur Natur gearbeitet.
Künstlerische Strategien [Artistic strategies]
Gegenstand einer Analyse kann die Einbeziehung von Fachgebieten der Naturkunde in die künstlerische Praxis sein, z. B. der Anatomie, Morphologie oder Meeresbiologie (u. a. Franz Marc, Jacques Cousteau). Zu fragen ist, inwieweit Interdisziplinarität oder Spezialisierung zur künstlerischen Strategie werden oder Mittel zum Zweck sind. Das Streben der Avantgarde nach einer Verbindung von Kunst und Leben hat die Analogie von Kunst und Natur bestätigt und u. a. das Zufallsprinzip als tertium comparationis zum Vehikel ihrer Kunstauffassung gemacht. Auch das Prinzip der natura naturans ist im Rahmen künstlerischer Ausdrucksweise näher zu betrachten.
Darstellungsmodi [Modes of display]
Augenfällig sind zweierlei Richtungen in der Kunst, die sachliche Naturwiedergabe ebenso wie die Natur als Abstraktion: Naturbilder oszillieren zwischen objektiver Naturbeobachtung und mimetischer Wirklichkeitsaneignung einerseits und Fantasie und Fiktion andererseits. Es ist zu untersuchen, inwieweit Bildprogramme eines Naturwissens ein Spiegel von Welt, Politik und Gesellschaft sind und welchen Denkströmungen sie folgen.
Medium und Technik [Medium and technique]
Ein weiteres Forschungsfeld bildet das technische Bild, zum Beispiel bei der Sichtbarmachung und Aufzeichnung von Prozessen und naturkundlichen Darstellungen. Welche Bedeutung besitzt das Medium der Aufzeichnung für ein Verständnis, eine Erfahrung und Vorstellung von Natur und ihre künstlerisch-wissenschaftliche Erfassung? Sehr konkret können auch die Rolle von Medien und Instrumenten und ihre Bedeutung für die Entstehung künstlerischer und naturkundlicher Erkenntnisprozesse ins Zentrum der Betrachtung rücken: Welchen Einfluss haben die bildgebenden Verfahren der Wissenschaft auf die Kunst und welchen Einfluss nehmen künstlerische Medien und Techniken auf wissenschaftliche Bilder der Natur?
Als interdisziplinär angelegte Tagung mit Schwerpunkt auf der Kunstgeschichte sind ausdrücklich auch Beiträge aus assoziierten Fachbereichen erwünscht. Die Tagung steht allen Interessierten offen. Tagungssprache ist deutsch. Eine Publikation der Tagungsbeiträge ist geplant. Vorgesehen sind Vorträge von maximal 30 Minuten.
Bei Interesse an einem Beitrag bitten wir um die Zusendung von einem Arbeitstitel und einem Abstract (max. eine Seite) sowie einer Kurz-Biografie bis zum 31. Oktober 2014 per E-Mail an email@example.com. Für Rückfragen zur Tagung und weitere Informationen stehen wir gerne zur Verfügung.
Annerose Keßler M.A.
Dr. Isabelle Schwarz
Sprengel Museum Hannover
tel +49 (0)511 168-43924
back to page index
[from H-Arthist, 9/17/14]
The Australian and New Zealand Journal of Art is an international scholarly, refereed journal of art history and visual culture. The journal of the Art Association of Australia and New Zealand (AAANZ) is jointly published by the AAANZ and Taylor & Francis and managed by an editorial committee based at the University of Sydney with committee members from several local universities. The Journal's readership principally consists of members of the AAANZ, academics, art writers, artists, students of art history and theory, and museum professionals.
OPEN ISSUE To be published July 2015. Articles must be suitable for a scholarlyrefereed journal. Articles from 5,000 to 7,000 words in length including endnotes should be submitted to Editorial Assistant at: firstname.lastname@example.org by 31 October 2014.
Open issue editors: Dr Donna West Brett and Dr Jacqueline Millner
See the Journal submission guidelines for details. Submissions not conforming to the guidelines will not be considered.
back to page index
[from H-ASIA, 10/5/14]
Contemporary Japan is the biannual journal of the German Institute for Japanese Studies Tokyo ) published by de Gruyter, Berlin, New York. We are curretly calling for papers for the autumn 2015 issue. Articles should be submitted by 31 October 2014. For submission details see contemporary-japan.org.
Contemporary Japan publishes original research from all disciplines as they relate to present-day Japan or its recent historical development. Manuscripts which cross disciplinary boundaries and raise larger issues of interest are also welcome. All submissions are peer-reviewed in a double-blind process by established scholars in the field.
back to page index
[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.
back to page index
Museum für Sepulkralkultur
7 March 2015
[from H-Arthist, 10/4/14]
Alle Epochen und Kulturen zeigen, dass der Tod nicht nur die Toten betrifft, sondern vor allem die Lebenden. Für die Wissenschaft bedeutet das, dass alle Fächer und Forschungsfelder, die sich mit den Menschen und dem Leben beschäftigen, auch Berührungspunkte mit dem Tod, dem Abschied oder der Endlichkeit haben.
Die Themen Sterben, Tod und Trauer rücken seit einigen Jahren immer mehr in den Fokus der fächerübergreifenden Forschung. Disziplinen wie die Archäologie, Ethnologie, Volkskunde/Kulturanthropologie oder Kunstgeschichte beschäftigen sich seit jeher mit Gräbern und Begräbnisplätzen. Inzwischen interessieren sich jedoch ganz unterschiedliche Disziplinen für den Wandel der Trauer- und Bestattungskultur wie z.B. die Soziologie, Psychologie, aber auch Geschichte, Geschlechterforschung und Medienwissenschaften.
Der Workshop ist offen für junge Wissenschaftlerinnen und Wissenschaftler aus der Nachwuchsforschung, wie z.B. Studierende in der Abschlussphase oder Doktoranden, aber auch für Postdocs und interessierte Forschende. Ziel des Workshops ist, Wissenschaftlerinnen und Wissenschaftlern die Möglichkeit zu bieten, neue Forschungsperspektiven in Kurzreferaten vorzustellen und diese in einer größeren Runde zu diskutieren. Auf diese Weise können aktuelle Fragen und Ergebnisse interdisziplinär beleuchtet und inhaltliche Gemeinsamkeiten transdisziplinär zusammengeführt werden. Die "Transmortale" findet jährlich statt und bietet über den Workshop hinaus eine Plattform für das Forschungsfeld Sterben, Tod und Trauer.
Wenn Sie Interesse haben, Ihr Forschungsprojekt in einem Vortrag/einer Präsentation vorzustellen (max. 20 min), senden Sie Ihre Themenvorschläge bitte bis zum 2. November 2014 an die folgende Email-Anschrift (mit abstract von max. 1 Seite nebst CV): email@example.com.
Veranstalter: Universität Hamburg, Historisches Seminar und Institut für Volkskunde/Kulturanthropologie; Museum und Institut für Sepulkralkultur, Kassel; Moritz Buchner MA / Prof. Dr. Norbert Fischer / Dr. Anna-Maria Götz / Stephan Hadraschek MA / Dipl.-Ing. Dagmar Kuhle / Jan Möllers MA / Prof. Dr. Reiner Sörries
back to page index
7 March 2015
[from H-ASIA, 9/17/14]
It is with great pleasure that we wish to invite panel and paper proposals to the 22nd Annual ACES Conference to be held on March 7th, 2015 at Indiana University in Bloomington. We are additionally pleased to announce Dr. Edward Schatz, chair of Political Science at the University of Toronto, as our keynote speaker for this year. A scholar of identity politics in post-Soviet Central Asia, Dr. Schatz's unique, interdisciplinary methodologies continue to inspire many both within and outside of Central Eurasian studies.
Graduate students, faculty, and independent scholars are cordially invited to submit abstracts of papers addressing all topics pertaining to Central Eurasian Studies by November 7th, 2014. For the purposes of this conference, Central Eurasian Studies refers to the study of the historical and contemporary Afghan, Balto-Finnic, Hungarian, Iranian, Mongolic, Tibetan, Tungusic, and Turkic peoples, languages, cultures, and states. Submission of pre-organized panels is strongly encouraged. Individual papers are also welcome and will be assigned by the Conference Committee to a suitable panel. All proposals will be subject to a double-blind review process. A few of our past panel themes include:
- Societies and Cultures of Xinjiang
- Energy and Environmental Policy in Inner Asia
- Romanticism in Hungarian Literature, Culture, and the Arts
- Discourses in Afghan Society
- Comparative and International Relations
- Aspects of Imperial and Soviet Rule in Central Asia
- Geography in Mongolian Historiography
Proposals with abstracts should be submitted via this link: http://www.iub.edu/~aces/2015form.php. Please remember that the submission of a proposal represents a commitment on your behalf to participate in the conference.
ACES regrets that it cannot provide funding for participants. We do, however, try to make your travel and stay in Bloomington as convenient as possible with connections to potential rideshares and accommodations.
back to page index
2015 Wolleson Memorial Graduate Symposium
Graduate Union of Students of Art
University of Toronto
22 January 2015
[from H-Arthist, 10/3/14]
The last fifteen years have seen a marked rise in art historical and theoretical attention to both objects and affects. This is evident, for instance, in the recent and contemporaneous rise of fields such as affect theory and object theory, and of art historical practices based in material culture and neuro-psychological analysis. As scholars and artists move further from the dogma of twentieth century methodologies (e.g., dominant strains of semiotics, social history, and formalism) they have exhibited new interest in the social, cultural, and political lives of things and materials and of sensations and emotions. As such, these engagements with the material and immaterial have generated new considerations of otherwise repressed or ignored phenomena in both theory and experience.
By looking at quotidian and inanimate matter, or at sensory experiences that remain irreducible to language and meaning, objects and affects reveal the blind spots in how we construct and view the world. It is therefore increasingly important to understand how the production and reception of art and culture is not simply the creation of conscious human agency, but is informed by these many materials and sensations. At the same time, any assumed separation between these domains remains dubious, as both point to sources of experience and agency that lie beyond the conscious, individual subject; that is, in a world shared among things and feelings, through bodies and experiences. In this respect, we invite proposal for scholarly presentations that explore the social, cultural, and political implications and ramifications of objects and affects within aesthetic and cultural production.
Hypothetical topics include, but are not limited to:
- The use of readymade or found objects.
- The influence of phenomenology in art practice and theory.
- Archives, cabinets of curiosities, collections, and the ordering of things.
- Technological invention and the object-based mediation of existence.
- Sensation and aesthetic experience.
- Technological invention of art marking and art history practices.
- Social and cultural histories of materials.
- Actor network theory and political assemblages.
Please submit an abstract of under 250 words and a CV to firstname.lastname@example.org by November 7, 2014.
back to page index
Annual Conference and Bookfair
University of East Anglia
9-11 April 2015
[from AAH, 11/2/14; select sessions listed below]
This international conference aims to showcase new research in histories and theories of visual art forms and media, of any period and type (including architecture and design). Academic sessions will engage with current scholarship, and foster discussion and debate, on any aspect of the visual arts from prehistory, Antiquity, the Middle Ages, the Renaissance, the early modern and modern periods, through to the present day.
If you would like to offer a paper, please email the session convenor(s) direct, providing an abstract of a proposed paper of 30 minutes. Your paper abstract should be no more than 250 words, and include your name and institution affiliation (if any). You should receive an acknowledgement of receipt of your submission within two weeks from the session convenor(s). Deadline: 10 November 2014.
1. The Aesthetics of Invitation: Art at the threshold of hospitality
Session Convenor: Kelly Rae Aldridge (Stony Brook University, New York)
Both guest and host share etymological roots in "enemy." This underscores the singular capacity of hospitality to create unique spaces where the foreign and the familiar entangle without collapsing their inherent difference. Hospitality maintains its deeply archaic roots through performed rituals and sensuous customs. However, recent exhibitions such as the Liverpool Biennial The Unexpected Guest and the Smart Museum of Art's Feast: Radical Hospitality call attention to the contemporaneity of hospitality as a method for giving definition to the expanded borders of socially engaged art while simultaneously offering invitation to cross those borders. This session will investigate historical conceptions of welcoming, giving, nourishing and sheltering the other. It will also consider hospitality as a method for interrogating the aesthetics of encounter and exchange in current art practice, theory and exhibition. This session welcomes papers that address representations of hospitality, the politics of hosting or guesting (from an interpersonal to international scale), and the relationship between hospitality and art institutions.
3. The Art History of Architectural History
Session Convenors: Mark Crinson (University of Manchester) and Richard Williams (University of Edinburgh)
Art history and architectural history are sister disciplines… or are they? How many art history departments regard architectural history as a core component of their provision? What might art history students miss if architectural history were not part of their curricula? Perhaps art objects and architectural objects are so radically different their study cannot be shared. Or perhaps there are modes of enquiry that can be developed to mutual benefit. This session reviews the art history/architectural history relationship in several ways. One way is to excavate those moments when art and architectural history were tightly bound together: in the very formation of art history as a discipline, for example, when both art and architecture were natural objects of study. Other ways might be: investigations of the parallel developments of formalism in art and architectural history; of architectural history's relation to the "new art history"; of the ways in which architectural history might adopt recent developments in object studies, global art history, and art writing. Academics dealing with contemporary architecture find themselves wrestling with debates that in other disciplines may be more abstract or indirect: How does money or power represent itself in visual form? How does the general public (whoever they may be) understand form? How does government use aesthetics to communicate? All of these things are, and always have been, live in architecture. Perhaps this might be part of a case for making architectural history more central to art history. If so, what implications would it have for our curricula and our pedagogy?
5. Avant-Gardes and Wars
Session Convenors: Lynda Morris (Norwich University of the Arts), Krzysztof Fijalkowski (Norwich University of the Arts) and Alisa Miller (Norwich University of the Arts)
Ever since the term was first borrowed from its original military context, avant-garde artists have consistently produced work in reaction to their experience of war. Since the late 19th century, diverse groups of artists can be linked as an avant-garde, not through the formalist style of their work but through their response to the violence engendered by apparently never-ending global conflicts. The politicisation of artists manifest in their anti-war work since the late 19th century has been the subject of a number of recent art historical studies. Our lives continue to be overshadowed by the politically driven wars of the present day, and the ethical and philosophical problems of artists' responses to war continue to influence both art and art history. This session seeks papers that consider how the politicisation of avant-garde artists and their work provides a context for experimental modes of production and distribution between the late 19th century and today; critical engagement with the division of Europe after World War II and the ideological conflicts of the Cold War through to 1989; artistic responses to philosophic writings engaged with the moral and ethical implications of war. Whilst we particularly welcome proposals dealing with the art of the modernist avant-garde, we would welcome longer historical perspectives giving more formally complex ideas of artistic political avant-gardes.
8. Critiquing Curiosity: The rhetoric of wonder, and the sensationalism of nature in contemporary art
Session Convenors: Donna Roberts (independent scholar) and Victoria Carruthers (Australian Catholic University)
In recent years a plethora of exhibitions and publications have tapped into the currency of the auratic terms "curiosity" and "wonder." The influential rehabilitation of these words by Foucault and Deleuze follows the surrealists' use of key concepts from early modern natural philosophy in order to develop a method for imaginative or poetic organisation, working outside strictly scientific or rational taxonomies. Georges Bataille's subversion of the Encyclopedic and Roger Caillois' concept of "diagonal science" represent the radical edge of this critique. This perspective has afforded curators and artists a potentially dynamic, lyrical and alternative model for the conceptualising and displaying of works. However, rather than mobilising an interdisciplinary focus on art and science, which extends the potential to truly subvert, critique or reveal, recent practice has led to a restaging of the visual and material culture of natural history in ways that are epistemologically nostalgic. These ways risk cultivating a popular rhetoric that reduces the radical potential of "curiosity" by homogenising, commodifying, or sensationalising taxonomical paradoxes. This session will analyse this return to "curiosity," and examine how it is mobilised in contemporary art, writing and display. We welcome papers that address any aspect of the topic including: those prepared to scrutinise the rhetoric; those that suggest an ongoing critical and political potential for "curiosity"; those that support the appeal of this historical discourse based on visual affectivity and the blurring of taxonomical boundaries, and those that might address a need for distinction in the age of globalisation and the relativisation of the internet.
9. Death, between Sublimation and the Real
Session convenors: Sergio Cortesini (University of Pisa) and Chiara Savettieri (University of Pisa)
According to Régis Debray, the plastic impulse originated as a response to the unacceptable decomposition of the corpse. The secularisation brought by modernity elicited new problematic discourses on life and death, while philosophers (Heidegger, Derrida, Lévinas) explored the existentialist dimension of death in an era left spiritually bereft. Still, the frequency of the theme of death in recent art encourages us to ask if we are witnessing a cultural turn in the concept of dying and if art is adapting its strategies of representation and symbolisation. Many artists have addressed the fear of finality, bereavement and the search for transcendence. The acknowledgment that death is the "fraternising" event common to all human beings has inspired artworks and forms of analysis that offer ethical models of empathy, friendship, social and political relations. Yet the parallel tendency to present death in its cadaverous decomposition or literalness suggests the closure to any possibility of articulating meaning. Does the latter trend–especially in the last 30 years–imply that art is no longer conceived as a symbolic operation in response to the trauma of the real but rather as an ostentatious unveiling of the traumatic real per se? We invite papers exploring the dual manner in which death has been addressed in art–particularly after the Enlightenment and/or the advent of modern industrialised societies–through forms of sublimation, or through the exposure of the real.
10. Deconstructing Boundaries: Is "East Asian Art" possible?
Session Convenor: Eriko Tomizawa-Kay (Sainsbury Institute for the Study of Japanese Arts and Cultures)
The aim of this session is to give insight into the changing boundaries and concepts of "modern art" in Japan and East Asia. In particular, we hope to illuminate the exchanges and dialogues that took place between Japanese and other East Asian artists in the late 19th and early 20th centuries. For example, an experiential technique called morotai used by Japanese-style Nihonga artists such as Hishida Shunso (1874–1911) influenced Korean and Chinese artists, but in turn, other Nihonga painters were influenced by Chinese and Korean art. Therefore, the birth of modern East Asian art could not have occurred without the symbiotic relationship between each of these groups of artists. Papers will ideally challenge the existing geographic, temporal, and generic paradigms that currently frame the arts of East Asia. What was the relationship between artistic production and political discourse such as Pan-Asianism, Japan's colonialism, and the Second World War? What role did abiding cultural legacies play in the artistic development of East Asia at large? Scholars interested in issues surrounding the emergence of the geo-cultural boundaries in East Asian art of the late 19th century onwards, the institutional approaches to art and history, the idea of "national art," or new frameworks for the concept of modernity in East Asian art, are encouraged to submit proposals. Questions relating to methodology in (re)-constructing a broad history of East Asian art will also be addressed in this session.
13. Flow in World Art (1500-1750)
Session Convenor: Margit Thøfner (University of East Anglia)
This session considers the notion of flow in the early modern period in the broadest possible terms. During this time, most parts of the globe became connected by shipping lanes. The already steady trickle of people, objects and ideas across the continents and oceans became a full flow. That waterways could both conjoin and divide was evident in a manner that it had never been before. At the same time, liquids such as sap, mercury, lava, semen, milk and blood came under intense interrogation, in moral, political, theological and scientific terms. What consequences did this fascination with fluidity have for the arts? Depicting flow is of necessity an act of fixing runniness. Liquids may work as boundaries but, at the same time, they are boundless. How did early modern artists and artisans address this paradox? How did they show fluidity, whether of persons, ideas or substances? The aim of this session is to consider, compare and contrast how image-makers from across the world tackled such problems. Our ultimate goal is to determine whether, how and why the concept of flow changed visually under the manifold pressures of early colonialism. We welcome contributions focused anywhere in the world within the given dates and we are particularly interested in examples where two or more pictorial or artefactual traditions are brought together. We hope to publish selected papers from this session in a dedicated issue of the journal World Art.
14. From Distaste to Mockery: The city and its architectures ridiculed
Session Convenor: Michela Rosso (Politecnico di Torino)
Since the origins of the contemporary age, the rise of a mass public and a reconfigured public sphere, along with the diffusion of the popular press, have deeply affected the way in which the city and its architectures are interpreted and judged. Among the genres addressing the modern city, some emerge that seem to be highly effective in disseminating the architectural culture, displaying its distortions or singling out its vulnerable features through the deployment of humour. As part of a media-saturated public culture, humour is both a practice of social communication and a plausible portrayal of society, illuminating the ambivalences of modern life and uncovering the shock provoked by processes of modernisation. This session's aim is to inaugurate a catalogue of the comic as applied to the spatial criticism of the city, its artefacts and its leading professionals–architects, artists and builders. Punch's sharp satire of the first World Exhibition, William H Robinson's caricatures of modernist housing, Tati's parody of the Corbusian villa, and Dunn's architecturally situated cartoons for The New Yorker are some of the renowned entries in this possible catalogue. By absorbing the disturbing effects of modernisation and turning them into laughter, they give voice to a diverse range of feelings and social reactions, from distaste to overt dissent. This session invites case studies that explore the reception of architectural facts through the distinct codes of humour, verbal as well as visual, in any place and time, between 1750 and today, and focusing on any medium from literature to cinema, television and cartoons.
Session Convenors: Carla Benzan (University College London) and Catherine McCormack (University College London)
It is also not a question of repainting the skies... it is a question of opening up the earth, dark, hard and lost in space (Jean-Luc Nancy). This session seeks to critically engage with the ground in representation (earth, dirt, soil, rocks, stones, cliffs, mountains) and the ground of representation. While related art historical literature has often focused on avant-garde practices such as Earthworks, or has addressed the ground as an articulation of the sublime within the genre of landscape painting, the recent "material turn" in the humanities provides in-roads for addressing the ground within an expanding set of theoretical possibilities and outside of the traditional art historical loci. Somewhere between matter and form, the ground can be foundational support, marker of territory, and yet also inchoate, anonymous "other." In representation it often seems to display itself as surface, while simultaneously withholding something of itself or other objects from sight or thought. This session invites papers that embrace this difficult silence, whether in depictions of the ground, or in works made from the material substance of the ground, across all historical periods and media, as well as papers that explore how the ground might determine represented space and time. How does the ground implicate the body and provide it with a "place"? Can it challenge the historical notion of time which has, until now, determined how we write our histories of art? Following Nancy's invitation, we seek papers that take on the difficulty of the ground, and its promise.
17. Materialising Modern Identities: Architectural sculpture after 1750
Session Convenors: Katie Faulkner (Courtauld Institute of Art) and Ayla Lepine (University of Essex)
In recent years, sculpture studies within art and architectural history have grown exponentially, increasingly taking diverse themes into account including materiality, gender, postcolonialism and affect. In the rapid transformations of state power and imperial activity in the 18th century, through into the post-revolutionary political atmosphere of the 19th century, nations appeared to sponsor the celebration of the public citizen and actively projected imperial stability in the midst of change and resistance. Despite its association with permanence, sculpture was charged with representing change: materialising new identities and formulating representational traditions. Architectural sculpture in particular marked sites of urban modernity, such as stations, cultural institutions, civic landmarks and sacred structures; these large and prestigious commissions often sparked public debate around identity and artistic production. As the onset and outcomes of the First World War shaped the power and politics of cultural memory, sculpture took centre stage, with new responsibilities amongst global tensions. Interwar architectural sculpture negotiated and articulated increasing anxieties regarding ornament, historicism, modernism and minimalism. With the arrival of modernism worldwide, some believed architectural sculpture was anathema. Others looked to it as the vehicle to facilitate and embody vitality in bold new architectural experimentation. Architectural sculpture was a crucible for artistic and wider cultural dialogue concerning modern life and modern subjects. We invite proposals for papers that explore architectural sculpture and identity in a global context between 1750 and the present. Potential themes include: collaboration and networks between architects and sculptors; materiality, production and reproduction; modernism and tradition; beauty and ugliness; figuration and abstraction; style and historicism; form, function and ornament; spectacle and the everyday; memory and ritual; nationhood and transnationalism; and empire and its afterlives.
18. Mediating Collaboration: The politics of working together
Session Convenors: Amy Tobin (University of York), Harry Weeks (University of Edinburgh) and Catherine Spencer (University of St Andrews)
Encompassing both a theoretical methodology and a mode of practice, the term ‘collaboration' has suffered from its diverse usage in artistic contexts. Practices from "democratising" artist–non-artist approaches (e.g., WochenKlausur) to formalised artist–artist partnerships (Gilbert & George) and activist or pedagogic projects (The Feminist Art Program) have all been subsumed under the rubric of collaboration, which is also often defined reactively against other forms of practice such as collectivism or participation. In addition, recent digital technological developments have further impacted on the spatial and temporal dynamics of collaboration. While this has afforded new collaborative possibilities, both within art and beyond, it has also complicated an already bloated terminology. Spatial and temporal factors such as immediacy, presence and duration have often been considered central to collaborative acts. By focusing on the specificity of communication channels and technologies, however, we can challenge such assumptions and gain critical purchase on collaboration and the politics of working together. How might feminist, queer and post-colonial perspectives on space and time inform understandings of the media involved in collaboration? How have communication channels from television and the radio through to mail networks and the internet impacted on the relations or relationships constituted through artistic collaboration? We invite papers that together might begin to establish longer histories of collaboration and its media, and embrace their recursive, retrogressive and heterogeneous potentialities.
20. Museums & Exhibitions Session: Travelling Artworks
Session Convenors: Catriona Pearson (Ashmolean Museum) and Marie-Thérèse Mayne (Durham Cathedral)
This session explores issues of artworks and exhibitions on the move, whether as loans in the gallery and museum context, or in exhibitions and biennials. In a global world, art is constantly on the move, thanks to the world's growing number of contemporary art biennials, but also to historical collections, which are lent with increased frequency to museums and galleries worldwide. Though artwork loans are not new, digitisation of historical collections has improved the visibility of these collections, encouraging loan requests from an increasing number of international venues. Contemporary artists are ever more engaged with the online art community, and so contemporary art curators are similarly challenged to negotiate this complex international context. The display of artworks and exhibitions in new locations and venues can problematise the interpretation of these artworks. A challenge is posed to artists and to curators of both contemporary and historical exhibitions: how to engage local audiences with these objects without losing the work's original meaning and context? How do artworks and art exhibitions change when they are re-located? How can changing locations benefit or enhance understanding of artworks and exhibitions? In this global context, what happens to artwork that cannot be re-located, or is site-specific?
21. National Histories of Art beyond the Nation's Borders
Geraldine Johnson (CIHA-UK Committee; University of Oxford) and Toshio Watanabe (CIHA-UK Committee; University of the Arts London)
CIHA (Comité international d'histoire de l'art) is an art historical organisation of global reach that is organised into national committees. This session, convened by two members of CIHA's British committee, sets out to investigate the promotion and production of national histories of art within transnational and global contexts. Since the 19th century, the scholarly discipline of art history has been dominated by nation-based narratives, which still have a powerful presence and influence. This session will consider the ways in which such nation-based narratives have been fostered, enabled, promoted and problematised beyond the borders of the nation in question. Sometimes this has been the explicit intention of particular institutions, such as the Dutch University Institute in Florence, the British School at Rome or the Centre allemand d'histoire de l'art in Paris, situated beyond the borders of the nation whose culture they study. Sometimes it has been the result of external forces, as for example in the 1930s and '40s, when universities in Britain and the United States provided a significant home for art historians fleeing Nazi-occupied Europe whose work can be considered in light of their refugee experience. Equally, national histories of art have had an impact on each other: for example, Kakuzo Okakura's ideas about the art history of Japan had an incendiary relationship to the Tagore circle's ideas about the art history of India. We welcome proposals for papers that address the character of national histories of art produced, promoted or influenced in some way from beyond the nation's borders.
22. Navigating the Pacific: Latin America and Asia in conversation
Session Convenors: Kathryn Santner and Paul Merchant (University of Cambridge)
The critical role of Asia in the history of Latin American art has often been overlooked; recent scholarship has, however, begun to reassess this longstanding cultural engagement. This session will examine the significance of Asia-Latin America exchange from its earliest days via the Manila Galleon and Portuguese trade networks through to the present day. Iberian trade brought luxury goods – porcelain, lacquerware, folding screens, ivories, and inlaid furniture – to the Americas, where they were adapted and incorporated into local artistic practice, spawning new art forms like the biombo. The decline of the galleon trade after 1815 did not mark the end of this transpacific relationship; ensuing centuries brought successive waves of Asian immigrants to Latin America–notably the Chinese to Peru and the Japanese to Brazil. In the wake of this diaspora, artists have recently begun to explore Asian identity in Latin America, notably in several successful documentary and fiction film productions from the region. The presence, for the first time, of a Latin American pavilion at the Beijing Art Expo 2013 also points to the increasing recognition of a centuries-old dialogue in the visual arts. So too does the "Latin American Artists in Asia" network, whose members practise in fields from sculpture to photography and digital art. This session will cover a broad historical period, and adopt a variety of methodological approaches. Key issues to be considered include (post) national identity, materiality and its relationship to place, and the opportunities and complications offered by digital technologies.
26. Student Session: On Creative Labour
Session Convenors: Sophie Frost (University of Aberdeen) and Tilo Reifenstein (Manchester Metropolitan University), Student Members' Committee of the AAH
Any definition of "creative labour'"is necessarily impermanent and subject to contestation. Academics utilise it to challenge the doctrine of ‘creativity' and the ‘creative industries', while the corporate realm appropriates the term in accord with neo-liberal visions of employees as "creative capital." Transecting work environments as varied as trading floors, hospitals, advertising offices, and art galleries, such debates have begun to inform contemporary understandings of what exactly constitutes artistic practice, as well as interrogate how we construct art history in light of what it means to be a "creative." This session seeks to critique the concept of creative labour as much as entertain the potential use value of the rhetoric of the creative industries. Thematically, creative labour engages theoretical and political issues, but also provides a viewpoint to interrogate empirical or historical instances of creative practice. As a younger generation of the creative workforce faces the realities of an uncertain future, the exploitation of unpaid internships and the dubious viability of radical art collectives, what future does creative labour offer? How can this concept be used to illuminate art historical practices? Is creative labour necessarily precarious because it opposes the "value" of self-realisation of a named, free individual and the uniform anonymity of work? We are equally interested to examine the past, present and future of the creative labourer and the social and psychological implications of creativity in the workplace. What is the democratic potential of creative labour and does it have political and ecological import?
28. Surface Affects and Shiny Things: Bringing meaning to light
Nic Maffei (Norwich University of the Arts, Victoria Mitchell (Norwich University of the Arts) and Marcia Pointon (Norwich University of the Arts)
The visual qualities of a surface that shines are such as to attract or distract the eyes, which themselves are often attributed with gleaming, shining or glinting. The silkiness of high polish invites tactile attention too, or deters for fear of spoiling. Shine may materialise through use or careful positioning of an object. It is often not inherent in a material but may be derived from working up a shine. Within art, design and architecture, materials (metal, plastic, glass, fabric, wood, paint) and processes, often labour-intensive (polishing, burnishing, glazing), can combine to reveal shine. The manifestations of shininess can imply bodies in motion and individual subjectivity, while the gloss of film or magazines points to a more socially pervasive "look." Although dependent on specular-reflective properties of light and absorbency of materials, reflective patina or sheen is often intentionally sought, in order to generate affect or effect. This session addresses the cultural, historical, critical and often paradoxical meanings of "shine" as this pertains to the making, using or viewing of objects and surfaces. Depending on context, shininess might suggest religious or poetic allusion, sensory engagement, luminosity, spectacle, desire, cheapness, cleanliness, protection, health, wealth and perhaps also disgust (as in the surface of slime). Shininess was held in high regard in Byzantine and Anglo-Saxon art, as also for many designers of the mid-20th century. Spurred on by fashion, the superficial nature of shininess has been linked to postmodern theory on late-capitalism. We seek papers that engage with such issues in relation to any period, reflecting a range of practices and perspectives.
30. Thinking Images
Session Convenors: Hanneke Grootenboer (University of Oxford), Anita Paz (University of Oxford) and Lucy Whelan (University of Oxford)
This session explores the rising interest in art as a mode of thinking, apparent in academic writing as well as artistic practice. Images have long been seen as thought-provoking or as tools for contemplation. However, recent years have revealed a shift towards giving art works agency to think. Cézanne and Klee famously declared that they thought through painting, while Jean-Luc Godard claimed cinema as a mode of thinking. More recently, Jacques Rancière declared photography as thoughtful, while Ron Burnett's How Images Think links the digital image's thinking power to the technology from which it derives. This session will examine how images might be capable of thinking. Questions to be pursued include: By what mechanisms do images think? What visual language do they use or create? How do they shape thought? How is a mode of thought specific to a particular medium–film (stills), installation art, sculpture–or a particular culture–Chinese Ming painting, Buddhist imagery? What are the political implications of ascribing thought processes to visual materials? This session intends to establish a genealogy of the thinking image, and encourages papers addressing these and related questions through a variety of approaches, media and ideas.
32. Visualising Nuclear Culture
Session Convenor: Catherine Jolivette (Missouri State University)
2016 sees the 60th anniversary of the world's first nuclear power station. Since the opening of Calder Hall in Cumberland in 1956, atomic power has been viewed both as the promise of clean, efficient energy for the future and as a volatile threat, witnessed by disasters such as those at Windscale (1957), Three Mile Island (1979) and most recently Fukushima (2011). Since Ernest Walton and John Cockcroft first split the atom in 1932, nuclear science has opened up new visual realms for artists to explore, but it also unleashed the annihilating power of the atom bomb as utilised to devastating effect in the catastrophic attacks on Hiroshima and Nagasaki in August 1945. The development of the even more powerful hydrogen bomb raised the stakes higher, with the spectre of Mutually Assured Destruction culminating in the Cold War Cuban missile crisis of October 1962 as the world waited on the brink of nuclear retaliation. The history of the 20th century has been a history of nuclear power, and while artists have embraced the iconic forms and societal potential of the atom they have also protested the development of nuclear weapons and the negative environmental consequences of nuclear energy. This session invites papers that explore the impact of nuclear technology, weapons and/or energy on any aspect of the visual arts and culture including, but not limited to, painting, sculpture, photography, graphic design, time-based art, and architecture. Cross disciplinary approaches, and papers that engage with international exchanges of ideas and images, are particularly welcome.
back to page index
Hong Kong Baptist University
30-31 March 2015
[from "Artistic Interventions," 9/4/14]
This call for papers and art projects is for PhD students and artists to submit their abstract for a two-day workshop to be held on 30 and 31 March 2015 at Hong Kong Baptist University in collaboration with the International Institute for Asian Studies, and the Amsterdam Centre for Globalisation Studies (University of Amsterdam).
The workshop aims to move beyond the traditional paradigms of western scientific representation by re-examining the fundamental concepts of time and space in the construction of knowledge of and from Asia. During the first day of the workshop, leading scholars in the field of history and cultural studies, and artists from different localities in Asia, including Hong Kong, Japan, Indonesia and South Korea, will interrogate the politics of history and cartography and explore new possible forms of knowledge.
This call for proposals concerns the second day, during which PhD students and artists are invited to present and discuss their work with these scholars. Limited funding for travel and accommodation is available for them. The workshop will be free of charge.
Applications should include:
- an abstract of your paper, max. 300 words
- a one-page CV, including contact details of two referees.
Applications should be sent by 15 November 2014 to Ms. Miyan Cheung c/o Dr. Chow Yiu Fai. Selected candidates will be notified by 15 December 2014.
The Artistic Intervention workshop aims to critically interrogate prevailing categorizations of the history and cartography of Asia as institutionalized in Western humanities and open up alternative and new forms of knowledge and practices. During two days we will discuss the fundamental concepts of time and space in the construction of knowledge of and from Asia. While area studies continue the endeavors of knowledge production, its inevitably intricate connections with national histories and geographies are increasingly foregrounded. Knowledge of Asia is still very much constructed by temporal narratives as vigorously and imaginatively as by spatial fixations: in other words, by their histories and geographies. Given that national histories are often deeply entrenched in authoritative discourses that maintain the imagined boundaries of the nation-state, and thereby erase or silence other possible histories and geographies, Prasenjit Duara's call to rescue history–and geography, we add–from the nation remains as urgent as ever.
We think of the arts, the role of artists, artist-activists and artist run spaces, as a potential rescue tool, capable of moving beyond traditional paradigms of Western scientific representation. The workshop aims to question how artistic practices can help reimagine both time and space in the context of Asia, when put into an intimate dialogue with area studies and related methodologies and disciplines, such as anthropology, art history, cultural studies and so on. The alleged “rise of Asia” feeds into different nationalisms in the region and beyond, making such reimaginations even more urgent. Its dependency on a meta-discourse on development and modernity are resonances of concepts that are deeply entrenched in social Darwinism, making this discourse on "the rise of Asia" all the more complicated, especially in its denial of human complexity and a human craving for aesthetic and political aspirations.
The workshop seeks to probe into artistic and activist practices that proffer alternate histories, as well as processes that present different mappings of the world, the country or the city; these will be put in dialogue with area studies knowledge production that also seeks to destabilize existing cartographies and historical accounts. A transnational and diasporic remapping of Asia, in conjunction with exploring its multiple histories, holds the potential to question if not undermine emerging nationalisms and prevailing reifications of the idea of "national cultures."
- Zheng Bo (City University of Hong Kong)
- Zoe Butt (Sàn Art, Ho Chi Minh City)
- Tiffany Chung (artist, Ho Chi Minh City)
- Xing Danwen (artist, Beijing)
- Gridthiya Gaweewong (Jim Thompson Art Center, Bangkok)
- Edwin Jurriëns (University of Melbourne)
- Anson Mak (Hong Kong Baptist University; artist)
- Eva Man (Hong Kong Baptist University)
- Tozer Pak Sheung-Chuen (artist, Hong Kong)
- Y-Dang Troeung (City University of Hong Kong)
- Sadiah Boonstra (International Institute for Asian Studies)
- Yiu Fai Chow (Hong Kong Baptist University)
- Jeroen de Kloet (University of Amsterdam)
- Viet Lê (California College of the Arts)
back to page index
Institut national d'histoire de l'art (INHA)
14 February 2015
[from H-Arthist, 9/29/14]
Selon un schéma hérité de la Renaissance les artistes se font à l'occasion théoriciens de leur propre pratique (Vinci, Alberti). Leurs écrits revêtent alors des formes très différentes : essais, critiques, mémoires, notes, carnets, romans, etc. Ce modèle a été repris et accentué à partir de la fin du 19e siècle par les avant-gardes: l'artiste, à l'égal des scientifiques, en vient ainsi à élaborer des programmes théoriques (de Seurat au minimalisme, en passant par le Bauhaus, le constructivisme ou l'art conceptuel). Le milieu des années 1960 voit même s'édifier un modèle d'artiste comme théoricien. Un peu partout en Occident, l'art conceptuel, en établissant une équivalence entre l'art et le discours sur l'art, donne notamment pour objectif à l'art de se définir par lui-même, alors que des artistes comme Daniel Buren insistent sur le rôle de théoricien de l'artiste, lui-même déclarant que la théorie est « indissociable de sa propre pratique ». Ces artistes ont en commun de revendiquer une volonté de prendre position face à l'hégémonie du discours institutionnel et de contrer les catégorisations qu'il impose.
Depuis la fin des années 1970, ce modèle semble être en perte de vitesse. En revanche, d'autres modèles apparaissent qui voient les artistes emprunter des éléments théoriques et méthodologiques à une variété de champs disciplinaires: l'artiste-ethnographe, l'artiste-archiviste ou documentaliste, l'artiste-producteur, l'artiste-narrateur, l'artiste-cartographe, l'artiste-scientifique, etc. Dans ces nouvelles postures, l'artiste s'intéresse davantage à des connaissances appliquées qu'à des élaborations spéculatives et laisse de côté l'idée d'une maîtrise complète des savoirs abstraits au profit de connaissances plus pratiques.
La question théorique occupe une place importante dans la pratique des artistes contemporains. La théorie, qu'elle soit produite par les artistes ou importée au sein de leurs activités, soutient-elle nécessairement leur pratique? Quelles sont les formes qu'elle peut prendre et les supports sur lesquels elle se développe? L'objet de cette journée d'étude sera d'interroger les différentes facettes et enjeux que recouvre l'activité théoricienne pour un artiste, les conséquences sur sa pratique, ainsi que sur le statut de l'artiste lui-même.
Axes de réflexion possibles:
- L'interrogation ou la remise en cause de la figure et du statut de l'artiste par le modèle de l'artiste-théoricien
- L'artiste comme chercheur: la question de l'articulation théorie-pratique
- L'artiste-théoricien vs. l'artiste utilisant des théories
- Les formes et supports de l'activité théorique des artistes (écrit, oral, film, entretien, conférence-performance)
- Les sujets abordés: théorie artistique et débordement du champ de l'art (sciences dures, philosophie, sciences humaines, psychanalyse...)
- La pratique artistique comme terrain de recherche
- La spécificité de la théorie artistique par rapport à d'autres théories
- L'imitation et la critique de la posture de l'artiste-théoricien
Démarches artistiques pouvant être prises en compte : Joseph Kosuth, Robert Morris, Luis Camnitzer, Eric Duyckaerts, Marcel Broodthaers, Daniel Buren, Joseph Beuys, Mario Garcia Torres, Fred Forest, Hervé Fischer, David Antin, Bureau d'étude, Claire Fontaine, Frank Leibovici, Pierre Leguillon, Aurélien Froment, Mark Dion, Tomas Saraceno, Carsten Höller
Cet appel à contribution a pour finalité une journée d'étude et une publication au sein d'un numéro thématique de Marges. Les propositions devront nous parvenir sous forme d'une problématique résumée (5000 signes maximum, espaces compris) avant le 15 novembre 2014, par courriel à email@example.com et firstname.lastname@example.org.
Pour ceux qui auront été retenus, le texte des interventions sera à transmettre avant le 1er février 2015 (40 000 signes espaces compris). Les textes sélectionnés (en double aveugle) seront susceptibles d'être publiés dans le numéro 22 de Marges.
La revue Marges (Presses Universitaires de Vincennes) fait prioritairement appel aux jeunes chercheurs des disciplines susceptibles d'être concernées par les domaines suivants: esthétique, arts plastiques, études théâtrales ou cinématographiques, musicologie, sociologie, histoire de l'art...
La journée d'études aura lieu le 14 février 2015 à Paris, à l'INHA. Le numéro 22 de Marges paraîtra en avril 2016.
back to page index
[from H-Arthist, 9/30/14]
"It is now widely accepted that the art history of the second half of the twentieth century is no longer a history of artworks, but a history of exhibitions." -- Florence Derieux, "Introduction," in Harald Szeemann, Individual Methodology (Zurich, 2007)
For this thematic issue #2 of Stedelijk Studies we welcome essays that critically reflect on the contemporary re-readings of art and art history through the history of exhibitions. In recent years, the re-staging of exhibitions has become a popular practice in museums. Think of the Recollections series as part of the temporary opening of the Stedelijk Museum in Amsterdam in 2010/2011 and the precise re-enactment of When Attitude Becomes Form at Fondazione Prada in Venice during the 2013 Biennale. Moreover, Afterall Publishers launched a series of publications devoted exclusively to contextual and critical readings of key exhibitions of the past decades. How are the exhibitions that are being re-staged and/or written about, being selected? What are the criteria of selection, in other words: how is the canon of exhibition history being established? What does the current trend of exhibition re-enactment add to the art historical appreciation of these exhibitions? And what does it imply for the field of art history and curating/exhibition making? Are we simply re-iterating an already written art history, or does exhibition history allow for other and/more critical tools to approach history. In other words: what is the surplus value of the turn to exhibition history in both theory and curatorial practice? We invite contributors to critically reflect on the influence of the rereading of museum exhibitions on the canon of modern and contemporary art, and the (im)possibilities of rewriting art history through the re-enactment of historical exhibitions.
Please submit your abstract before November 15, 2014.
Deadline for the essay will be February 15, 2015.
The theme issue "Re-writing or Re-affirming the Canon? Critical Readings of Exhibition History" will be edited and curated by Dr. Sandra Kisters and Dr. Linda S. Boersma from Utrecht University, The Netherlands.
Stedelijk Studies is a new high quality peer-reviewed academic journal, which publishes research related to the Stedelijk Museum collection and on institutional history, museum studies (such as education and conservation practice) and current topics in the field of visual arts and design. [The f]irst issue (Autumn 2014) will be published in November 2014.
Stedelijk Studies accepts both solicited and unsolicited texts for consideration on a rolling basis throughout the year. Prior to developing a complete manuscript authors are asked to submit an abstract (300 words max.) with short bio (150 words max.) and 3-5 key bibliographic sources to the editors who will make a preliminary decision regarding the topic’s relevance to the journal’s aims and scope and will provide suggestions for developing the manuscript. Manuscripts and manuscript proposals as well as abstracts and other editorial correspondence should be sent to:
Van Baerlestraat 31
1071 AN Amsterdam
Postbus / P. O. Box 75082
1070 AB Amsterdam
back to page index
17-18 April 2015
[from MCLC, 9/4/14]
Initiated in 2010,the annual Berkeley-Stanford Graduate Student Conference in Modern Chinese Humanities brings together current graduate students from across the U.S. and around the world to present innovative research on any aspect of modern Chinese cultural production in the humanistic disciplines. The conference provides a window into current research in Chinese studies, and serves as a platform for fostering interaction among budding scholars of geographically disparate institutions, facilitating their exchange of ideas and interests. Specifically, the organizing committee hopes that this conference will encourage interdisciplinary scholarship within and between literary and cultural studies, cultural history, art history, film and media studies, musicology and sound studies, as well as the interpretative social sciences. Each year the conference also features a keynote address from a prominent Chinese studies scholar, chosen by the student organizing committee. Applications are due in the fall of each year for the conference taking place the following spring. Currently-enrolled graduate students at any institution are encouraged to apply. Conference registration is free. Presenters will be provided with shared lodging, Friday dinner, and Saturday lunch. Partial travel assistance available.
Proposals/bios due: November 17, 2014
(5:00 p.m. Pacific Standard Time)
Notification of acceptance by: December 31, 2014
Full papers due: March 31, 2015
Conference: April 17-18, 2015
To apply, submit a single-spaced 300-word paper proposal and one-page bio via our online submission system. For more information, go to http://ceas.stanford.edu/resources/modern_chinese_humanities.php.
back to page index
[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.
back to page index
[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, 2014
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
back to page index
[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).
back to page index
[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.
back to page index
[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.
back to page index
[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
back to page index
[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
back to page index
[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.
back to page index
[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
back to page index
[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.
back to page index
[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.]
back to page index
[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
back to page index
[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.
back to page index
[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
back to page index
[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
back to page index
[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.
back to page index
[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.
back to page index
[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
back to page index
[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>
back to page index
[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.
back to page index
[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
back to page index
[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
back to page index
[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.
back to page index
[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.
back to page index
[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.
back to page index
[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.
back to page index
[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
back to page index
[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)
back to page index
[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.
back to page index
[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.
back to page index
[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
back to page index
[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.
back to page index
[courtesy of N. Schmid, 1/21/14]
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 also publishes timely reviews of books on all aspects of Chinese history, culture and society.
The Journal of the Royal Asiatic Society China is a continuation of the original scholarly publication of the North China Branch of the Royal Asiatic Society, the Journal of the North China Branch of the Royal Asiatic Society, published from 1858 to 1948. The Journal proudly maintains the level of academic standards and innovative research that marked its standing as the preeminent Western sinological journal in China for nearly a hundred years.
The deadline for submissions is April 15, 2014.
Inquiries may be sent to the Honorary Journal Editor, Dr Neil Schmid, email@example.com.
back to page index
[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.
back to page index
[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/.
back to page index
[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.
back to page index
[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
back to page index
[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)
back to page index
[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)
back to page index
[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
back to page index
[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
back to page index
[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
back to page index
[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)
back to page index
[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)
back to page index
[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.
back to page index
[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
back to page index
[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.
back to page index
[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
back to page index
[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.
back to page index
[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
back to page index
[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.
back to page index
[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.
back to page index
[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)
back to page index
[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
back to page index
[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:
back to page index
[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.
back to page index
[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.
back to page index
[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
back to page index
[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
back to page index
[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.
back to page index
[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)
back to page index
[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)
back to page index
[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.
back to page index
[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.
back to page index
[from CAA, 10/31/13]
Khan Academy's mission is a free world-class education for anyone, anywhere. In September 2013, the academy had ten million unique visitors overall. For the art-history content alone, Khan anticipates more than two million visitors from around the globe for the fall 2013 semester. Let's make sure strong, global art-history content is well represented.
If you are interested in contributing your expertise in the form of short introductory essays to help make art history accessible to a global audience, Smarthistory could really use your help. The website's founders, Steven Zucker and Beth Harris, seek art historians, archaeologists, and conservators in many areas of study; they have a particular need for specialists in African, Asian, precolonial American, and Pacific art.
Smarthistory has created an interactive list of topics, a Trello Board, with an eye toward supporting introductory art-history courses. If something important is missing, please let Zucker and Harris know! Once you've decided on a topic, send an email to Zucker and Harris (along with your CV). If everything is in order, you will be added to the Trello Board, so you can claim that topic.
Here are the essay guidelines:
- Length: 800–1,000 words
- Writing style: informal, experiential, contextual
- Content: for teaching (not original research)
As a general rule, Smarthistory looks for the narratives a great professor tells his or her class to make students fall in love with a particular subject or work of art.
All accepted contributed content is published on both khanacademy.org and smarthistory.khanacademy.org. All content is published with a Creative Commons attribution and noncommercial license. You remain the owner of your content, and your contribution is always attributed.
back to page index
[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.
back to page index
[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.
back to page index
[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.
back to page index
[from MCLC, 9/18/14]
Special issue of the TAP Review, guest edited by Claire Roberts (University of Adelaide, Australia) and Yi Gu (University of Toronto, Canada)
Manipulation–of light, time and process–is central to the production of photographs. It is because of this inherent flexibility, perhaps, that practitioners have long played with the apparent objectivity of the medium. In the pre-digital era, techniques that have been used to improve upon or challenge the rhetoric of truth associated with photography include the use of painted studio backdrops, and techniques such as masking, vignetting, multiple exposures, composite photography, photo montage, photo collage, as well as retouching, inscribing and hand colouring.
How have photographers working across Asia engaged in practices that might be regarded as thinking beyond the camera to create images that combine document and artifice? The art of photographic manipulation in Asia will be the topic of the fall issue (2015) of the Trans Asia Photography Review. Photographs under discussion can be historic or contemporary (including digitally manipulated images), artistic, promotional, conceptual or personal. Photographs can come from any location within Asia or Asian diaspora communities. We welcome articles (length open), interviews and curatorial projects (12-20 images with introductory text).
Please circulate this call for papers to all you know who may be interested. Send proposals to Claire Roberts.
back to page index
modified 11 Nov 2014.
|ACC INFO + INDEX|