Arts of China Consortium
(formerly Chinese and Japanese Art History WWW Virtual Library)
CALLS FOR PAPERS/PARTICIPATION
Listings below are organized chronologically by submission deadline; calls with no deadlines are at the bottom of list.
Instituto de Investigaciones Bibliográficas
Universidad Nacional Autónoma de México (UNAM)
Mexico City, Mexico
13-17 October 2014
[from H-ARTHIST, 6/24/13]
The "Ages of the Book" International Conference, organized by the Instituto de Investigaciones Bibliográficas de la Universidad National Autónoma de México (UNAM), the National Library and the National Newspaper Library, takes place every two years. The aim of the conference is to bring together specialists from diverse fields of study, such as written and printed culture, visual design and communication, editing and the publishing industry, history, literature and new technologies, for discussion of academic, scientific, technical and economic issues that will advance our knowledge on the written word throughout history. The conference will explore the wide range of traditions and innovations surrounding the composition of texts manifest in distinct periods and in different regions of the world, from the early production of codices through to present day electronic books.
The organizing committee invites abstract submissions on subjects such as epigraphy, calligraphy and paleography, editorial design, typography, printing processes, ecdotics, textual and graphic editing, electronic publishing and technology applied to editing. Additional topics for consideration are transmission of texts, textual and visual disposition, page design, typography and illustrations in books, text-image relationships, ornamentation, initialing, reading styles and methods, use and management of color in the transmission of texts, usability, design and navigation for screen, e-book interface design and visual ergonomics. The main thematic areas are the manuscript, printed and electronic book.
All abstract submissions must be received by February 14th 2014. All abstracts will be reviewed by an international committee. Authors will be notified of the results May 6th 2014.
For more information about submissions, key dates and registration please visit our website: http://www.edadesdellibro.unam.mx.
Marina Garone Gravier, Isabel Galina and Laurette Godinas
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University of Heidelberg
Central Academy of Fine Arts, Beijing
Arts College of Sichuan University, Chengdu
March 2014 - December 2015
[from ACClist, 1/24/14]
The outbreak of the Sino-Japanese war in 1937, and the establishment of Manchukuo in 1931, radically changed the course of China's artistic development. The project focuses on the development of new artistic directions and techniques during this era as artists moved to the multiethnic interior.
Three two-week training sessions will be organized in Beijing, Sichuan, and Shanghai with an international faculty in 2014 and 2015. Between sessions, participants will independently conduct research on the topic of their choice. The program is open to students in Chinese graduate programs with a limited number of spaces available to Heidelberg University students. Supervision and support will be provided by the principal project coordinators in Heidelberg, Beijing, and Chengdu. Description of the research agenda and applications for scholarships are available online:
"The Ethnographic Eye" is a graduate-student centred program designed to encourage critical thinking through object-based art history in a range of environments: the museum, archives, fieldwork, and oral history collection, with support provided by the Getty Foundation as part of its Connecting Art Histories initiative.
Deadline: 14 February 2014
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[from H-NET, 12/21/13]
The theme editors for the upcoming issue of the Archaeological Review from Cambridge 30.1, "Seen and Unseen Spaces," invite abstracts of no more than 500 words describing potential papers to be published in April 2015.
Vision is the element of ancient sensory experience most readily accessible to archaeological methodologies. Monumentality and display, intervisibility, the aesthetics of materials and the provision of light--to name but a few areas of archaeological inquiry explicitly linked to sight--all add to our interpretation of the meaning and use of ancient space, taken here in an inclusive sense to mean both the built environment and the wider landscape. Equally important is the corollary of not seeing, and recent archaeological studies have rightly emphasized the role of the unseen in shaping past perceptions of space--that which is intentionally or inadvertently hidden or masked, implicitly understood, or even ignored and overlooked. "Seeing," after all, is not just the phenomenon of sight alone, but also the act of meaningful perception.
The visibility or invisibility of space and the people and things it can contain may be closely related to issues such as power and control, identity, privacy, gender and culturally specific ideas of appropriateness at all levels of past human society. A few of the important questions that arise are: how and why are given spaces created, adapted or utilised in order to enhance or negate visibility? What people or institutions are responsible for this shaping of space, and in doing so, who or what has been made more or less visible? Who is intended to see or not see these spaces? At the same time, how are spaces made meaningful through the manifestation of seen elements such as material culture, architecture and the presence and performance of people, or conversely through aspects of the unseen such as memory and the enculturation of social norms? Finally, how do we ensure that contemporary archaeological interpretations of the significance of seen and unseen spaces actually reflect the worldviews and perceptions of the people we study, which most likely differed significantly from our own?
We welcome papers using any theoretical and methodological approach to address aspects of the seen and unseen in any time period and area of the world. We also encourage contributions working at any scale of archaeological space – from landscape to settlement and house to burial chamber. Possible themes might include (but are not restricted to):
- Aspects of privacy, display and control in settlement, mortuary and landscape contexts
- Archaeological approaches to vision, experience and perception
- The visualisation and reconstruction of ancient sites and landscapes
- Interpretations of how space is made meaningful through aspects of the seen and unseen
- The integration of archaeological-scale data and patterning with human-scale perception
Abstracts should be sent to Mat Dalton, Georgie Peters and Ana Tavares by the 14th February 2014. First drafts of papers (of no more than 4000 words) will be due in early June 2014.
The Archaeological Review from Cambridge is a not-for-profit journal managed and published on a voluntary basis by postgraduate archaeology research students at the University of Cambridge. Issues are published twice a year. Although primarily rooted in archaeological theory and practice, the ARC accommodates a wide range of perspectives in the hope of establishing a strong, interdisciplinary journal which will be of interest to those engaged in a range of fields, and therefore breaking down some of the boundaries that exist between disciplines.
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The Harvard Asia Quarterly (HAQ) is a professional academic journal of Asian studies affiliated with the Harvard University Asia Center. We publish four times per annum on multidisciplinary topics related to issues in East, South, Central, and Southeast Asia. HAQ is indexed by EBSCO Publishing and the Bibliography of Asian Studies.
We are currently seeking submissions for our upcoming issue. The issue will not be themed--rather, we hope to engage with the breadth and diversity of content that speaks to Asia today. All papers related to modern Asia will be considered. Submissions are to be between roughly 5000 and 8000 words, and guidelines for submissions can be downloaded at www.asiaquarterly.com. Articles must be submitted by February 14, 2014 in order to be reviewed.
Kindly e-mail questions and submissions to email@example.com.
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[from H-ASIA, 1/18/14]
Organised by the Violence and Conflict Workshop, Faculty of History, University of Cambridge
Abstracts for papers are invited for this year's Violence and Conflict Workshop Graduate Conference, themed "Remembering Violence and Violent Memory," to be held at the University of Cambridge on 30 May 2014. This one-day graduate symposium seeks to bring together interdisciplinary scholars in the humanities and social sciences in order to reflect upon the changing relationship between memory and violence, the creation of memory in violence and vice versa, and how a variety of historical methods contribute to these ideas. The conference seeks new perspectives, ideas, and questions on the constantly evolving arena between memory and history. Papers are welcome from all regional locations and periods, from the medieval to the present.
We welcome papers on a wide range of topics, including, but not limited to:
- Memoires, Letters, Diaries
- Collective Memory
- National Amnesia
- The use of Oral History
- Cultural Memory
- Commemorations of War
- Alterations of History over Time
- Truth and Reconciliation Commissions (South Africa, Indian Residential Schools, Sierra Leone, Kenya, Chile, etc.)
- National Historiographies
- Places or images of violent memory (spaces, museums, artwork, music)
- Public history (as related to the general presentation of history to the public through film, TV, books, commemorations, etc.)
The deadline for submitting paper proposals is Friday 14 February 2014 at 5 pm (17:00).
Accepted papers will be determined two weeks later. Proposals should include a title and an abstract of 300-400 words, as well as the author's name, address, telephone number, e-mail address, and institutional affiliation, and should be e-mailed to firstname.lastname@example.org.
Small travel subsidies may be available on a first come, first serve basis.
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[from H-NET, 1/3/14]
The Department of Rhetoric at the University of California, Berkeley, is pleased to invite papers that investigate the role, value, and efficacy of theory in the contemporary humanities and social sciences.
Theory, along with its periodical, concomitant "Post-Theory" moments, has provided the staging ground for debates over the methodological structure and interpretive purchase of disciplines such as literature and film, while also acting as the site of interventions into the epistemological and ethical assumptions which undergird the humanistic disciplines and the sciences. By its very nature, theory both contests and is contested, and as such, is subject to constant self-criticism and revision. As a method for examining not just the content but the very nature of a text qua text, theory has provided the necessary space for critical interventions into the ways in which the humanistic disciplines are produced and reproduced; as a body of texts with its own rhetorical, discursive, and historical traditions, it is itself a product constantly subject to critique and, ultimately, the site of new interventions. "Theory," as both a method and a particular body of texts, thus seems to exist always in a state of critique, and as critique, to be concerned always with what comes after.
Terry Eagleton dates theory's "golden age"—the days of Althusser, Lacan, and Lévi-Strauss, among many others—between 1965 and 1980. This conference aims to investigate whether theory has indeed come to an end, and if so, to ask: not just why did it end, but how could such an end be possible? If it is the case that we live in a ‘Post-Theory' age, what comes after theory? What is left of theory as a disciplinary and interdisciplinary method after a particular set of texts has seen its influence wane? In this light, perhaps it is better to speak not of a monolithic "Theory," but of theories. We might ask: what are the prevailing theories of today? What purposes do they serve, both intentional and unintentional? What is the relationship between theory and interdisciplinarity? What role, if any, can theory play in the future of humanistic inquiry?
With these broad issues in mind, we invite papers on the following themes and topics:
- Reflections on the configuration of academic disciplines and the future of interdisciplinarity
- Interventions in theoretical discourses
- The methodological and disciplinary form of theory in the 21st century
- Critical genealogies of theory in the humanities
- The relationship between theoretical discourses and new media, digital technology, discourse networks and systems theory
- The role of the sciences and/or Science and Technology Studies in contemporary theory
- Reconsiderations of the Frankfurt School, and/or critical theory writ large
- The epistemological (or non-epistemological) grounding of theory
- What theory produces in terms of knowledge and discourses
- Theoretical readings of cultural objects
Abstracts of 300 words or less can be sent to email@example.com on or prior to February 14th, 2014. Please include name, title, institutional affiliation, and a brief academic biography. If possible, please also indicate whether your presentation has A/V requirements. Presentations should last between 15 and 20 minutes.
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[courtesy of IIAS, 1/23/14]
Co-hosted by the International Institute for Asian Studies, the Netherlands and the Faculty of Social Sciences, Chiang Mai University, Thailand; co-funded by the Andrew W. Mellon Foundation
Deadline for applications: Friday 14 February 2014, 9.00 am (CET)
Academic Directors: Pamela Smith (Columbia University), Françoise Vergès (Goldsmiths College; Collège d'études mondiales), Aarti Kawlra (Nehru Memorial Museum and Library)
Guest co-convenor: Michael Herzfeld (Harvard University)
Host co-convenor: Chayan Vaddhanaphuti (Chiang Mai University)
The IIAS Summer School at Chiang Mai will focus on the theoretical issue of the knowledge production, transmission and practice of culture against the backdrop of historically contingent case studies featuring transnational circulations of craft. Cartographies, itineraries and biographies of craft are windows into craft-scapes which, much like Barbara Bender's work on landscapes, are discursively constructed, disputed, worked upon from disparate frames of value and meaning, and used to accomplish goals pertaining to identity, heritage politics, knowledge and power.
The Summer School is an occasion to problematize conceptions of culture articulated through readings of craft across territorial boundaries, temporal episodes and knowledge categories. Alternative readings of craft seek to challenge place-based rootedness of culture in colonial, "cryptocolonial" (Herzfeld) and postcolonial constructions in order to emphasize its circulation in global interactions and trajectories. Focusing on "social lives" (Appadurai) or "cultural biographies" (Kopytoff) through records of journeys undertaken and routes charted by the movement of individuals, materials, techniques, recipes, designs and objects within and across diverse epistemic regimes and contexts would allow us to "read" craft from a global perspective.
There is a need for what Françoise Vergès, calls an "alternate cartography," tracing the material lives and unexpected contributions of "the people without history" in Eric Wolfe's words--anonymous slaves, refugees, exiles, spies, servants and artisans, in colonial and postcolonial historiographies. Locating craft within global networks of power and knowledge at the Chiang Mai Summer School would not only help to recover subaltern micro-histories but also focus our attention upon counter hegemonic appropriations of materials, techniques, recipes, designs and objects over the long globalization. Engaging with the "epistemic travels" and "itineraries" of such knowledge, according to Pamela H. Smith, would expose those readings of craft which anticipated the construction of new regimes and hierarchies of intellectual authority since the beginning of the modern world. Identifying the shifting agents and sites through which craft as a discourse of culture is formulated and sanctioned in late capitalism would, moreover, spotlight the ways in which practitioners of craft are drawn into what Michael Herzfeld refers to as the "global hierarchy of value."
Conversations at the Chiang Mai Summer School will revolve around critical reflections on craft in Asian contexts around the following sub-themes among others:
- Craft as a knowledge system, and knowledge practices of craft since the early modern era
- Circulation of craft in Eurasian networks of trade, power and cultural exchange
- Craft as postcolonial and crypto-colonial national heritage
- The production and reproduction of hierarchies of gender, class and race through craft – identity contestations
- Interrogating the "what" of craft: disputes over origin, ownership, authenticity, aesthetics, ethics and representation
- Engaging with the Local/Global dichotomy through the lens of craft
The Summer School therefore encourages participants whose work seeks to engage with the history and politics of craft through its reading within the long and global mobilities of science, technology, art and fashion. Françoise Vergès, Pamela Smith and Aarti Kawlra will lead the Summer School with Michael Herzfeld as guest co-convenor and Chayan Vaddhanaphuti as host co-convenor. Together they bring to the School a rich mixture of intellectual perspectives and individual trajectories to facilitate discussions with research students from diverse disciplinary backgrounds in an atmosphere of openness and inquiry. Exposure to various craft discourses and practices (indigo dyeing, hand-weaving and bamboo architecture among others) prevailing in the culturally vibrant context of Chiang Mai will provide an unprecedented learning experience for the participants. The conjunction of field work with classroom exercises at the Summer School will, moreover, help them as they pursue their own research projects, to elicit and develop new theoretical paradigms of craft informed by case studies from various contexts in Asia and elsewhere. For more information about the academic directors, please go to our website.
The program invites applications from PhD students. Please visit our website for more information on the Summer School, the requirements and the application form.
For questions, please contact Ms Martina van den Haak.
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Advanced Postgraduate Conference
School of Oriental and African Studies
University of London
25 April 2014
[from H-ASIA, 1/28/14]
Plenary Session: Timon Screech (SOAS), "Art, Religion and Money in the Early Trade of the English East India Company in Japan"
The British Association for Japanese Studies (BAJS) and the Japan Research Centre (JRC) at SOAS announce a Call for Papers for an Advanced Postgraduate Conference to be held at SOAS, London, on Friday 25th April 2014.
This conference provides the opportunity for PhD students in any field of Japanese studies working within any academic institution internationally to present an academic conference paper, engage with other postgraduate students as well as established academics in the field, and meet key academic publishers.
Submissions are welcome as individual papers or panels. Individual papers will be grouped into thematic panels and assigned an established UK academic as Chair and Discussant. Panel submissions should organise around a key theme or field of Japanese studies and if possible indicate a Chair/Discussant.
This one-day conference will comprise a morning plenary session (details above) followed by parallel sessions of postgraduate academic panels.
Abstract submissions (including full contact details and name of PhD supervisor and university institution) should be sent by 15 February 2014 to Dr Christopher Gerteis at SOAS. Participants will be responsible for organising their own travel and accommodation. Registration fees will be kept at nominal cost.
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World from Antiquity conference
University of Victoria
22-24 August 2014
[from H-ASIA, 6/23/13]
Eighty-seven years before Christopher Columbus's first transatlantic voyage, another of the world's greatest navigators, the Chinese admiral Zheng He (Cheng Ho), launched the first of the seven voyages he would lead across the Indian Ocean between 1405 and 1433. This international conference on August 22-24 at the University of Victoria, focuses both on Zheng He's epic voyages in the early fifteenth century, and on China's millennia of relations with the Indian Ocean world (extending from East Africa and the Middle East through South and Southeast Asia to the Far East).
Conference themes will include ecological diversity and interconnections, transportation over land and sea, the migration of plants, animals and people, the exchange of goods and gifts, contacts through diplomacy and warfare, the spread of religions and technologies, as well as other forms of interactions between China and the Indian Ocean world from ancient to modern times, especially around Zheng He's era. The conference's working languages will be English and Chinese, and papers can be written and presented in either language. The Centre for Asia-Pacific Initiatives (CAPI) at the University of Victoria is hosting the conference.
The deadline for submission of abstracts (maximum 300 words) and personal contact information is February 15, 2014. The deadline for submission of papers in English or Chinese (max. 10,000 words in MS Word) is July 31, 2014. The early registration fee is CAN$100 (CAN$50 for students), payable by May 15, 2014. (The registration fee will be waived for a student presenter of an accepted paper). The late registration fee (after May 15, 2014) is CAN$150 (CAN$100 for students).
Participants are expected to pay for their own travel and lodgings. We can provide information on travel and lodging in Victoria and have a preferred conference rate with the Inn at Laurel Point.
This conference reflects active participation by the University of Victoria in the international Major Collaborative Research Initiatives program, "The Indian Ocean World: The Making of the First Global Economy in the Context of Human-Environment Interaction."
Please send abstracts and contact information (name, title, institution, e-mail address, postal address, and phone number) to firstname.lastname@example.org. For more information see http://www.capi.uvic.ca/events.
Social Sciences and Humanities Research Council of Canada
Indian Ocean World Centre (IOWC), McGill University
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Bâtiment Le France, 190, av. de France
26-27 June 2014
[courtesy of E. Robson, 1/14/14]
Interdisciplinary, intercultural and interinstitutional partnership with Paris Sorbonne (Paris 4, OMF), Sorbonne nouvelle (Paris 3, CERC), Jean Moulin Lyon 3 (Marge), Charles de Gaulle Lille (CEAC), Panthéon Sorbonne (Paris 1, Hicsa) and l'ENS Lyon (CERCC et IAO). Logistically and technically supported by Réseau Asie (CNRS) and Escom (FMSH)
The conference aims to explore notions related to the cognitive aspects of aesthetic emotion, both in regard to its manifestations and the theorization of its forms. It seeks to investigate how emotional perception is framed by terms which foreground the leveels, nuances and different aspects of the aesthetic emotion, a human phenomenon with unclear contours.
The assumption behind this endeavour is that artistic experience contributes to the reconfiguring or our cognitive perception of the world, combining perceptive/interpretative mechanisms with an emotional experience belonging to the realm of affects. In so doing the work acts as a transitional object between the creator's poïetic experience and that of the spectator. The success of this very poïetic experience stems from the disturbance it causes to emotional perception and its cognitive interpretation.
The lannguage which characterize this phenomena is contrived in different ways according to different cultures, as is exemplified by the various termes such as catharsis in the West, rasas in India, the qi in China, the flower metaphor in Japan (hana, flower), and so on. This approach should facilitate the understanding of how affects (emotion, trouble, etc., gandong [in China], gamdong [in Korea], kandô [in Japan]) translate emotional perceptions into aesthetic appreciations (such as the existing hierarchy shen, miao, neng in China).
Taking a comparative, considered approach we aim at understanding the associated mechanisms--both universal and cultural--and how different cultures have attempted to theorize these experiences as well as the modes of expression used to characterize them.
At the intersection of the social sciences and the humanities (SHS) on the one hand and advanced neuroscience on the other, we focus as much on the appearance of these terms, the conditions of their use, and their theorization as it does on accounts of actual experiences and on experiments aiming to reveal the conditions whereby aesthetic emotions are activated.
Papers can be presented in the classical format, based on written, performed or experimental material, where an audience is implicit and analyzed. Proposals are invited for presentations of 30 minutes long; they must include an abstract of maximum 300 words and a short biography, sent to the following address: email@example.com.
Deadline for submission: 15th February 2014
Deadline for results: end of March 2014
The selection committee is formed by ad-hoc members attached to Langarts' leading and scientific committees. The organizing committee is formed by regular participants of GTs "Notions esthétiques" and members of the Langarts' leading committee.
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[from H-ARTHIST, 12/10/13]
Art History Supplement, March 2014
Deadline for submission of manuscripts: February 15, 2014
Contact: Ioannis Tzortzakakis
Art History Supplement welcomes submissions discussing aspects and perspectives of social history of art. In addition, papers engaged with the history of social art history in Africa, in America, in Asia, in Australia and Europe (meaning in their countries and territories), for instance, are more than welcome. More, what might be the differences, if any, between a western and a non-western social history of art perspective?
Taking a closer look at the narrative elements and patterns of social art history, one could not help but wonder. Could historians and philosophers of art feel comfortable with the application of a simple generic social art history compound? This compound (as equation) may contain the variable, in size and content, elements of
a) an "in vivo and in vitro context,"
b) an "artwork," and
c) an "(?) and (n) public,"
while emphasising on and examining the quality and quantity of their bonds in history. Could also such a notion of an art history be translated as a systematic art history, or with a systematic approach? The element of context could also be translated as the in vivo environment, as historic, of that particular compound and as the in vitro environment of the examination of that particular compound. Further, the concept of an "artwork" central to the narrative may be used paradigmatically to denote an exhibition (permanent or not), a museum or any cultural institution, in their generic term. While (?), from set theory, is indicating the least infinite ordinal number of publics in history–diachronically; whereas (n) notes the cardinal number–as description–of different publics in their synchrony. More, I might tend to consider the concepts of p/matron, curator, and artist to be distinct subcategories of that great and variable parameter of public. For patron, matron and artist are also viewers of art–some them even before making it, both in terms of style and iconography; as the meaning imposed to an artwork may originate well back before the time of its production; and as pictorial signs exist before their production.
Moreover, on these grounds, discussions may, thus, arise on the status of history of art as science; regarding patterns of methodology, for instance. Such a theoretical standpoint does not juxtapose, though, to, an almost innate, as far as I am concerned, distinction in art history–as history of art and technical art history; a distinction translated as intellectual discourses and practical applications.
However, could such an intellectual demonstration be necessary or useful for certain communities? In nothing but in art history for art history's sake context, or better, it may well provide the foundations for threshold in a space for real life problems to be challenged, in the future.
Papers submitted must contain a minimum of 3,000 words. Authors are responsible for securing high-quality digital images and securing rights to reproduce them digitally. Additional author guidelines and editorial procedures can be found here: http://www.arths.org.uk/about/journal/author-s-guidelines.
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[from H-NET, 1/4/14]
This conference explores the concept of reference culture as a way to approach the cultural dimensions of territorial and non-territorial power. By studying reference cultures we want to draw attention to the fact that cultures may assume a role as benchmark or model, both positive and negative, in the international circulation of ideas and practices. Reference cultures offer a model that other cultures may imitate, adapt, or resist. In contrast to essentialist and territorial concepts such as empire and nation, the idea of reference cultures allows us to address the shifting subjectivities central to cultural encounters. We take reference cultures to be mental constructs or "cognitive maps" that do not necessarily represent a geopolitical reality with an internal hierarchy and recognizable borders. They may take the form of imagined empires and may also be informed by utopian visions or mythological pasts. Such reference societies are typically established and negotiated in public discourse over a long period of time.
The academic discussion suggests that the interplay of political and economic supremacy with the "soft power" of cultural attraction and reputation plays a crucial role in how certain cultures establish guiding standards for other cultures. Historical examples such as the Dutch Republic in the Golden Age, nineteenth-century Great Britain, twentieth-century America—and perhaps twenty-first-century China—point to the importance of reference cultures.
This conference aims to open up this new field of historical inquiry by exploring the role of these transcultural models within western history in the nineteenth and twentieth centuries. This includes transatlantic history as well as the complex cultural relations between the West and "the Rest." We encourage papers that explore and interrogate the concept of "reference cultures" by investigating its theoretical and empirical validity, or by exploring concrete historical examples of transnational or trans-local referencing, cultural adaption/hybridization, or resistance. The conference aspires to open an interdisciplinary exploration of "reference cultures." We warmly welcome a dialogue with ongoing debates in relevant academic fields such as European studies, American studies, cultural history, empire studies, postcolonial studies, literary studies, history of science, transfer studies, and comparative history. Methodologically, we are interested both in conventional historical approaches and in approaches based on digital humanities.
Participants are encouraged to discuss the various manifestations of reference cultures during the nineteenth and twentieth centuries, such as:
- the hegemonic cultures of nineteenth and twentieth-century empires as for example Great Britain, the United States ("the American Century"), Austria-Hungary, Soviet Union, and Germany;
- (post-)colonial cultures, of both the colonizers (ranging from France to Japan) and the colonized (since the periphery may well act as point of reference for the center);
- Historical reference cultures, such as ancient Rome, ancient India, or ancient China;
- Mythical and/or utopian cultures, as represented in the Promised Land, Atlantis, narrative utopias, or dystopias in science fiction;
- Self-declared models, including French universalité or laicité, American Exceptionalism, Indonesian Pancasila, South American Bolivarianism.
Conference participants are expected to cover their own travel and hotel expenses, and the conference fee of €75. Since a selection of the papers will be published in an edited volume, we request that all papers are based on original work that has not been published previously. Those interested in presenting a paper are kindly requested to submit a 250-word abstract for 20-minute papers (indicating any equipment/technical requirements) and a brief biographical note by 16 February 2014 to dr. Pim Huijnen or dr. Jaap Verheul, History Department, Utrecht University, the Netherlands. Further information and updates will be posted on the conference website.
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12-13 September 2014
[from H-ARTHIST, 2/8/14]
The relationship between museums and domestic spaces is a long and complex one. Museums were born in the houses of collectors, while the reconstruction of the house or domestic room–of "home," effectively–continues to be an influential if controversial model for museum display. On the other hand, museums have at times invested heavily in the idea of their spaces as public, scientific and definitively non-domestic. The line between house and museum is therefore also one between public and private, scientific and domestic; and house-museums/museum-houses have acted both to confirm, to alter, and to undermine this line completely.
The 2014 MGHG conference seeks to understand the historical development of this relationship by investigating the ways in which museums have acted as houses, and houses have acted as museums. It will also explore the ways in which house-museums/museum-houses have been positioned in boundary zones of space and time, and what effect they have had on those boundaries.
The conference will take place at the Wallace Collection, London, on Friday 12 - Saturday 13 September 2014, itself an illustration of the ways in which houses may become museums, or are (re)designed as museums by their owner, as Hertford House was by Sir Richard Wallace. We also encourage papers on aspects as diverse as the growth of the celebrity house museum, cabinets of curiosity, curatorial practices of the homeowner in contrast to those of the professional curator, and the development of open air museums and their approach to house reconstruction. Our focus is on the historical development of these themes, but papers which consider the interaction of historical and contemporary practice will also be considered.
We encourage papers from museum professionals, researchers, and students from multiple disciplines.
Keynote speakers confirmed so far: Helen Rees Leahy, Professor of Museology at the University of Manchester.
Possible topics for papers include, but are not limited to:
- Country houses as museums
- Artist/writer/scientist house museums
- Houses converted into museums
- Museums in houses: cabinets of curiosity, children's museums, amateur museums
- Museums in other domestic settings such as "inn parlour" museums
- Museums as places to live, for curators, caretakers and others
- Owners, custodians and curators Subjective and eccentric taxonomies
Please send proposals for papers, of no more than 250 words, with brief biographical information, to firstname.lastname@example.org, by Monday 17 February 2014.
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3-5 June 2014
[from H-NET, 12/22/13]
As a preparatory first step toward a tenure-track faculty search in the history of modern East Asian Science and Technology to be launched in the fall of 2015, the Department of the History of Science of Harvard University is pleased to invite applications for a workshop to be held in Cambridge, Massachusetts, June 3-5, 2014.
The aim of the workshop is to bring together a small number of junior scholars (untenured faculty, postdoctoral fellows, graduate students within a year of completing their dissertations) from around the world to share and discuss the most exciting recent research in the history of modern East Asian science and technology. The Department of the History of Science will cover the airfare of participants, and arrange as well for their lodgings and meals during the workshop.
Interested applicants are asked to submit the following three items:
1) an abstract (maximum 750 words) that describes not only the content of the applicant's research, but also its historiographic significance; that is, the abstract should explain the specific ways in which the research opens new horizons in the historical study of modern East Asian science and technology
2) a video of the applicant speaking (maximum three-minutes) about the nature and import of his or her research; this may be as simple as a self-recorded video captured with a computer webcam (please use avi, mp4, or wmv format exported and compressed to a maximum of 60 MB)
3) a one page CV, with basic information about education, employment (if any), and main publications
Applications should be submitted online at https://harvardfas.slideroom.com by February 21, 2014. Applicants will be notified of the results of the application review by the end of March, 2014.
History of Science Department
Science Center 371
1 Oxford Street
Cambridge, MA 02138
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3rd Annual Art History Graduate Conference
University of Essex
6 June 2014
[from H-ARTHIST, 12/19/13]
Keynote Speaker: Andrea Phillips (Goldsmiths, University of London)
Contributions are invited for the third Art History Graduate Conference to be held within the School of Philosophy and Art History (SPAH) at the University of Essex. Graduate students from MA or PhD programmes are invited to submit paper abstracts on the theme of "Performing Money." The conference is also an opportunity to meet other graduate students engaged in the study of art theory and interested in performance art.
One distinct characteristic of performance art is that it originated as an aim to take artistic practices outside institutions (e.g., museums) creating events that, far from presenting an object that could be analysed, registered and contemplated, were constituted by actions the artists executed with their own (and/or someone else's) body. The most immediate problem is that of integration; is it possible to integrate such a practice to the art market? That is, how can there be a financial transaction that involves ephemeral acts?
The temporality of performance art sheds light on the importance of documentation; from this standpoint, this documentation could function as a solution to the problematic. So, does the value of performance rely on it? This is a topic that is crucial, for instance, in the work of Francis Alÿs. There are also artists who resist documenting their pieces, such as Tino Sehgal. In this sense, if there is indeed economic value in this record, is the value of performances without documentation compromised?
Another way performance art relates to the market is that artists use money in order to elaborate his or her actions. By doing so, they integrate what is precisely one of the main complications of this type of art into its very creative process, hence creating a critique. Among those who have made such works are Yves Klein, Andrea Fraser, The KLF, and Hans Peter Feldmann. Continuing with this critique of economic trade and the art market--Tino Sehgal also features here-- how is it that Post-Fordist society relates to the way in which this market is run?
We invite submissions from graduate students, both MA and PhD, from all
disciplines, on topics that may include, but are not limited to:
- Artists who take money to be the apparatus of their work.
- The representational: how can one value a performance that has no documentation or does the value of performance relies on documentation?
- Post-Fordist society and its relationship to performance.
- Re-enacting historical performances as a form of labour.
- Performing extreme labour.
- The economy of the de- and re-institutionalisation of performance.
Please send 300-word abstracts of 20 minute-papers accompanied by a short CV to email@example.com by 26th of February 2014.
Conference Organizing Committee: Simon Kaye (MA Art History and Theories), Sarai Lambert (MA Art History and Theories), Pierre Henri Foulon (MA Gallery Studies and Critical Curating), Hannah Stageman (MA Art History and Theories), J. Andrés Valtierra (MA Curating Contemporary Art), Marta Bermejo Sarmiento (MA Gallery Studies and Critical Curating), Marina Christodoulidou (MA Gallery Studies and Critical Curating), Paikou Eleni (MA Gallery Studies and Critical Curating)
Further information and updates will be available through the conference website: http://www.essex.ac.uk/arthistory/news_and_seminars/grad_conference/.
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Flying University of Transnational Humanities (FUTH)
University of Pittsburgh
23-26 June 2014
[from H-ASIA, 12/7/13]
Co-sponsors: World History Center, Global Studies Center, Humanities Center
Each year beginning in 2010, the Flying University of Transnational Humanities (FUTH) has gathered graduate students and young scholars in the humanities and social sciences for a summer school centering on presentations by leading scholars and sharing of information and perspectives by all present. The Flying University of Transnational Humanities, based at Hanyang University, Seoul, was brought into existence through the energies of Professor Jie-Hyun Lim, director of the Research Institute for Comparative History and Culture.
During the week of June 23-26th, the University of Pittsburgh will host the 2014 FUTH meeting, with the theme "Globalization East." The summer school will address contemporary and past globalization in its socio-economic and cultural dimensions. It centers on "the East" – the various regions of Asia – in two ways. First, it focuses on the nature and impact of globalization in the East, present and past, tracing the nature of globalization in the region of densest population. Second, it focuses on the impact of Eastern processes of globalization on other regions in the world, notably Europe, the Americas, and Africa.
The program is to include lectures, discussions, and panels of papers presented by participants. Distinguished speakers include Edmund Burke III (University of California, Santa Cruz), Patrick Manning (University of Pittsburgh), Rila Mukherjee (Hyderabad University), Naoki Sakai (Cornell University), Joanna Waley-Cohen (New York University-Shanghai), and Christine Yano (University of Hawai'i). FUTH 2014 will include up to 40 participants from around the world. Conference facilities, including food and lodging, are on campus at the university.
We invite applications from graduate students and junior scholars in all disciplines. Prospective participants should send proposals that include a title, a 500-word abstract, a short (2-page) CV, names of two referees to firstname.lastname@example.org by February 28, 2014. Proposals should include a clear topic and may include methods, temporal organization, and reference to any links between the proposal and broader global, historical, and especially interdisciplinary approaches and questions. Participants will be selected for paper presentations or as discussants in transdisciplinary workshops. Those admitted will be notified in mid-March.
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International Christian University
28-29 June 2014
[from H-ASIA, 1/15/14]
We are happy to announce that the organizing committee of the Cultural Typhoon 2014 is now inviting proposals for panels, either as an individual presentation or panel (group) presentation. For either presentation, we will accept panels addressing the specific theme (see below) or a topic of your choice: for the second category, anything goes as long as it is related to Cultural Studies. We welcome not only academic presentations but reports and discussions from engaged activists. Successful individual applicants will be organized by the committee into a panel of 2 to 3 speakers. As has been the case, the number of non-specific panels will be significantly smaller than the specific panels.
The overall theme for the Cultural Typhoon 2014 is "convivial." Note that it is addressed as "convivial," not "conviviality." That is because we would like to invite presentations addressing not only the theoretical importance of the concept, but the practical merit of it. In other words, we would like to create an atmosphere where we can freely discuss how we can go about this critical moment.
While "co-existence" has become a catchy word in the recent years, we are still witnessing repeated occurrences of oppression and/or expulsion of the other in every corner of our society. For example, the territorial dispute over a tiny island in the southwest sea has ignited the outcry of overt hatred toward each other along the ethnic/racial/state line in the neighboring countries. On the one hand, it has strengthened the nationalist party's holding in the populace; on the other hand, the ghost of ethnic identity has risen again and national interest is now working as the sole reference point to either accept or deny the membership.
Stuart Hall once said that the challenge of the 21st century is to live with "differences." We are still facing with the same problem. In Zigmund Baumann?s words, the desire for safety coincides with fear and uncertainty and, in return, that will result in the formation of homogeneous society. In that kind of society, a criminal act committed by a person is interpreted as a result of his or her "racial characteristics." Such a simplistic thinking tends to connect an individual incident hastily with a whole group, be it race, an ethnic group, or a country. Territorial obsession is indeed a leading obstacle to conviviality.
To be convivial is to live with the other. As Sakai Naoki points outs, if the identity is constructed ex post fact, a convivial culture should precede a homogeneous culture. If that so, to create a convivial culture is synonymous with to trace back and restore suppressed conviviality. We invite presentations and reports, which would address practical technique and art of reviving conviviality.
Please download the form from the Cultural Typhoon website and e-mail it as an attachment to email@example.com. Please note that the deadline for submission is February 28, 2014.
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56th Annual Conference
George Washington University
10-12 October 2014
[from H-ASIA, 11/21/13]
The American Association for Chinese Studies (AACS) annual conference program committee invites proposals for panels, roundtables, and papers concerning China, Hong Kong, Taiwan, and the Chinese diaspora for the 56th Annual Conference, hosted by The George Washington University in Washington, DC, on October 10-12, 2014. The AACS seeks to construct a balanced program, including panels representing the humanities, social sciences, communication studies, education, and business-related disciplines.
The AACS is an interdisciplinary association devoted to the study of China broadly defined. Submissions from all disciplines are welcome. Membership in AACS is required for participation in the annual conference, and non-members are welcome to submit proposals, join the Association and participate in the annual conference. We encourage submissions from graduate students, junior and senior scholars, and overseas participants.
The program committee prefers proposals for complete panels (a chair, 2-3 papers, and a discussant) and roundtables (a chair and 3-4 other participants). The committee also welcomes proposals for individual papers and will attempt to place them on appropriate panels. Panels and roundtables concerning special events or topics of broad significance are welcome. For example, as 2014 marks the 35th anniversary of the Taiwan Relations Act (TRA), panels related to the TRA's creation, impact, and legacy are welcome.
The program committee consists of Steven Phillips (Towson University), Chiung-Fang Chang (Lamar University), and June Teufel Dreyer (University of Miami). Proposals should include the names and roles of panel/roundtable participants, contact information, paper topics and short abstracts (not to exceed 250 words). Please send your proposal by e-mail to Professor Phillips. Include complete contact information (address, telephone number, and e-mail) for all participants. The deadline for panel proposals is March 1, 2014, and the deadline for paper proposals is May 1, 2014. Scholars submitting proposals by the deadline will be notified of their inclusion in the program by May 30, 2014.
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[from H-ARTHIST, 1/8/14]
The media coverage and debate of migration and integration is generating a continuous and swiftly growing stream of visual representations. How does migration research respond to this markedly increasing importance and contemplation of the role of images, icons and codes--the visual turn?
In 2014, the Institute for Migration Research and Intercultural Studies (IMIS) at the University of Osnabrueck devotes a volume of its Journal (IMIS-Beiträge) to the visual aspects of migration debates. From an interdisciplinary perspective, it aims to identify the significance of visual phenomena for societal negotiations over migration.
We assume that in interaction with migration phenomena, their visualisation and interpretation, images can yield agency and hence have an effect on social practices and especially on migration policies. The publishers invite contributions from the broad spectrum of expertise in interdisciplinary migration research, seeking to link theoretical reflection inspired by Visual Culture Studies with a case study.
We particularly welcome contributions located within a timeframe stretching from the middle of the 20th century to the present.
Contributions are accepted and published both in English and German.
Interested authors are requested to submit proposals of up to 500 words and a concise CV by 1 March 2014. The authors of the accepted proposals will be notified by 15 March 2014. Manuscripts of up to 60.000 characters (including spaces, notes and maximal five figures) will be expected to be submitted by 15 August 2014. This issue is to be published in December 2014.
The submitted contributions are assessed by reviewers appointed by the IMIS Academic Advisory Board and the IMIS Board of Directors. Please send your proposal under the header "IMIS-Beitraege: Visual Production of Migration" to Jutta Tiemeyer.
Please direct any questions to Melanie Ulz and Christoph
Institut for Migration Research and Intercultural Studies (IMIS)
Neuer Graben 19/21
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University of Heidelberg
20-21 June 2014
[from H-ARTHIST, 1/22/14]
Das "Forum Ostasiatische Kunstgeschichte" ist eine Initiative von akademischen Nachwuchskräften an deutschsprachigen Universitäten. Beginnend in Jahr 2012 wurde das Forum im Jahr 2013 zum zweiten Mal abgehalten und findet im jährlichen Turnus an wechselnden Instituten statt. Die Initiative dient dem wissenschaftlichen Austausch all jener, die als Promovierende, Postdoktoranden oder Vertreterinnen und Vertreter des akademischen Mittelbaus ihren Forschungsschwerpunkt auf der Kunstgeschichte und Archäologie Ostasiens (China, Japan, Korea, Taiwan) oder einem verwandten Gebiet haben. Das Forum will damit der Ostasiatischen Kunstgeschichte im deutschsprachigen Raum, die als akademische Disziplin institutionell zwischen einer europäisch-amerikanisch geprägten Kunstgeschichte und den einzelnen Ostasienwissenschaften angesiedelt ist, eine eigene Plattform geben, um die Vernetzung des wissenschaftlichen Nachwuchses innerhalb des Faches zu stärken.
In dem zweitägigen Symposium werden aktuelle Forschungsprojekte in Vorträgen vorgestellt und daran anknüpfend methodische und institutionelle Perspektiven des Fachs diskutiert. Auch das geplante dritte Forum soll inhaltlich und methodisch bewusst offen bleiben, um die Situation des Fachs zu reflektieren. Zusätzlich laden wir Magister- oder Master-Kandidatinnen und Kandidaten ein, ihre Abschlussarbeiten im Rahmen einer Poster-Session mit einer ca. fünfminütigen Präsentation vorzustellen.
Dank der großzügigen Unterstützung der Heinz-Götze-Stiftung ist es uns dieses Mal möglich, zum Forum nach Heidelberg anreisenden Vortragenden nach individueller Absprache unter Berücksichtigung der Vorgaben des Bundesreisekostengesetzes und nach Maßgabe der Verhältnismäßigkeit Reise- und Unterbringungskostenunterstützung anteilig zu erstatten. Als Rahmenprogramm ist in diesem Jahr ein Besuch der Sammlung des Völkerkundemuseums Heidelberg geplant. Außerdem wird ein Workshop zum Verfassen von englischsprachigen Abstracts angeboten werden. Da die Plätze für den Workshop begrenzt sind, bitten wir um Anmeldung per E-Mail an unten stehende Adresse.
Bewerbungen mit einem Abstract (300 bis 500 Worte) für einen 20-minütigen Vortrag oder für ein inhaltliches Panel mit 3 bis 4 Sprechern bzw. eine Poster-Präsentation in deutscher oder englischer Sprache und einem kurzen Lebenslauf (max. 1 Seite) erbitten wir bis zum 1. März 2014 per E-Mail an das Organisationsteam via firstname.lastname@example.org.
Das Organisationsteam: Annegret Bergmann, Anna Grasskamp, Shao-Lan Hertel, Birgit Hopfener, Franziska Koch, Juliane Noth, Sabine Schenk, Wibke Schrape, Mio Wakita-Elis
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International Federation for Research in Women's History Conference
[from H-NET, 1/6/14]
The next conference of the International Federation for Research in Women's History (IFRWH) will be held at Jinan, China in August 2015 in conjunction with the Congress of the International Congress of Historical Sciences (the full Congress runs 23-29 August).
The overarching theme of the IFRWH conference is "Women and Modernity." The drive towards modernity has been one of the ways in which large-scale transformations in society in economic, political, and social have been pursued across the world over the last three centuries. The conceptual framework of modernity has straddled such diverse locations as the "west" and the "east," the "north" and the "south" even as the tensions and conflicts in such large-scale changes have encapsulated colonial and imperialist drives not only between the "west" and the "east" but also within the "west," the "east" and the "south". Furthermore, the histories of large parts of Asia and Africa, which have witnessed many of these changes in relatively short spans of time, have generated critical differences in the experiences of men and women. In diverse localities, there are also important histories to be unearthed of female agency in both shaping and opposing the "modern."
We also welcome proposals relating to these two conference sub-themes:
- Retrieving women's histories from small archives and recently uncovered collections (any period)
- Resistant subjectivities (any period)
[Deadline: 1 March 2014]
Contact: Dr Uma Chakravarti
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University of California, San Diego
5-7 March 2015
[from H-NET, 1/7/14]
Conveners: Hartmut Berghoff (GHI), Frank Biess (UCSD), Ulrike Strasser (UCSD)
While the transpacific networks and the cultural encounters of Asians have received a relatively high level of attention in recent years, especially in subjects like Pacific, Oceanic, Area or Colonial Studies, the German element in these transit regional exchanges has often been underestimated or overlooked. This holds especially true for research on the European presence in the early modern period when Germany's lack of formal colonies long seemed to obviate the need to look for Germans in this part of the world.
In recent years individual scholars have started to uncover the significant presence and influence of Germans in the Pacific since the late 17th century in the economic, cultural, educational, religious and academic or intellectual spheres: from early modern missionaries and merchants to modern entrepreneurs and Cold War strategists. They have also probed the ways in which the Pacific figured in the development of German thought about culture and national identity in relationship to a larger world. In addition, a growing number of works on the German colonialism in the Pacific have appeared.
This conference seeks to summarize the state-of-the-art of research so far and aims at developing a trans-disciplinary research agenda for the future. To capture the multi-faceted and multi-nodal connections between Germany and the Pacific, the conferences deliberately pushes the temporal frame beyond the period of colonial expansion, and investigates instead questions of continuities and discontinuities in the German presence abroad across the early modern/modern divide and into the 20th century. The conference also takes a very broad view of the Pacific. It seeks to illuminate the myriad of Pacific worlds that stretch from the different landmasses bordering the globe's largest ocean to the innumerable islands scattered across it and the spaces in between.
Possible themes for paper proposals included but are not limited to the following:
- German expeditions to the Pacific
- German missionaries in the Pacific
- German migrations to and from the Pacific
- German merchants and entrepreneurs in the Pacific
- German immigrant communities in the Pacific
- Economic relations between Germany and the Pacific
- German colonialism in the Pacific Germany's relationship with the Pacific as a postcolonial space
- Pacific as an area of German imperial interest and expansion
- The Pacific as part of Germany's Cold War
- Pacific life worlds as a subject of academic disciplines
- Knowledge transfer between the Pacific and Germany
Pending the approval of several funding requests, the conference organizers hope to cover travel expenses, accommodation, and some meals for the conference participants.
Please send a proposal of no more than 500 words and a short CV to email@example.com.
DEADLINE for submissions: MARCH 1, 2014
For any inquiries do not hesitate to contact the conveners.
German Historical Institute
1607 New Hampshire Ave, NW
Washington, DC 20009
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3-15 August 2014
[from H-ARTHIST, 2/1/14]
Middlebury College is pleased to invite applications for Fellows to participate in the first Summer Institute on Digital Mapping and Art History (August 3-15, 2014), generously sponsored by the Samuel H. Kress Foundation. Co-directed by Paul B. Jaskot (DePaul University) and Anne Kelly Knowles (Middlebury College), the Summer Institute will emphasize how digital mapping of art historical evidence can open up new veins of research in art history as a whole. All art historians of any rank (including graduate students, curators, or independent scholars) with a scholarly problem related to spatial evidence or questions are encouraged to apply.
Whether talking about the spreading influence of Rembrandt's workshop, Haussmann's Plan of Paris, the Roman Forum, the caves of Dunhuang, the views of Edo, the market for Impressionist painting, the looting of assets by Napoleon, the movement of craftsmen over the medieval pilgrimage road, or the current proliferation of art expos globally, art history is peppered with spaces, both real and imagined. As such, spatial questions are central to many art historical problems, and visualizing spatial questions of different physical and temporal scales is an intellectual and technical problem amenable to the digital environment. Building the capacity to think spatially in geographic terms will carry an art historian a long way towards developing sophisticated questions and answers by exploiting the digital environment.
At the end of the two-week period, Fellows will have a grounding in the intellectual and historiographic issues central to digital humanities, basic understanding of the conceptual nature of data and the use of a database, an exposure to important examples of digital art history in the field, and a more in-depth study of one particular digital approach (GIS and the visualization of space). Graduating Fellows will have the vocabulary and intellectual foundation to participate in on-going digital humanities debates or other specialized digital humanities workshops while also gaining important practical and conceptual knowledge in mapping that they can begin to apply to as scholars and teachers.
Given this focus, our Institute will be ideal for those art historians who already have identified a spatial problem in their work. Note, though, that no prior knowledge or experience in digital humanities will be necessary or assumed for the application process. Naturally, general awareness of the scholarly potential of the digital environment or mapping will be a plus. All geographies, time periods, and subareas of art history will be considered.
For more information on the application process, see: http://las.depaul.edu/haa/docs/fulltime/Digital_Mapping_flyer.pdf. For questions, please contact at any time the co-directors Paul B. Jaskot [and] Anne Kelly Knowles.
All materials must be sent electronically by March 3, 2014.
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Session in the Sixteenth Century Society Annual Conference
New Orleans, LA
16-19 October 2014
[from H-ARTHIST, 2/1/14]
In recent years, a global turn in art history has dissembled the cartographic boundaries that formerly defined the field, opening the discipline to a more nuanced understanding of transregional exchange. As such, this methodological approach has moved us toward a new "geography of art," to borrow Thomas DaCosta Kaufmann's term, and emphasizes the theme of mobility in what has become an increasingly globalized discourse of early modernism. Within this frame, "mobility" often refers to the circulation of people, knowledge, and capital through social and spatial constructs. The term can, however, also be usefully applied to the movement of art across space and time. How might the travel of early modern artists, patrons, and objects disrupt our definitions of local styles, tastes, and habits of collecting? In what ways did objects accrue additional political or interpretative meaning as they became novel imports from other locales? This session aims to explore the ways in which the dislocation of objects from their original site of creation complicates our perception of what it means to view art in situ in the first place. Papers might address case studies in which paintings, sculptures, illustrated books or treatises, etc., were transported and/or reinstalled, or instances in which "foreign" artists or architects were employed as harbingers of a different regional style.
Please e-mail (as MS Word attachments) an abstract of 250 words, a one-page CV, and contact information to firstname.lastname@example.org by March 3rd, 2014.
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University of Zürich
10-13 June 2014
[from H-ARTHIST, 2/4/14]
"Space is a practiced place."
Following up on Michel de Certeau, the summer school looks at the multi-layered quality of space, and discusses its theoretical and practical implications. Analyzing the anachronistic and multi-directional relations among action, object and time, we aim to define concepts of space, and to understand their medium-specific significance in a media history of arts by means of looking at exhibition spaces, interiors, and international magazine culture.
1) Ostentatious Spaces: Exhibition Displays in the 20th Century
The exhibition space as a contested place of experience is the focal point of this section. We are particularly interested in the influence of avant-garde art practices, architecture and media theory, as well as philosophical notions of the display on exhibition design during the 20th century in global perspective. In this regard we will depart from previous studies that predominantly grapple with the absorption of exhibition spaces by culture industry, or its role as a disciplining apparatus in the administration of modern life. We invite contributions that address, among others, issues of the ostentatious quality of space (space as image), variations of display-culture, the feedback-loops between the experience of culture in exhibition spaces and their culture-generating qualities beyond concepts of the apparatus, the role of changing notions of perception in the natural sciences and their way into display-design, as well as the growing influence of design culture on gallery interiors. This section is as much about a critical investigation into the form of exhibition spaces through the lens of image science as it is about analyzing the multi-layered dynamics of influence between exhibition spaces and the modernization of life during the 20th century.
2) Interior as Spatial Relation
The particular interplay of architecture, furniture, and the social body constitutes rooms of the 18th century as interiors. This section thus focuses on the notion of the interior as a relational system. Setting forth from this concept of the interior as a network, it no longer suffices to analyze singe elements of 18th century rooms and their meaning as independent units; rather the focus needs to shift towards the various relations among architecture, furniture, and the subject. In this light, the interior is conceived of as an interface where culture-philosophical concepts and lived reality merge and reflect upon each other, as is evident in the paravent, the salon, or the enfilade. This section aims to expand the art historical view on the interior by means of focusing on its interdependencies with aesthetic and cultural factors. Consequently, one may ask how, for instance, a boudoir can simultaneously appear as a room, a display, a representational unit, and as a concept? We call for contributions that focus on these relational implications of space, thus shedding new light on the notion of the interior in the 18th century. Topics may, among others, address the impact of the arts and crafts on the interior, and the conception of living space through devices such as boudoirs or fauteuils.
3) Photographs on Pages
Photographic images in magazines influence the visual culture of society, while at the same time magazines reveal changes in the self-conception of the photographic medium. This interrelation has been particularly evident and of importance for the discursive development of photography ever since the early 1970s. "Photographs on Pages" asks how magazines during the 1970s and 1980s apply photography and how they grapple with the medium's ambiguous status between document and artwork. At that time, classical documentary photography is in crisis, and its representation in leading journals such as Life Magazine and Paris Match asks for new solutions. Concurrently, photography discourses shift the focus from questions that exclusively approach the indexical quality of photographs towards the medium's self-reflexive potential. This section looks at spatial implications and concepts of the photographic essay, the portfolio, or the insert, as much as it is interested in the layout and image-text relation all of which become evident in the chronologic, collective, and hybrid nature of the magazine. We ask for contributions that address the manifold visual and spatial concepts used to show photographs in magazines since the 1970s.
The department of Art History at University of Zurich announces its 4th International Summer School "Spatial Relations (Raumgeflechte)" (June 10-13, 2014). We invite PhD students and candidates to present their research and meet with fellow summer school participants and invited guest speakers during presentation sections, workshops, and evening lectures. The summer school is organized by PhD candidates of the doctoral program "Media History of Arts," which was founded in 2009.
Concept and organization:
Dr. des. Sophie Junge
Nadine Helm, M.A.
Anika Reineke, M.A.
Joachim Sieber, lic. phil.
(PhD candidates of the doctoral program "Media History of Arts," Department of Art History, University of Zurich)
Interested participants are invited to submit an abstract no longer than 400 words and a short CV via e-mail to SommerschuleZH2014@gmail.com by Thursday, March 06, 2014. Please mention the section number you apply for in the e-mail reference line. Conference languages: German and English. We offer a partial traveling allowance.
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[from H-ARTHIST, 1/19/14]
Kapsula Magazine is a listserv dedicated to experimental and evaluative art criticism. Entirely digital, the publication focuses on forms appropriate for web documents and aims to advance online art publishing. We are now welcoming submissions for our fourth theme—"Art That Makes Us Angry."
"The iconoclastic gesture that produces the modernist artwork functions, of course, not simply as a manifestation of artistic subjectivity understood as pure negativity. This gesture had the positive goal of revealing the materiality of the artwork, its pure presence" (Boris Groys 2008, "The Topology of Contemporary Art," 78-79).
Art that makes us angry often requires the most careful analysis and reflection. Negative responses serve as evidence of a work's provocative nature—they suggest that the art in question warrants a reaction. In exploring this idea—that an affective response to artwork offers a benchmark for an effective work—we would propose that the art we find the most frustrating or offensive is, in fact, more culturally valuable and productive.
Possible topics could include:
- Disputed works of public art (with a contemporary focus)
- Contemporary culture wars—political backlash against controversial works
- Art that exploits or endangers
- Futility by design—interactive works that purposely frustrate or provoke their users
- The ups and downs of participatory art
- Negative responses/suspicion towards commercial success within the art market
- Backlash against celebrity artists
- Perceived weaknesses in contemporary art making/consumption.
Please note that, while this topic may walk a controversial line, we will not accept submissions that are cruel or needlessly denigrate particular works or artists. We are looking for thoughtful explorations of a response that merits consideration.
We welcome exploratory art writing and alternative formats such as ficto-criticism, interviews, or illustrated texts. Submissions can be completed texts or more provisional proposals. Deadline: March 7th 2014.
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Arizona State University
3-4 October 2014
[from H-ASIA, 1/9/14]
The ASU Center for Asian Research announces the 2014 WCAAS annual conference to be held in Phoenix, Arizona. We invite Asia scholars and advanced graduate students in the Western region to submit proposals for panels and individual papers reflecting current research on South, Southeast, and East Asia.
We welcome proposals for panels and papers on all aspects of Asia studies and submissions from all disciplines are welcome. A panel proposal should include: (1) a prospectus (200 words max.); and (2) a list of the participants, their affiliations, and their prospective paper titles. A proposal for an individual paper submission should include a prospectus plus the name and affiliation of the proposer.
We particularly encourage contributions that explore the impact of digitization and internationalization on the future of Asian Studies. Please contact the Program Chair in advance of the submission deadline if your presentation will address these themes. Please send your proposals by e-mail to Asia@asu.edu, attn. WCAAS Conference. Deadline: March 10, 2014.
James Rush, Program Chair
Arizona State University
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University of Westminster
17-19 July 2014
[from H-ARTHIST, 2/24/14]
The conference Ceramics in the Expanded Field will examine how ceramic practice has broadened over the last decade, initiating new forms of experimental practice and dialogues within the museum environment. This conference marks the culmination of the AHRC-funded project "Ceramics in the Expanded Field: Behind the Scenes at the Museum" and is organized by co-investigators Christie Brown, Professor of Ceramics, Research Fellows Dr Julian Stair and Clare Twomey, and Laura Breen, the AHRC-funded doctoral student.
As part of CitEF, Brown, Stair and Twomey have worked closely with the Freud Museum in London, York Museums Trust and Plymouth City Museum and Gallery to produce three practice based projects that animated the museums' historical collections. In tandem with the conference, they will also present a three-person exhibition in the University of Westminster Marylebone site space Ambika P3 from 15th–19th July, which will explore the impact these projects have had on their respective practices.
Scholars and practitioners from any relevant disciplines are invited to submit proposals for papers that interrogate ideas of ceramic display and intervention, divergent forms of practice, curation and museology within "the expanded field."
Four half-day sessions will explore the following themes:
Museum as Context
What opportunities does the museum context offer ceramics practitioners? How does the museum operate in dialogue with ceramic practice? Can contemporary ceramic practice animate historical collections? How can we contextualize the relationship between ceramic practice and the museum within wider art practice?
How can ceramics practitioners engage museum audiences? How do audiences construct/draw meaning from or complete ceramic works? Do tensions arise from the intersection of pedagogy and practice?
Curation and Authorship
What are appropriate models for ceramic practitioners to engage with curatorial practice? Where is the line between curatorial and artistic authorship? How can this relationship shape the discourse around ceramics?
Process and Material
How can an appreciation of process and material be fostered in the museum? Is this a significant concern? What challenges does this pose to practitioners, curators and audiences? Can we develop new understandings of ceramics by engaging with these issues?
Confirmed participants will include:
James Beighton (Middlesbrough Institute of Modern Art)
Laura Breen (University of Westminster)
Christie Brown (University of Westminster)
Glen R. Brown (Kansas State University)
Phoebe Cummings (artist)
Tanya Harrod (freelance writer and art historian)
Martina Margetts (Royal College of Art)
Ezra Shales (Massachussetts College of Art and Design)
Julian Stair (University of Westminster)
Clare Twomey (University of Westminster).
We welcome proposals for papers of a maximum of 25 minutes or 3000 words addressing any one of the above. Send abstracts of no more than 250 words. They must include the presenter's name, affiliation, email and postal address, together with the title of the paper and a 150-word biographical note on the presenter. Abstracts should be sent to Helen Cohen at email@example.com and arrive no later than Friday 14 March 2014.
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[from H-ASIA, 11/15/11]
The Journal of Northeast Asian History invites the submission of manuscripts on Northeast Asian history and territorial issues. Topics may include, but are not limited to, historical interaction in East Asia, imperialism and colonialism in Asia, historiographical issues, maritime and boundary issues, naming of geographical areas, monuments and memory, and history textbooks. The geographical scope includes Korea, China, Japan, Mongolia, Russia's maritime region, Central Asia, and other nearby areas. Papers focusing on current issues of boundary delineation and territorial sovereignty also are welcomed.
The journal is published semiannually, in June and December. There are no deadlines for the submission of manuscripts. However, the manuscript must reach the Editorial Office by March 15 to be considered for publication in the June issue and by September 15 for the December issue. All submissions will be refereed by specialists in the relevant field. Authors will be notified of the decision of the Editorial Board as promptly as possible as to whether their papers have been accepted for publication. Manuscripts may be edited according to the guidelines of the Editorial Board.
Inquiries and submissions may be sent to firstname.lastname@example.org, Northeast Asian History Foundation.
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[from MCLC, 1/13/14]
We invite the submission of paper proposals (400 words max.) on the topic of "Transforming Book Culture in China," 1600-2014 for publication in Kodex 2015 (The Yearbook of the International Society for Book Studies (IBG), edited by Christine Haug and Vincent Kaufmann, Harrassowitz Publishing House, Wiesbaden. Daria Berg will guest edit the Kodex 2015 issue).
The aim of this volume is to bring together up-to-date research exploring the latest trends in China's book, literary, print and Internet culture to shed new light on the transformation of book culture and the publishing industry in China. While the main focus shall be on reform-era and postsocialist China (1979-present), the volume also invites contributions dealing with the late Ming, Qing, Republican and Mao periods, spanning the sixteenth to the twenty-first centuries. The volume aims to provide a sense of the historical continuities as well as the more obvious discontinuities characterising this period to show how China's book and literary culture have developed in print media and on the Internet.
China's market reforms since 1979, its consumer revolution and the digital revolution have contributed to a rapid transformation of China's print culture. Twenty-first century China's print culture appears characterised by radical decentralisation, innovation especially in digital publishing, and a burst of creativity. The privatisation and commercialisation of the publishing industry have terminated the state monopoly on print culture. Yet publishing still needs to negotiate the area of tension between state censorship and market demands. The Internet has broken the blockade imposed on state media while the government pays a heavy political prize for censorship (Zheng 2005). The digital media have opened new avenues for publishing, presenting a new public sphere in postsocialist China while changing the dynamics of the book market and publishing industry.
WE INVITE PAPER PROPOSALS EXPLORING:
- The transformation of the publishing industry in China
- Books and the marketplace: The rise of commercial publishing
- The rise of new authors
- Books, new media and new forms of communication
- Internet literature, E-books and e-publishing
- Blogs, apps, online writings
- Banned books, censorship and the regulation of "harmful writings"
- Bestsellers: books and consumer culture
- Books, cybersphere and celebrity culture
- Lost books
- Books, originality, authenticity and plagiarism
- Books and gender: women authors, female audiences
- Publishers in China
- European publishers targeting the Chinese market
The final papers for publication in the Kodex 2015 issue should have a length of approx. 40,000-60,000 characters. Please send your paper proposal (350 words max.) and a short bio to Professor Daria Berg, University of St. Gallen, by 15 March 2014.
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George Mason University
7-18 July 2014
[from H-ARTHIST, 2/6/14]
Applications are now open for "Rebuilding the Portfolio: Digital Humanities for Art Historians," a summer institute at the Roy Rosenzweig Center for History in New Media, George Mason University, supported by the Getty Foundation, July 7-18, 2014. "Rebuilding the Portfolio: Digital Humanities for Art Historians" is designed for 20 art historians, from different stages of their careers and from varied backgrounds, including faculty, curators, art librarians, and archivists who are eager to explore the digital turn in the humanities.
We seek applications from individuals who have had very limited or no training in using digital methods and tools, or in computing.
Apply today: http://arthistory2014.doingdh.org/. We will accept applications until March 15, 2014.
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Chinese University of Hong Kong
25-28 July 2014
[from H-NET, 2/12/14]
Ever since 2006, The Center for the Study of Humanistic Buddhism has organized Young Scholars Symposium of Buddhist Studies at the Chinese University of Hong Kong. This year, the centre and the Academy of Chinese Buddhism will co-organize [the] 2014 9th Young Scholars Symposium of Buddhist Studies and International Conference on the Studies of Chinese Buddhism. We take this opportunity to invite you to come to the Chinese University of Hong Kong to present your research and articulate your views on the study of Chinese Buddhism. The theme of this year's event is Chinese Buddhism in various aspects such as history and philosophy through different approaches such as sociology and hermeneutics. It will provide a unique platform for scholars as well as postgraduate students to expand their research and exchange their views on the study of Chinese Buddhism, hopefully establishing close relationship of scholars from the East and the West.
Opening ceremony is scheduled to be held in the afternoon of 25 July, three panels will be held simultaneously on the whole day of 25 July and 26 July. Participants may leave Hong Kong on 28 July, 2014.
All scholars including Ph. D candidates in Chinese Buddhism studies are welcome.
How to Apply:
1. Applicants should download the relevant application form for registration.
2. Full paper should be about 8000 words in Chinese or 5000 in English, including the title, author, abstract, key words, main text, footnotes and references.
3. Please e-mail your registration form and full paper to email@example.com.
Important Dates and Deadlines:
Deadline for all registration: 15 March, 2014
I For Scholars: Date of notification of acceptance: on or before 30 March, 2014
Deadline for paper submission: on or before 30 June, 2014
II. For Ph.D. Candidates: Deadline for paper submission: on or before 15 June, 2014
Date of notification of acceptance: 30 June, 2014
1. Registration fee: free of charge.
2. The organizers may provide a package of HKD 3500 (maximum) for invited participants to subsidize their accommodation and transportation fees. The organizer has the right to decide the exact amount of subsidy to each participant, and it will be clearly stated in the invitation letter.
3. Invited participants should book hotels themselves with the subsidy offered; the organizers only recommend some close by hotels for reference. (All invited scholars' information will be provided at the end of March)
4. luncheons and tea breaks will be served during the event.
Centre for the Study of Humanistic Buddhism
Rm 221, 2/F
Leung Kau Kui Building
The Chinese University of Hong Kong
Shatin, Hong Kong
tel +(852) 3943-6707
fax +(852) 3943-4132
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University of Goettingen
10-17 August 2014
[from H-ASIA, 3/3/14]
China, Southeast Asia and India are entangled not only through complex histories, but also through multi-faceted contemporary ties in the political, religious, economic and cultural sphere. India and China now boast strong and steadily growing economies and are already global political and economic players, while the Southeast Asian states are eager to follow them: ASEAN as a politically and economically ambitious alliance has become an actor to be counted for in Asia. The booming Asian economies have not only affected the economic sphere. Rapid urbanization, the emergence of an aspiring middle-class, the spread of consumer culture and a growing civil society are also features of these transformations. Cities are the future in Asia: the World Development Bank estimates that within the next 20 years, 1.1 billion people will move to cities in Asia. In 2030, 55 per cent of Asia's population will live in urban environments.
While modernisation was long believed to result in secularism, Asian modernities refute this thesis as euro-centric: far from becoming secular, Asian societies see a revival, a reformulation and transformation of religion in modernity, and striking religious dynamics. Religion is not an antithesis to modernity but is in complex interaction with it. Since modernity implies a number of far-reaching social, political, and economic changes, it results in not only new aspirations and practices, but also in new constraints and fears. These are articulated and addressed in religious practices and ways of expression, in new conceptualisations of religion or, in extreme cases, in acts of religiously motivated violence. Cities are spaces of longing in Asia, as they promise a modern lifestyle, economic opportunities, global connectedness, entertainment and educational upward mobility. At the same time, they stand for the loss of social and economic safety nets, for changing norms and values and the loss of close social relationships. Religious life in the city is an answer to these hopes and fears and to the changing social make-up of communities.
The Summer School "Cityscapes and New Religiosities in Asia" brings the contexts of "religion" and "urbanity" in Asia to the centre stage. It will engage with urban spaces and religiosities through case studies especially in India, China, Vietnam, Thailand, Singapore, and the Philippines. While paying attention to the specific contexts and ethnographic details of the case studies, we will also make visible their transnational and transurban connections, as urban spiritual lives and spirit worlds have been informed by the changing cultural maps of migration, adaptation, and transformation across Asia. Metropolitan centers are particular receptacles and laboratories for such global encounters, as they interweave with middle-class consumer power and diasporic identities.
The summer school therefore invites participants to engage with, and develop, their own work through an exploration of three key thematic intersections, including (1) transformations of religious sites in contexts like architecture, city planning, heritage, urban place-making and re-habitation; (2) religious communities, in which different classes, castes, generations, ethnicities and genders intersect; and (3) religion and media, exploring how spirituality is visualised, sensed, communicated, staged or experienced across urban landscapes.
With this explicitly transurban focus, we also acknowledge the growing imperative for a "global-studies" perspective in postgraduate research, through which new demands are placed on students to manage the disciplinary boundaries of "regional" or "area studies," while wondering what actual research tools they need to do so effectively and competently within the limited time frame of a thesis.
Speakers will include, among others:
Lily Kong (National University of Singapore)
Dan Smyer Yu (University of Goettingen)
David A. Palmer (University of Hong Kong)
Julius Bautista (National University of Singapore)
Andrew Alan Johnson (Yale-NUS College)
Sanjay Srivastava (Delhi University)
Rupa Viswanath (University of Goettingen)
Michael Dickhardt (University of Goettingen)
While keynotes and morning lectures will provide theoretical frames and ethnographic snapshots from diverse Asian cityscapes, the summer school's main focus will be on small working and reading groups moderated and mentored by each of the invited speakers over two-day units. Mandatory readings for these sessions will be shared in advance. Participants will have the opportunity to introduce their own work, especially through a poster but we do not expect full presentations. Instead, students will be invited to use the working groups to connect their research to each of the three theme blocs, in order to develop new ideas and learn new approaches for their own work. All students will have to actively participate in the working formats of all three topics to gain a comparative perspective and to broaden their horizons beyond the limits of their own PhD projects. While the two-day units take off with a strong input from outside, the students are expected to work with growing autonomy over the course of the unit.
As a follow-up to the summer school, we will also feature an essay competition for interested participants, with the best paper selected for submission in an edited volume prepared by DORISEA in 2014.
DORISEA and CETREN are two key platforms building research, network and outreach capacities in the study of religions at Goettingen Research campus (GRC). Bringing together scholars in the humanities and social sciences for inter-disciplinary dialogue, the networks in particular foster an appreciation of regional diversity and intra- and cross-regional entanglements in Asia. With DORISEA's expertise on Southeast Asia and CETREN's core competence in China and India, both networks complement each other, join creative forces and pool their excellent academic networks to organise this summer school. DORISEA and CETREN as inter-disciplinary area study research networks opt for a Summer School with a decidedly transregional studies character. Instead of limiting the study of religion in Asia to one discipline alone, we strive to combine the disciplinary competences of social and cultural anthropology, history, sociology, media and visual studies, religious studies, and area studies.
We invite applications from interested doctoral and research-based masters' students of all cultural-studies disciplines, whose work relates to East, South and/or Southeast Asia. We offer expertise especially in social and cultural anthropology, history, sociology, media and visual studies, religious studies, and area studies. The number of participants is limited to 20.
Applicants should submit an abstract of their thesis or dissertation (max. 500 words), a statement of motivation (max 1 page), a brief statement by the applicant's supervisor, as well as proof of current university enrollment.
Scholars of DORISEA and CETREN will select the participants. Free accommodation will be provided. A participation fee of 250 Euros will be charged. Fee waivers and travel stipends will be available to fund participants otherwise unable to attend due to the financial burden of travel costs. Please e-mail your application to Karin Klenke at firstname.lastname@example.org.
Application deadline is extended until March 15, 2014. Successful applicants will be informed by the end of March.
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CIPA-ICOMOS-ISPRS Workshop 2014
(held in conjunction with the 3rd International Symposium on Cultural Heritage Conservation and Digitization (CHCD))
1-4 September 2014
[from H-ARTHIST, 2/14/14]
Hosted by (among others):
International Committee for Documentation of Cultural Heritage (ICOMOS-CIPA)
International Council on Monuments and Sites (ICOMOS) China
School of Architecture, Tsinghua University (THUSA)
Organised by (among others):
Tsinghua Heritage Institute for Digitization (THID)
Bibliotheca Hertziana - Max Planck Institute for Art History, Italy
Deadline is 15 March 2014, though in the pdfs downloadable on the website you will find 27 January 2014 as deadline.
This is the first time that CIPA workshop takes place in P. R. China. The workshop will provide participants with a unique opportunity to work with international experts in the fields of architecture, digital technology, and heritage conservation, and the rare opportunity to experience first-hand one of the most famous sites in Chinese cultural history–the Yuanmingyuan (Garden of Perfect Brightness), also known as Beijing Old Summer Palace.
The 4-day workshop proper (fieldwork) focuses on the Western Buildings, a garden district with an eventful history and outstanding socio-cultural significance as a symbol of international cooperation. Designed by European Jesuit missionaries in cooperation with Chinese local craftsmen more than 250 years ago, it will once again become the workplace for a dynamic team of specialists from diverse countries and disciplines with a similar team spirit.
The CIPA-ICOMOS-ISPRS Workshop 2014 is part of the long-term Re-Yuanmingyuan project whose aim is to digitally revive/virtually reconstruct the Old Summer Palace. The project was launched by THID (formerly known as DAUH, Department of Architecture and Urban Heritage, at Beijing Tsinghua Urban Planning and Design Institute, THUPDI), China, as part of the Re-Relic program in 2009. The workshop shares the main theme of "translation" with the CHCD Symposium. Today, the ruins of the Western Buildings consist of scattered fragments of information that must be combined into one and interpreted into a more comprehensible form so as to revive the lost splendor of the Western Buildings and once again become accessible to the broader public. The workshop is aimed at (1) professionals actively involved in planning or working in the fields of art and architectural history, cultural heritage studies and modern information and communication technologies, (2) talented young students and (3) senior researchers at universities or institutions of higher-education. The main goals of this workshop are to promote the benefits of virtual monument preservation and heritage digitization, as follows: (1) To create an interactive and international platform, bridging the gap between cultural-studies and digital-technology expertise and bringing together specialists from the East and the West. (2) To create an interactive and mutual learning experience, training cultural-studies researchers in new digital skills and cutting-edge technology, and vice versa, to sensitize digital-visualization, -documentation, and -communication specialists to the importance of humanities and heritage preservation with the view to opening up new avenues of academic research.
THE SITE: YUANMINGYUAN
The Yuanmingyuan ("Garden of Perfect Brightness") also known as the Old Summer Palace in Beijing is a 350-ha garden complex located in the northwestern suburb of Beijing. Once a magnificent residence for five Qing-dynasty (1644-1912) emperors and a socio-political center equivalent to the Forbidden City, it was burned to the ground in 1860 during the Anglo-French allied invasion in the Second Opium War. For more than 130 years, it embodied the Qing-dynasty ideal of an imperial garden, but today, almost nothing remains of the manifold architectural and garden styles, drawn from the entire empire, that were incorporated here.
Including splendid water installations and natural surroundings, the Western Buildings (Xiyanglou) covered an area of 7 ha in the northeastern part of Yuanmingyuan, equal to 2% of the entire park ensemble. They also constituted the first large-scale European-style garden district in China. The site chosen for the workshop is the Xieqiqu (Pavilion of the Delights of Harmony) (b.1747), the earliest of twelve Western-style structures that were built over the course of the second part of the18th century. Xieqiqu was once a U-shaped structure with a three-storied core flanked by curved wings terminating in octagonal pavilions. A double flight of steps provided access from the south and a straight one, from the north. Today, only stone fragments of this once-glorious palace are scattered throughout the site.
The training workshop is organized in 3 phases spread over 10 months: (1) registration (grouping; 4 months) (2) preparation at home (group communication; 6 months) and (3) fieldwork in China (workshop proper; 4 days). Please see Table 1 for specific dates and work requirements in each phase.
The workshop will consist of 30-40 participants from various academic backgrounds and nationalities to foster interdisciplinary communication and cross-cultural learning. In Phase 1, the participants will be divided into small groups of 5-6 members. Each team will be led by two instructors (1 cultural, 1 technological) and supported by one administrator (secretary-translator).
PREPARATION AT HOME
The instructors are experienced researchers in cultural and technological studies ranging from art and architectural history to digital heritage documentation and virtual restoration. In Phase 2, they will outline a group topic and choose a specific working area on site. In consultation with the organizing team, they will provide guidance to the participants and distribute relevant material about the site. Each team member will be assigned a research task based on his/her background, which he/she will then be expected to prepare prior to arrival in Beijing ("homework"). The preparation will facilitate interactive learning and hands-on experience.
WORKSHOP PROPER IN CHINA
The 4-day workshop proper will consist of an introductory session, five half-day training sessions on site or in the conservation laboratory, supplemented by lectures, and a final presentation as part of the 3rd CHCD Symposium. Participants will be actively involved in lectures and discussions, and become familiar with digital documentation techniques and virtual reconstruction. Please see Table 2 for the timetable of the workshop proper.
The official workshop languages are English and Chinese. The administrator of each team will provide language assistance and interpretation if necessary.
Participants are expected to combine theoretical knowledge and practical aspects and engage in an exchange of skills to promote the application of digital technology to education and research on cultural heritage and to the analysis, documentation, reconstruction, sharing and visualization of cultural heritage. In the final presentation (PowerPoint/Keynote), each group will deliver a presentation about the individual learning processes and training results, combining the "homework" with the knowledge acquired on-site. In addition, a final project report will be required, expanding on the presentation.
Please register online at http://www.chcd2014.org.
Mr. SHANG Jin tel +86 (010) 82819649 (Beijing Time: 10:00-17:00)
You may also contact:
Dr. Hermann Schlimme
Bibliotheca Hertziana - Max Planck Institute for Art History
Via Gregoriana 28
Italy tel +39 (06) 69993-310
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Université du Québec
22-23 April 2014
[from H-ARTHIST, 3/3/14]
L'intérêt que porte l'histoire de l'art pour la satire dans les arts visuels s'intensifie depuis plusieurs années. Au-delà des chantiers « traditionnels » de la caricature et de la satire graphique, on peut constater que l'histoire de l'art s'intéresse à des problématiques qui relèvent de la place qu'occupe le mode satirique dans l'art contemporain. En revanche, ces problématiques ne sont pas sans susciter de nouvelles réflexions sur des corpus plus anciens qui ont pu être délimités par les études sur l'estampe, sur les journaux illustrés ou encore sur la bande dessinée, dans des perspectives qui ont souvent été inscrites dans les typologies du « récit national » ou des « grands artistes » de l'histoire de l'art. À Montréal, les équipes qui se sont constituées depuis dix ans ont cherché à placer les corpus et problématiques des arts visuels satiriques sur des bases pluridisciplinaires. Tout foisonnant soit-il, le domaine appelle néanmoins à des efforts de définition et d'organisation de la recherche. Si d'une part on cherche à comprendre comment et dans quels interstices s'ancre l'étude du « visuel » de la satire (dans les arts visuels, mais aussi dans le champ culturel plus large du satirique), depuis la caricature des XVIe-XVIIe siècles jusqu'aux démarches de l'art contemporain, les travaux en cours signalent d'autre part toute l'urgence qu'il y a de réfléchir sur la patrimonialisation et la muséalisation des corpus d'art visuel satirique. En effet, ces derniers sont souvent convoqués pour agir en tant que traces mémorielles des engagements polémiques que connaît une société tout au long de sa trajectoire.
C'est ainsi que ces journées d'étude sont organisées pour encourager la formulation de questionnements terminologiques et théoriques dans cette intrication entre satire et histoire de l'art. Les organisateurs invitent des propositions de communication dans lesquelles des études de cas seront accompagnées par des réflexions qu'on pourrait dire "métahistoriques." Comment une définition de la satire visuelle serait-elle possible (ou souhaitable) afin qu'on puisse saisir sa place dans la discipline discursive qu'est l'histoire de l'art? La satire pourrait-elle y devenir un moteur théorique? À quoi servirait une telle réflexion sur les interactions entre l'histoire de l'art et la satire ? Comment articuler ces démarches avec les impératifs qu'énoncent les approches disciplinaires plurielles dans lesquelles s'inscrit l'histoire de l'art–notamment (mais pas uniquement) aux plans des études postcoloniales et des études féministes? Qu'en est-il du médium institutionnel (ou des médias institutionnels), puisque les recherches sur la satire dans les arts visuels passent notamment par les archives, les musées et les universités? Nous invitons collègues et étudiant.e.s des 2e et 3e cycles à réfléchir à ces questions–ou à soulever de nouvelles interrogations–afin de construire avec nous ce laboratoire sur l'histoire de l'art aux limites du satirique.
Les propositions de communication (pour des présentations qui ne devront pas dépasser 20 minutes), accompagnées d'une courte présentation bio-bibliographique, devront être acheminées avant le 15 mars 2014 aux organisateurs de l'évènement: Dominic Hardy, professeur au département d'histoire de l'art de l'UQAM et Josée Desforges, programme de doctorat, département d'histoire de l'art de l'UQAM.
Ces journées d'études sont présentées avec le soutien du Département d'histoire de l'art et de l'Institut du Patrimoine (UQAM) ainsi que du Centre de recherches sur la littérature et la culture québécoises (CRILCQ-UQAM) et du Musée McCord de Montréal.
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The Arts of China Consortium (ACC) has secured a time slot and room during the Association for Asian Studies (AAS) Annual Conference in Philadelphia:
Saturday, 29 March, 1:00-2:30 PM
Philadelphia Marriott, Room 307
Our meeting agenda will include brief reports on ACC business (officers, membership, the listserv, and ACC web site), which ideally would leave an hour for lively and informal brown-bag discussion on the state of the field. We envision three to four speakers who would frame our conversation around specific topics of interest to researchers and teachers of Chinese art. The ten-minute presentations might address, but are not limited to:
- specific media
Proposals for ten-minute presentations are welcome from scholars at any level, including graduate students. Please send an abstract (max. 250 words) and full contact details via e-mail to both Katie Ryor and Nixi Cura by Monday, 17 March. We hope to announce the roundtable topics by the end of that week before the conference.
Please note that attendance at this ACC meeting does not require AAS registration.
Looking forward to meeting colleagues old and new in Philly,
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Courtauld Institute of Art
workshop: 20 June 2014
conference: 5-6 December 2014
[courtesy of Research Forum, 1/31/14]
Throughout history religion and belief have been the catalyst for the creation of great buildings and works of art. However, religious art has frequently been disputed, despised and destroyed. Members are sought for a research group that will examine the role of reform, ideology and conflict in the destruction and preservation of religious art and architecture. The group will also investigate how theological disputes and religious conflicts have been the impetus for new intellectual and creative approaches to the visual and material arts.
Prospective members are likely to be early career scholars and PhD research students. Applications are sought from scholars working with any methodology, on any period of art history, on any aspect of the material and visual arts and on any culture and world region.
Possible areas of scholarly specialism include but are not limited to:
- Byzantine iconoclasm
- Cultural encounters between Christianity and Islam
- Monastic reform movements in the Middle Ages
- The Reformation and Counter-Reformation, and the religious wars of the 16th and 17th centuries
- Antiquarians and efforts to preserve and record buildings and artefacts
- The Enlightenment, Napoleonic Wars and European revolutions
- Western imperialism and indigenous religious art
- Nationalism and religion
- Destruction and looting in the world wars
- Religious fundamentalism of the 20th and 21st centuries
The research group will meet at The Courtauld for a one-day workshop on 20 June 2014. Discussions will inform a 1.5-day conference to be held at The Courtauld on 5-6 December 2014. Limited funds may be available to support participation from scholars based outside the UK. It is anticipated that the proceedings of the conference will be published (subject to quality and peer review).
Please submit your CV with a short statement (300-500 words) summarising your research interests and reasons for wanting to join the research group to Dr Michael Carter. The deadline for expressions of interest is 17 March 2014.
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23 June to 8 July 2014
[from ASDP-L, 3/8/14]
The Japan Studies Association is pleased to offer a faculty development workshop in Kyoto, Japan, June 23-28, and a study-tour to follow, June 29-July 8. Twenty workshop participants will be selected with an application deadline of March 17, 2014. The workshop schedule includes morning sessions held at Otani University, featuring lecturers on early Japanese history seen through the lens of literature, performance, art, architecture, and religion. Afternoon activities will explore sites in and around Kyoto, Nara, and Osaka related to The Tale of Genji, Noh plays, the Cult of Prince Shotoku, and the Tale of the Heike.
A subset of eight participants will be chosen for a Study-Tour, "ReMapping the Tokaido Road," June 29-July 8. The Study-Tour begins with a fabulous overnight mountain temple visit to Mt. Koya and continues to Kamakura, Tokyo, Nikko, and points north still recovering from the 2011 earthquake and tsunami.
JSA has submitted a proposal to the Japan Foundation Institutional Project Support Program and will receive news of funding in April 2014. This proposal continues a Japan Foundation Center for Global Partnership grant that funded a site visit to Japan in 2013 to make our 2014 workshop and study-tour plans. If we do not receive funding from the Japan Foundation, we hope to organize a smaller-scale workshop.
Japan Foundation funding would provide $500 covering airfare stipends, lodging, local transportation and admissions, and other benefits. If the Japan Foundation does not sponsor these events, JSA hopes to offer a smaller scale workshop in Kyoto. There is a registration fee of $550 for the Kyoto Workshop and an additional $550 for those selected for the ten-day Study-Tour.
For the application, see the JSA website. Clicking on "Kyoto Workshop and Study Tour" provides an overview of JSA's current plans for the workshop in Kyoto and the following Study Tour. There are also links to the venue for the Workshop and a downloadable application form.
We welcome applications from faculty at United States institutions with little prior knowledge about or experience in Japan who wish to integrate material about Japan into their undergraduate courses Additional considerations in evaluating candidates appear in the Appendix to the application form.
The due date for applications is March 17, 2014. If you have questions, please send them to the Program Director, Dr. Fay Beauchamp, JSA Vice President for Special Projects.
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20-22 May 2014
[from H-ARTHIST, 2/27/14]
Deadline: Mar 18, 2014
This workshop is the second in a new annual series focusing on processes of making in the fine, decorative, and industrial arts. The workshops will bring together faculty, artists, museum professionals, and graduate students for demonstrations, hands-on exercises, and discussion. Each day will combine instruction in historic techniques with the close analysis of related historic objects. One of the features that will differentiate this workshop from others like it is that it will include time for extensive discussion about the merits of bringing technical and artisanal knowledge into the historical and interpretive disciplines in a conceptually rigorous way.
Rather than focus on a specific medium or type of object, each workshop is organized around a single species of physical operation that cuts across multiple media and can also be evocatively transposed into cultural and theoretical dimensions.
This year we will concentrate on "turning." From the lathe to the spindle to the potter's wheel to the turntable, rotational dynamics sit at the heart of multiple mechanical and artisanal practices. The workshop will trace processes of turning through pottery throwing, textile production, and media playback and projection. What modes of thinking and approaches to materials link these processes? How have makers across time conceptualized working "in the round" and how might such modes of embodied making inform our understanding of the creative process? What are the implications of turning's intricate relationship to control in artisanal and industrial settings? How does turning engage with problems in programming, tacit knowledge, and automation?
Each participant will be expected to complete a short list of preliminary readings and to attend all portions of the workshop.
The workshop is organized by Americanists and will focus primarily on American material, but students in all fields are encouraged to apply. Lodging for four nights and most meals will be provided for selected participants. Participants will be responsible for supporting their own travel to and from Cambridge.
A PDF of the CFP (and workshop schedule) is available at https://dl.dropboxusercontent.com/u/6064380/CFP-Turning.pdf.
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[from H-ASIA, 6/23/13 and 2/7/14]
Education About Asia (EAA) is the peer-reviewed teaching journal of the Association for Asian Studies. Our approximately 1,800 readers include undergraduate instructors as well as high school and middle school teachers. Our articles are intended to provide educators, who are often not specialists, with basic understanding of Asia-related content. Qualified referees evaluate all manuscripts submitted for consideration. Most of our subscribers teach and work in history, the social sciences, or the humanities.
We are developing a special section that will be published in fall 2014 entitled "Maritime Asia." This special section will include a wide array of historical and contemporary topics ranging from Asia's maritime history to other maritime related topics that include geopolitics, international trade, immigration, literature, piracy, and environmental issues. We welcome manuscripts from teachers, scholars, journalists, or others who have expertise in the topic.
Prospective authors should be aware that approximately fifty percent of our readers teach at the undergraduate level and the rest are secondary or middle school teachers. Please consult the EAA guidelines, available on the website under my signature before submitting a manuscript for this special section. Pay particular attention to feature and teaching resources manuscript word-count ranges. Prospective authors are also encouraged to share possible manuscript ideas with me via email. The deadline for initial submission of manuscripts is March 31, 2014. Prospective authors are welcome to e-mail me at the address below if they have questions.
Editor, Education About Asia
302 Pfeiffer Stagmaier Hall
University of Tennessee at Chattanooga
Chattanooga, TN 37403
tel (423) 425-2118
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[from H-NET, 9/16/13]
Modern Art Asia is dedicated to the arts of Asia from the eighteenth century to today, presenting graduate research from historical perspectives and international news on Asian art. Combining peer-reviewed articles with insightful commentary and the latest exhibition reviews from international correspondents,Modern Art Asia provides a forum for exchange between scholars that crosses the boundaries of traditional academic disciplines.
We invite graduates and early career researchers working on the arts and material cultures of Asia from the eighteenth century to the present to submit previously unpublished papers of 4,500-10,000 words for peer-review. "Asia" is broadly defined to include Central, East, South and Southeast Asia, as well as Asia-Pacific. Modern Art Asia aims to take an interdisciplinary and innovative approach to the study of Asia, and will consider papers on media and experiments that stretch the parameters of "fine art."
Submission deadline for papers: December 1st, 2013.
Submission deadline for reviews: February 1st, 2014 for February; April 1st for April; or by agreement with the editors.
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[from H-ARTHIST, 11/5/13]
Feminist Art Conference, now in its second year, solicits submissions for its upcoming publication.
Following the success of the first Feminist Art Conference in March
2013, FAC committee was approached by commissioning editor of Cambridge
Scholars Publishing to prepare a volume of essays based on the
materials of the conference. As a result, FAC committee is starting
preparatory work on the future publication which will feature main
themes, artworks, and ideas from the two conferences (one from the past
2013 and from the upcoming one 2014). The editors are particularly
interested in the submissions that deal with the following issues:
- Urban Feminism
- Feminism and Labour
- The inclusion and exclusion of Feminism
- Young Feminist Art
– work of young feminists (under 30) and their engagement with Feminist ideas
- Feminism and colonialism/capitalism
We are soliciting submission for two types of contributions for this publication. The first one is an academic essay up to 8,000 words in length. The essays can deal with the issues outlined above or can be related to other ideas and themes. We are asking that the essays be based on the artworks and performances from either conference of 2013 or 2014. The artwork exhibited in 2013 conference can be found online at http://factoronto.org/149-2/. The artwork that will be exhibited during 2014 conference will be available on www.factoronto.org in later February/Early May. In addition, the essays can discuss other works of art, theories, media presentations, performance pieces, and other content.
The second type of contribution is the artists' panel discussion. We are looking for artists, scholars, and performers who will discuss the connections between their work and current aspects of Feminist art. The discussions will be facilitated by one of the editors and will happen either as a public event, or as an informal discussion. The summaries/transcripts of these discussions will be then published in the volume. This strategy was devised to augment traditional academic discourse of analyzing artworks. We believe that panel discussions around specific topics will give voice to artists whose approach includes feminist ideas and theoretical concepts. The transcripts of these discussions will be published in the volume.
Submission procedures for academic papers: Submit abstracts minimum 300 and maximum 500 words and your CV in PDF file.
Submission procedures for panel discussions: Submit expression of interest of up to 200 words. In your submission please explain how your work relates to at least one of the mentioned above themes of the volume and CV in PDF file.
Submission Deadline: April 15, 2014
Send your submission to: email@example.com.
In the subject line please put FACPUB 2014 + your last name.
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Western Washington University
20-22 June 2014
[from ASPAC 2014, 12/4/13]
The conference organizing committee welcomes the participation of university/college teachers and researchers, graduate and undergraduate students, and independent scholars interested in any aspect of Asia, defined to include the regions of Northeast Asia, Southeast Asia, South Asia, Central Asia, and Southwest Asia. ASPAC encourages inter/multidisciplinary discourse among Asia-focused scholars and students and invites those trained in Political Science, Economics, History, Sociology, Anthropology, Linguistics, Language Teaching, Law, Business Administration, Psychology, and other disciplines to participate in its annual conferences.
Individual paper proposals as well as panel and roundtable proposals may be submitted using the link below. Individual paper proposals will be reviewed and, if accepted, will be organized into panels according to general topic.
Multiple-paper proposals should address a single theme, and should include a minimum of three presenters, a chairperson, and a discussant. The chair may serve as the discussant.
A roundtable proposal should consist of 3-6 participants who wish to engage in an informed discussion on a particular theme of wider interest. The organizer should designate a chair or moderator. Written papers are not required for roundtable discussions.
All proposals will be reviewed and reponded to within two weeks of submission. Proposals are being accepted now, and will be accepted until April 15, 2014. Please submit proposals at your earliest convenience to facilitate the organization of panels and the conference program.
ASPAC is proud to offer an ASPAC-Esterline Student Paper Award to the best student paper presented at its annual conferences. The paper must be accompanied by a brief note of recommendation/endorsement by the faculty advisor/supervisor who is familiar with the student’s work.
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[from H-ARTHIST, 11/11/13]
Call for papers for the next 3 volumes of n.paradoxa: international feminist art journal, for July 2014, January and July 2015.
n.paradoxa publishes the work of women writers, critics, artists and curators on the work of contemporary women artists (post-1970) from anywhere in the world. n.paradoxa is published twice a year in print and PDF. It is an academic and scholarly journal. n.paradoxa is published in London by KT press.
Editorial board: Katy Deepwell (editor), Hilary Robinson, Bisi Silva, Renee Baert, Silvia Eiblmayr, Joanna Frueh, Janis Jeffries, Hiroko Hagiwara
If you are a woman scholar/artist/curator/art historian/art critic and would like to submit an article on contemporary women's art practices (visual arts only, post-1970), discussions of new directions in feminist art theory in relation to their work or interviews with women artists or feminist curators to n.paradoxa, please contact the editor. n.paradoxa is keen to publish new research and comparative trans-national or international approaches in feminist scholarship about the works of contemporary women artists. Do not send finished articles. Articles are commissioned through negotiation with the editor, Katy Deepwell. Articles are published in print and in PDF format at www.ktpress.co.uk.
Please send, (more than one month in advance of the copy deadline), an outline (1-2 paragraphs) and a short resume (1 page only). Please also outline the relation of your proposal to the theme of a particular volume.
Volume 34 Lessons from History (July 2014)
Deadline for copy: 1 May 2014
Will the past help us explain the present? Is our interest in past events and historical figures a way of re-imagining the present or does the lesson work only to overcome our ignorance and curiosity about the past, reinforcing a sense of how things were different then? Many feminist art works have chosen as their subject matter female figures from history as a means to re-imagine and re-image the past in the present or to speculate about different forms of female subjectivity/subjection/objectification/resistance. n.paradoxa invites women artists, curators and critics to discuss art works (visual arts only) which look at women in the past in terms of family histories; social histories of women's labour or protest; stories about or based on women's lives--including their lives as artists--for this volume. Contributions where the subject/content of the artworks is based on any period in history are welcome but the artworks by women artists discussed must have been produced post-1970 to be considered. This volume would also welcome contributions about feminist art histories (or more precisely, histories of feminist art practices, post-1970) in terms of how we construct the "legacy" of the last 40 years. In-depth critiques of models in art history or histories of feminist art exhibitions which have been "national"; "global"; "generational" or "wave"-based are welcomed.
Volume 35 War (Jan 2015)
Deadline for copy: 1 November 2014
It is frequently stated that the number of wars in the world after the Second World War continues to increase, but that these wars are local, civil or "contained" as military conflicts in particular hotspots or sites. Everyone is conscious of how wars mean not only death in armed conflict but also aerial bombing, drones or military campaigns designed to terrorise a population, the displacement of many people as refugees and the disruption of all routines in everyday life. From the Vietnam War of the 1960s to the present conflicts in Syria, Afghanistan, Iraq, etc, feminist artists have responded and produced works which look at the impact of war on people's lives (particularly women); the stories of refugees and those living in camps; the landscapes produced as a result of war; and the division by conflicts of people and places. n.paradoxa seeks contributions which address the works of women artists on the subject of war: be it critical examinations of the military; responses to the devastation war causes; the stories of refugees and survivors; or the transformation of lives and families that results from war. The focus of the volume will be on works of women artists (post-1970, visual arts only).
Volume 36 Humour (July 2015)
Deadline for copy: 1 May 2015
Women's humour is often regarded as a neglected subject. Women's wit and cleverness recurs frequently in women artists' work. Irony, pastiche and parody have long been subjects of women's attempt to turn the male status quo on its head and subvert norms and mores. Humour is a tricky subject: one's person's sense of fun may not be shared by many. This volume will attempt to enlighten, amuse and tickle the reader's fancy by considering and presenting works by women artists which examine the ridiculous, the absurd and the strange that will still bring a subversive smile to a woman's face. Contributions by women artists which deal with jokes, humorous pieces, absurdity, irony, pastiche, parody and subversion of the status quo using slapstick and comedy will all be welcomed. Articles by women critics or curators who have attempted to present women's humour or have examined controversies which have arrived as a result will all be welcomed.
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[from H-ARTHIST, 10/8/13]
Deadline for article submissions: November 1, 2013 and April 21, 2014
Museums & Social Issues welcomes the submission of original articles on the interaction between social issues and the way that museums respond to, influence, or become engaged with them. Topics should address questions and issues that are pervasive, long standing, critical, and not easily solved. Submissions may include a history of the issue, critical questions, philosophical reflections, theoretical positions, examples of exhibits, programs or initiatives that have addressed issue, and a review or bibliography of pertinent books, websites, exhibits and other resources. All manuscripts are subject to anonymous peer review by knowledgeable scholars and professional practitioners, and if accepted may be subject to revision.
Materials submitted to the journal should not be under consideration by other publishers, nor should they be previously published in any form. All article submissions will be sent to independent referees. It is a condition of publication that on acceptance of the paper by the journal Editor that copyright must be assigned to W. S. Maney & Son, Ltd. All submissions should be sent to:
Director, Museum Studies Program
IU School of Liberal Arts at IUPUI
tel (317) 274-7332.
Authors wishing to correspond directly with the Editor are also welcome to do so via e-mail.
ARTICLES should not normally exceed 10,000 words in length. In preparing the electronic version, there is no need to format articles. Use a single (not double) space after the full point at the end of sentences. Please use plain style and avoid elaborate layout or typography, but include italics or bold type when necessary, and make sure that headings and subheadings are clearly visible as such. Words should not be hyphenated at the end of a line. Consistency in spacing, punctuation, and spelling will be of help. References and captions should be placed at the end of the file. Submission should include a cover letter, an original manuscript, and copies of any illustrations. Articles must also be accompanied by a short abstract (c. 100-150 words) summarizing the contents of their paper. Articles should also be accompanied by up to 6 key words to aid searchability of the article online. Any acknowledgements should be placed at the end of the article, before any Notes.
EXHIBITION REVIEWS explore the ways in which institutions approach social matters through exhibition topics and exhibition strategies. The journal publishes 1,000- to 1,500-word reviews of recent exhibitions mounted around the world. Potential authors may examine exhibitions that have social issues as a stated emphasis, or they may evaluate exhibitions dedicated to other topics by using a critical lens focused on the social issues that the exhibition implicitly raises. Exhibition reviews should include the title of the reviewed exhibition, its host institution, and exhibition dates. (When applicable include this information as well for known sites to which the exhibition has traveled or will travel.)
BOOK REVIEWS reflect on or inform how museums and other cultural institutions are addressing, or might address, social issues. Submissions should be from 1,000 to 1,500 words in length. Personal reflections are welcome, but the reviewed material's usefulness to professionals in the museum field is imperative. MSI will reject submissions from authors, publishers, and others who stand to gain from favorable reviews. Book reviews should include publication title, author, publisher, ISBN number, number of pages. All reviews should include the author's name, affiliation, and contact information.
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[from MCLC, 6/7/13 and 12/7/13]
Verge: Studies in Global Asias is a new journal that includes scholarship from scholars in both Asian and Asian American Studies. These two fields have traditionally defined themselves in opposition to one another, with the former focused on an area-studies, nationally and politically oriented approach, and the latter emphasizing epistemological categories, including ethnicity and citizenship, that drew mainly on the history of the United States. The past decade however has seen a series of rapprochements in which, for instance, categories "belonging" to Asian American Studies (ethnicity, race, diaspora) have been applied with increasing success to studies of Asia. For example Asian Studies has responded to the postnational turn in the humanities and social sciences by becoming increasingly open to rethinking its national and regional insularities, and to work that pushes, often literally, on the boundaries of Asia as both a place and a concept. At the same time, Asian American Studies has become increasingly aware of the ongoing importance of Asia to the Asian American experience, and thus more open to work that is transnational or multilingual, as well as to forms of scholarship that challenge the US-centrism of concepts governing the Asian diaspora.
Verge showcases scholarship on "Asian" topics from across the humanities and humanistic social sciences, while recognizing that the changing scope of "Asia" as a concept and method is today an object of vital critical concern. Deeply transnational and transhistorical in scope, Verge emphasizes thematic and conceptual links among the disciplines and regional/area studies formations that address Asia in a variety of particularist (national, subnational, individual) and generalist (national, regional, global) modes Responding to the ways in which large-scale social, cultural, and economic concepts like the world, the globe, or the universal (not to mention East Asian cousins like tianxia or datong) are reshaping the ways we think about the present, the past and the future, the journal publishes scholarship that occupies and enlarges the proximities among disciplinary and historical fields, from the ancient to the modern periods. The journal emphasizes multidisciplinary engagement—a crossing and dialogue of the disciplines that does not erase disciplinary differences, but uses them to make possible new conversations and new models of critical thought.
Issue 1: OPEN ISSUE
The history of scholarship on Asian America, when juxtaposed with the fields of Asian Studies, reminds us how much nations, national movements, and other forms of national development continue to exert powerful effects on the world in which we live. Such movements also remind us of the importance of inter-nationalism, of the kinds of networks that can spring up between states and which can work to disrupt the smooth passage of the planet into a utopian post-national future. The growing interest in the global and the transnational across disciplines thus brings the various Asia-oriented fields and disciplines—history and literature, Asia and Asian America, East and South, modern and premodern—closer together. This inaugural issue seeks to feature work that illustrates the diverse engagements across disciplines (literature, history, sociology, art history, political science, geography) and fields (Asian Studies and Asian American Studies) that are possible once we begin thinking about the possible convergences and divergences such divisions have traditionally represented. We welcome a range of perspectives; featured contributors include Ien Ang, Dean Chan, Alexandra Chang, Catherine Ceniza Choy, Magnus Fiskejo, Pika Ghosh, Evelyn Hu-Dehart, Yunte Huang, Suk-young Kim, Joachim Kurtz, Meera Lee, Wei Li, Colleen Lye, Sucheta Mazumdar, Tak-wing Ngo, Haun Saussy, David Palumbo-Liu, Sheldon Pollack, Shuh-mei Shih, Eleanor Ty, and Jeffrey Wasserstrom. Submission deadline: February 1, 2014.
Issue 2: COLLECTING (edited by Jonathan Abel and Charlotte Eubanks)
As a construct and product of powerful institutions from empires, to nation-states, museums, to universities, Asia has long been formulated at the level of the collection. Whether through royal court poetry compilations, colonial treasure hunters, art historians, bric a brac shop keepers, or librarians of rare archives, the role of collecting and classification has been deeply connected not only to definitions of what counts as Asia and who can be considered Asian, but also to how Asia continues to be configured and re-configured today. With this in mind, this special issue of Verge seeks to collect papers on the history, finance, psychology, politics and aesthetics of collecting Asia in Asia and beyond. This collection hopes not only to bring into relief how "Asia" has been created but also to promote new definitions of Asia. What, for instance, are the historical implications of government-sponsored poetry anthologies in Mughal India, Heian-era Japan, or 20th century North Korea? What do the contents of treasure-houses--at Angkor Wat, Yasukuni Shrine, or Vishwanath -tell us about evolving concepts of art and of the elasticity of cultural and national contours? When did Japan become a geographical base for the collection of Asia? Who collects Chinese books? How has Indian art been defined by curatorial practices? Why did South Korea begin to collect oral histories in the 1990s? What politics lie behind the exhibition of mainland Chinese posters in Taiwan? How much money do cultural foundations spend on maintaining collections? Where are the limits of Asian collections in geographical and diasporic terms? How do constructions of these collections impact our views of the collective, whether of Tibetan exiles in Dharamsala, Japanese internment camps in Indonesia, global Chinatowns, or adherents of new Asian religions in the Americas and former Soviet Republics? This issue is interested in the various cultures of collecting Asia and collecting Asians, in the many politics of collecting, in the odd financial restrictions on collectors, in the psychology of collecting, in the anthropology of how communities form around collected objects, and in the sociology around collective histories. Submission deadline: August 1, 2015
Issue 3: ASIAN URBANISMS AND URBANIZATIONS
(edited by Madhuri Desai and Shuang Shen)
In the contemporary age of globalization, the city has gained new importance and attention as a center of information industry, a node of transnational and translocal networks, and a significant site of capital, labor migration and culture (Saskia Sassen, Manuel Castells and David Harvey). While this renewed interest in the city both perpetuates and revises theories of the city as a metaphor of modernity (Walter Benjamin, Georg Simmel), it also opens up questions regarding the uniqueness and relevance of earlier cities and their experience of urbanization. When we move us away from Eurocentric understandings of modernity and time, it becomes increasingly possible to study non-European urbanisms in the past and at present with theoretical rigor and historical specificity. For this special issue, we invite submissions (around 8000 words) that explore urbanism as a site of comparison and connection among various Asian locales and beyond. We are interested in not just studies of Asian cities and their urban experience but also how "Asia" has been imagined both historically and contemporaneously, through urbanism and urbanization, and how "Asia" as a term of travel is registered in the urban space. This special issue will draw attention to the following questions: As cities become increasingly connected and similar to each other, how do they express their distinct identities as well as articulate their unique histories? Besides circulation, movement, and networks that have been much emphasized in contemporary studies of the city, how do borders, checkpoints, and passwords function in urban contexts? How does the city articulate connections between the local, the national, and the transnational? How does the Asian experience of urbanization and ideas surrounding Asian urbanism revise, rethink, and in some cases revive Asia's colonial past? What does the Western perspective on some Asian cities as unprecedented and futuristic tells us about the imagination of Asia in the global context? How do migrant and ethnic communities negotiate with and redefine the public space of the city? How is the urban public shared or fragmented by co-existing ethnic and religious communities? How is the rising cosmopolitanism of these cities challenged through migration and sharply defined ethnic and religious identities? We invite submissions that address these questions within the context of Early modern, colonial and contemporary urbanisms and urbanizations. Deadline: April 1, 2015
Issue 4: ASIAN EMPIRES & IMPERIALISM (edited by On-cho Ng and Erica
The nature of Asian empires in the past, as well as the definition of imperialism in contemporary times, is a topic of ongoing discussion among scholars from a wide range of fields. In this special issue ofVerge, we will explore a cluster of issues concerning the mechanics and influence of empires, imperial authority, and imperial types of influence over indigenous cultures and frontiers in Asia, as well as their diasporas abroad and in the USA. We invite submissions that address one or some of the following questions: How did various imperial efforts interact with local concerns to shape the history of cross-cultural interactions in this region? How did imperial regimes propose to solve the issue of a multi-ethnic empire? What were the roles of specific geographic and economic spheres in Asia (such as those of nomadic, agricultural, maritime, high altitude or lowland, and far-flung/diasporic cultures) in contributing to the distinctive quality of certain empires? How do certain characteristics of imperial administration and control in Asia compare to those of imperial states in other regions of the world? In addition to questions concerning the long history of Asian imperialism and comparisons with other empires, we also solicit submissions that speak to questions concerning contemporary Asian diasporas and their reactions to various forms of imperialism in the modern age. Questions might address such topics as "Yellow Peril" fears about Asian cultural imperialism; Japanese internment camps as a US response to Japanese imperial expansion in the Pacific; the Tibetan diaspora in South Asia and the Americas as a reaction to contemporary Chinese imperialism; Vietnamese responses to French, Chinese, or American imperialisms, and the treatment of Japanese-Americans in Hawaii in the aftermath of Pearl Harbor. Submission deadline: August 1, 2015
Grace Hui-chuan Wu
Pennsylvania State University
433 Burrowes Building
University Park, PA 16802
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[from MFEA, 6/12/10]
The BMFEA publishes articles by scholars worldwide on all aspects of ancient and classical East Asia and adjacent regions, including archaeology, art, and architecture; history and philosophy; literature and linguistics; and related fields.
Contributions seriously engaging contemporary critical thought in the humanities and social sciences are especially welcome.
All contributions, for general issues as well as for special thematic issues, are peer-reviewed. The BMFEA Editorial Advisory Board mainly consists of scholars based at European centers for Asia research. Please note that no new manuscripts are reviewed for publication until June 2010. The editor is Martin Svensson Ekström, Associate Professor, Stockholm University (firstname.lastname@example.org).
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[from AAS, 3/17/10]
The Association for Asian Studies announces a new scholarly book series—"Asia Past and Present: New Research from AAS"—to be published under the Association's own imprint. The series will be overseen by the AAS Editorial Board and the Series Editor, Martha Ann Selby, professor of Asian Studies at the University of Texas, Austin.
AAS expects to publish 2–3 books a year, each of them fully refereed and selected on the basis of exemplary, original, and enduring scholarship.
Submissions in all areas of Asian studies are welcome. AAS particularly hopes to support work in emerging or under-represented fields, such as South Asia, premodern Asia, language and literature, art history, and literary criticism. In addition to monographs, other forms of scholarly research—such as essay collections and translations—will be considered.
Authors interested in publishing in this new series should first consult the "Author Guidelines" and then e-mail excerpts of their manuscript (10,000–15,000 words, including a full Table of Contents and a representative sample chapter) along with a completed "Author Questionnaire" to Jonathan Wilson, AAS Publications Manager.
If, after initial evaluation by the series editor, your manuscript is selected to be sent for review, you must at that time be prepared to provide a complete manuscript. Only complete manuscripts will be reviewed. Completed manuscripts should adhere to the "Author Guidelines."
Authors must be current members of AAS at the time of submitting their initial manuscript excerpts for evaluation. In the case of edited volumes with multiple editors, if your manuscript is selected for review, each editor must hold AAS membership at the time of full manuscript submission (this requirement does not apply to contributors/single chapter authors).
For further information, please contact the Series Editor, Martha Ann Selby, or AAS Publications Manager, Jonathan Wilson.
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[from H-ASIA, 2/2/10]
Early Modern Japan: An Interdisciplinary Journal is a refereed, on-line journal of sixteenth to nineteenth century Japanese studies. In addition to scholarly articles and book reviews, we welcome translations, essays on teaching/teaching resources and other topics of professional interest that are not normally encompassed by other academic periodicals.
Inquiries regarding submission of manuscripts should be directed to Philip Brown, Editor. Inquiries regarding books for review or review manuscripts should be sent to Glynne Walley, Book Review Editor. A basic style sheet for manuscripts appears on the final page of each issue of Early Modern Japan.
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[from H-NET, 3/10/10]
Polymath: An Interdisciplinary Arts and Sciences Journal welcomes submissions from any academic field, though preference is given to papers with an interdisciplinary approach or a focus on interdisciplinarity. As such, our formatting guidelines embrace the plurality of each discipline's style. Authors are asked to make use of the style and formatting typical to their discipline with respect to citations, bibliographic reference, foot-noting, punctuation, and formatting of section and sub-section headers. Authors, however, must be consistent in their usage throughout the paper. Where possible, authors are recommended to include hyperlinks to citations.
Additionally we encourage the submission of other media such as images, video, sound, among others that the new technology makes possible. Submitting authors should also provide copies of these files with reasonable size constraints for video and sound via e-mail attachment to the editor.
Southern Illinois University Edwardsville
Edwardsville, IL 62026-1432
tel (618) 650-2177
fax (618) 650-3509
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[from H-ARTHIST, 4/14/10]
RIHA, the International Association of Research Institutes in the History of Art, is pleased to announce the launch of RIHA Journal, the new international online-journal for the history of art, on April 14, 2010. A joint project of 27 institutes in 18 countries, the journal provides an excellent medium for fostering international discourse among scholars. Funding is provided by the German Federal Government Commissioner for Culture and the Media (Beauftragter der Bundesregierung für Kultur und Medien, BKM).
RIHA Journal features research articles in either English, French, German, Italian, or Spanish, and invites submissions on the whole range of art historical topics and approaches. Manuscripts undergo a double blind peer review process and are published within few months from submission.
A not-for-profit e-journal committed to the principles of Open Access, RIHA Journal makes all articles available free of charge.
RIHA Journal welcomes submissions at any time. Please contact the RIHA institute in your country and/or field of expertise, or the managing editor.
Zentralinstitut für Kunstgeschichte
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[from Asian Studies Newsletter, Spring 2010]
The Trans-Asia Photography Review (TAP Review) is a new international refereed journal devoted to the discussion of historic and contemporary photography from Asia. Online and free of charge, it is published by Hampshire College in collaboration with the University of Michigan Lirary Scholarly Publishing Office. Its editorial boeard includes Raymond Lum (Harvard University), Michael Chen (Taipei), Gu Zheng (Shanghai), Iizawa Kotaro (Tokyo), Lee Hongeun (Museum of Photography, Seoul), Young Min Moon (University of Massachuseets), David Odo (Yale University), Christopher Phillips (International Center of Photography, New York), Ram Rahman (New Delhi), Ajay Sinha (Mount Holyoke College), and Alexander Supartono (Jakarta), The editor is Sandra Matthews (Hampshire College).
TAP Review offers a forum in which a nuanced, detailed history of photography in Asia can be articulated, and in which contemporary works can be assessed in historical and cultural contexts. The first issue will be launched September 1, 2010. The journal welcomes submissions of articles and curatorial projects. All submissions are sent anonymously to two reviewers. For more information, or to join the mailing list, please visit http://asianphotos.hampshire.edu.
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[from H-NET, 7/6/10]
Palimpsest is a peer-reviewed journal of interdisciplinary inquiry. The editors seek submissions of innovative interpretive analyses in all fields. Essays may be drawn from any humanities, social science, or other fields including history, literature, philosophy, environment, psychology, sociology, fine arts, language, economics, business, and medicine. A palimpsest is a manuscript on which the original text has been rubbed or scraped away and written over, with shadows and nuances of the original text sometimes visible underneath. As a metaphor for our journal, a palimpsest describes the state of text in the information age: shadows, traces, and pluralities of texts shaped by the input of many minds and voices. There is no pristine text but nuances of other texts visible underneath and written over. As a critical metaphor, Palimpsest is meant to suggest that all areas of study have multiple layers of meaning, which the scholar may discover by "rubbing away" the old to reveal new insight. Palimpsest seeks to establish a dynamic forum for interdisciplinary discourse in the search of new paradigms and ways of seeing.
Papers may be submitted for consideration using any citation format; the final format for those accepted will be submitted in a modified version of the Chicago Manual of Style. The author's name should appear only on the title page and in the file name of the submitted document (jones.doc). Manuscript length is standard, from 6,000 to 8,000 words. Online submissions are encouraged as attachments in doc or rtf files. For safe delivery please write "Palimpsest submission" in the subject line. Our website is under construction, but you may direct inquiries and submit manuscripts to Dr. Fred van Hartesveldt. Online submissions are preferred, but if you must submit hard copies, please send three copies SASE to:
Fred van Hartesveldt
Department of History
1005 State University Drive
Fort Valley State University
Fort Valley, GA 31030.
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[from H-ASIA, 7/12/10]
Journal of Central Asia and the Caucasian Studies (JCACS) is a refereed journal and published twice (Winter and Summer) a year. JCACS publishes scholarly articles in Turkish and English from all over the world. The Editorial Office of the JCACS is in the International Strategic Research Organisation (ISRO) central building in Ankara, Turkey. However the journal is an independent publication in terms of scientific research and the editors decide its publication policy.
JCACS focuses on legal, political, sociological, cultural, social, religious, anthropological and economic studies regarding the Central Asia, Caucasus and neighbouring states' (Turkey, Iran, Pakistan, India, Afghanistan, China, Mongolia, Russia) and regions' (Black Sea, South Asia, Middle East, Far East) relations with the Central Asia and the Caucasus.
The journal encourages interdisciplinary studies. Manuscripts submitted to JCACS should be original and challenging, and should not be under consideration by another publication at the time of submission.
We also welcome short pieces on recent developments and review articles.
Articles submitted for consideration of publication are subject to peer review. The editorial board and editors take consideration whether submitted manuscript follows the rules of scientific writing. The appropriate articles are then sent to two referees known for their academic reputation in their respective areas.
The Editors and referees use three-step guidelines in assessing submissions:
i) Literary quality: Writing style, usage of the language, organisation (paragraphing, syntax, flow etc.)
ii) Use of references. Referencing, sources, relationships of the footnotes to the text.
iii) Scholarship quality: Depth of research, quality; contribution, originality of the contribution (new and creative thought) and plausibility of the author's argument.
Upon the referees' decision, the articles will be published in the journal, or rejected for publication. The review process lasts from five to 15 weeks. Questions regarding the status of submissions should be directed to the Editor by e-mail at email@example.com or firstname.lastname@example.org. The referee reports are kept confidential and stored in the archives for five years.
JCACS's aim is to generate a productive dialogue and exchange between theorists, writers and practitioners in disparate locations. JCACS assumes that one of the main problems in Central Asian and Caucasian studies is lack of dialogue between writers and scholars from different cultural backgrounds.
All manuscripts and editorial correspondence and enquiries should be addressed to the JCACS Editorial Office (The Office).
We prefer electronic submission to email@example.com or firstname.lastname@example.org as a Microsoft word attachment file. Please be sure that you received a confirmation from The Office. Manuscripts should be one-and-half or double spaced throughout (including all quotations and footnotes) and typed in English on single sides of A4 paper. Generous margins on both sides of the page should be allowed. Pages should be numbered consecutively. The author should retain a copy, as submitted manuscripts cannot be returned. Full names of the author(s) should be given, an address for correspondence, and where possible a contact telephone number, facsimile number and e-mail address.
Articles as a rule should not exceed 10.000 words, not including footnotes. Book reviews should be about 2.500 word-length for one book, or maximum 3.500 words for two or more books.
Style and Proofs
Authors are responsible for ensuring that their manuscripts conform to the JCACS style. Editors will not undertake retyping of manuscripts before publication. Please note that authors are expected to correct and return proofs of accepted articles within two weeks of receipt.
Titles and Sub-Titles: Titles in the article should be 12 punt, bold and in uppercase form. The sub-titles should be 12 punt and in the title case form.
Footnotes: In the case of books the following order should be observed in footnotes: Author(s), Title, (Place of Publishing: Publisher, Year), Page. For example:
1. Begali Qosimov, Istiqlol Qahramonlari: Mahmud Khoja Behbudiy, Tanlangan Asarlar, (Tashkent: Ma'naviyot, 1997), p. 45.
In articles: Author(s), "Article Title", Journal Title, Vol., No., Year, Page.
2. Chantal Lemercier-Quelquejay, "Abdul Kayum Al-Nasuri: A Tatar Reformer of the 19th Century", Central Asian Survey, Vol. 1, No. 4, April 1983, pp. 122-124.
Book Reviews: Book reviews should be preceded by full publication details including price and ISBN number:
Dale F. Eickelman, The Middle East and Central Asia: An Anthropological Perspective, 4. Edition, (Upper Saddle River, NJ: Prentice Hall, 2001). 384 sayfa. Biblo. Index. $48.40. ISBN: 0130336785
Current and recent academic and professional affiliations, and recent major publications for the Notes on Contributors should be supplied with the articles. It should not exceed 150 words.
The authors should send a 200-word abstract of the manuscripts. For more information about the journal feel free to contact with the editors.
DEMIRTEPE & Esra HATIPOGLU
Assisting Editor: Hasan Selim ÖZERTEM
Editorial Office: JCACS/ OAKA, Ayten Sokak, No: 21, Mebusevleri, Tandogan, Ankara, TURKEY
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[from H-NET, 7/21/10]
Asian Women seeks submissions for recent gender issues such as women and welfare, women's rights, eco-feminism, health, women and bio-technology, women and history, men's studies and other relevant themes in gender studies. Asian Women is accepting submissions for general theme.
Asian Women, an interdisciplinary journal covering various Women's Studies, Men's Studies and Gender Studies themes, hopes to share intelligent original papers as well as case studies with you. Any contributions of theoretical papers, regional reports, or case studies based on feminist studies and Asian studies will be welcomed. The editors welcome submissions that are based on either collaborative or independent scholarship. They also receive submissions from a wide variety of Asia and other countries. Contributors need to send their manuscripts to the Research Institute of Asian Women any time. For more information, contact:
Research Institute of Asian Women
Sookmyung Women's University
52 Hyochangwon-gil, Youngsan-ku
Seoul, Korea 140-742.
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[from World Art, 9/5/10]
Two issues of World Art are published each year. All contributions are peer reviewed, under consultation with the journal's Advisory Board. Some volumes are guest edited and, where appropriate, contributions will be grouped by theme. Issues alternate between those which are general in content and those which engage specific themes.
Upcoming themes include: "Heritage Futures" (publication date Mar 2012); "Museums and the Marginalised" (Mar 2013); "Visualising the Exotic" (Mar 2014).
The editors seek original material with intellectual integrity. Text as well as image-based contributions are welcome. Picture or photo essays, with critical commentary will also be considered.
[For categories of content, a style guide and submission guidelines, please consult http://www.tandf.co.uk/journals/journal.asp?issn=2150-0894&linktype=44.]
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[from H-NET, 12/10/10]
In association withmthe International
Society for the Study of Time (ISST)
Founded in 1966
Edited by an international board of scholars and representing the interdisciplinary investigation of all subjects related to time and temporality, the journal is dedicated to the cross-fertilization of scholarly ideas from the humanities, fine arts, sciences, medical and social sciences, business and law, design and technology, and all other innovative and developing fields exploring the nature of time.
KronoScope invites critical contributions from all disciplines; submissions are accepted on a continuing basis.
Manuscripts of not more than 8000 words, and using The Chicago Manual of Style, may be submitted electronically to the Managing Editor Dr. C. Clausius. We also welcome review articles as well as creative work pertaining to studies in temporality. For further submission guidelines, please visit the Brill website or the ISST website.
KronoScope: Journal for the Study of Time
Department of Modern Languages
University of Western Ontario
tel (519) 433-0041 x4425
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[courtesy of Antiqua, 1/14/11]
Antiqua (eISSN 2038-9604) is a new, peer-reviewed, Open Access journal intended to archaeologists and scientists having particular interests in the application of scientific techniques and methodologies to all areas of archaeology. Our journal publishes Original Research papers as as well as Rapid Communications, Case Histories, Editorials, and Letters. The journal seeks to provide an international, rapid forum for archaeologists to share their own knowledge.
Open Access journals are an ideal platform for the publication of your research enabling you to reach the widest available audience of professionals in your field of expertise. Publication in our journals means that your research articles will be available for free access online being immediately citable. PAGEPress shortens the time needed before publication, offers a high quality peer-review system, highly-professional scientific copyediting, DOI assignment, and submission to many online directories such as the Directory of Open Access Journals, arXiv, GEOBASE, Inspec, Chemical Abstracts Service, IndexCopernicus, Google Scholar, Scopus, EBSCOHost, Socolar, OpenJGate and others.
PAGEPress strongly support the mission of the Council of Science Editors (CSE): "CSE's purpose is to serve members in the scientific, scientific publishing, and information science communities by fostering networking, education, discussion, and exchange and to be an authoritative resource on current and emerging issues in the communication of scientific information." All individuals collaborating with PAGEPress are strongly invited to comply with this mission.
Open access publishing does have its costs. Since PAGEPress does not have subscription charges for its research content it can defray publishing costs from the Article Processing Charges (APC). This is because PAGEPress believes that the interests of the scientific community can best be served by an immediate, worldwide, unlimited, open access to the full text of research articles. The price for publication of any type of articles in our journal is EUR 350,00.
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[from H-NET, 5/7/11]
For the past 20 years, Review of Culture (RC) has served the needs of Chinese, Portuguese and English readers by issuing both Chinese and International (Portuguese and English) editions. A major academic quarterly dealing with Macao history and culture, RC aims to foster the exchange of ideas relating to Chinese and Western cultures, to reflect the unique identity of Macao and to stimulate ideas and discussions of topics related to Macao culture and history, establishing an intellectual forum for "Macao Studies." RC - International edition is putting out this call for articles.
Please contact us with projects and articles that fall within our editorial guidelines. In a nutshell: Macao Studies, (Related) Sinology, Asia/China-Europe/West Encounter in the field of Humanities. More on the RC editorial guidelines in our on-line edition.
At the moment, a line of research we are pursuing is Anglo-American presence in Macao and the South China Seas and Sino-American historic relations.
Other projects under development:
- 100 years of Portuguese and Chinese republics (1910/1911)
- Western coats of arms in Chinese porcelains and pottery
- 500 years of Portugal-Siam relations and the role of Macau (RC is associated with the official commemorations that are taking place in Lisbon and Bangkok)
- Malacca 500 years (1511-2011)
- Macau in the origins of the Chinese migration to (Portuguese) Africa
- Macanese diaspora(s)
We accept (preferably) original articles but we also consider papers that were only presented in public lectures/conferences and not yet published.
Royalties vary between 500 and 1,000 American dollars, depending on originality and length. Academic papers will have usually 7,000-10,000 words. Short essays and book reviews are also welcome.
After approval of a paper
we usually ask for a set of materials, as follows:
- Digital article with automatic footnotes
- Bibliography (References)
- Abstract (150-250 words)
- Bionote of the Author (up to 80 words)
- Illustrations or suggestions of illustrations with a clear indication of the source.
Since it was founded, in 1987, hundreds of researchers worldwide had contributed to RC. I sincerely hope you or a fellow researcher of your group of contacts can become another valuable contributor.
Revista de Cultura/Review of Culture
Cultural Affairs Bureau of Macau SAR
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[from JFS, 1/27/11]
The Journal of Feminist Scholarship is a new twice-yearly, peer-reviewed, open-access journal published online and aimed at promoting feminist scholarship across the disciplines, as well as expanding the reach and definitions of feminist research.
Why a new journal? Why now?
We believe it is time to explore the state of feminist scholarship at the turn of the new century, and we see the endeavor as part of a larger question of where feminism itself is heading. For example, we ask whether it still makes sense to talk of the "waves" of feminism. If so, what is the status of the third wave? Is there a post-third wave? We wish to encourage a discussion of feminist thought for the twenty-first century. What are its directions today, and what relationship does it sustain with the foundations laid down by feminist inquiry and action in earlier centuries? We aim to publish work that explores the multiple theoretical paradigms and political agendas of contemporary and historical feminist scholarship and the potential intersections and tensions between these paradigms and agendas. We are especially interested in examining productive controversies and divergences between local and global contexts of feminism. We also welcome submissions that focus on feminist pedagogies and activism.
Please visit the submissions page to see our guidelines for authors and our contact page for contact information for the JFS. The rest of the site is currently under construction.
Catherine Villanueva Gardner
Anna M. Klobucka
Jeannette E. Riley
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[from SEAA, 1/31/11]
The Bulletin of the Society for East Asian Archaeology (BSEAA) (ISSN 1864-6018, print version: ISSN 1864-6026, ed. Barbara Seyock, Tuebingen) was initiated in March 2007, and two volumes have been published since. BSEAA welcomes essays on East Asian archaeology, and it moreover provides a means of publishing smaller manuscripts such as field reports, project outlines, conference reports and papers, book reviews, museum roundups etc. The contributions appear online at varying intervals over the year. BSEAA is not peer-reviewed. The editor(s), however, reserves the right to seek for additional opinion, to edit the manuscripts, or to decline the publication of manuscripts inappropriate to the aims and objectives of SEAA.
BSEAA is an open access publication, with the exception of a 3-months preview period for SEAA members and authors. The average delay between submitting your manuscript and having it published is about 4 to 6 weeks. Colour photos and illustrations are welcome. Non English-native speakers receive a helping hand.
Please refer to the Contribution Guidelines for further information.
All contributions should be sent by e-mail to the editor.
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[from H-ASIA, 5/31/11]
We are seeking academics and bona fide scholars to write and submit finished papers and review papers to our scholarly online publication (established 1995), the International Journal of Tantric Studies. The IJTS is open to all bona fide scholars in Hindu and Buddhist Tantric and Tantra-related studies, translations and translators in Sanskrit, Bengali, Vernacular, Tibetan, Chinese, Japanese, etc. We are looking for articles that engage any aspect of this broad theme.
Before submitting your paper / paper review, please read our Submission Guidelines. Send proposals to Enrica Garzilli.
We plan to publish all the IJTS papers in hard copy shortly depending on the next issue, hopefully by the end of the year.
Enrica Garzilli (Editor-in-Chief), Michael Witzel (Managing Editor), Roberto Donatoni, Minoru Hara, David N. Lorenzen, Benjamin Prejado, Michael Rabe, Debabrata Sensharma, Karel van Kooij.
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[from H-NET, 5/1/11]
New Global Studies celebrates its fifth anniversary in 2011. Edited by Nayan Chanda (Yale), Akira Iriye (Harvard), Bruce Mazlish (MIT) and Saskia Sassen (Columbia), NGS is one of the only peer-reviewed journals that explores and analyzes globalization from the perspective of multiple disciplines. It invites contributions from the humanities and the social sciences that address the range of contemporary global phenomena, as well as the emergence of global consciousness in time. Comparative and interdisciplinary contributions are especially encouraged.
Contributors to NGS have included William McNeill, Yi-Fu Tuan, David Edgerton, William Keylor, Patrice Higonnet, Jessica Gienow-Hecht, Dominic Sachsenmaier, Peggy Levitt, Werner Sollors, David Apter, Paul Bracken, Irving Louis Horowitz, Stanley Engerman, Alastair Crooke, and many others.
More information about the journal's Aims and Scope may be found at http://www.bepress.com/ngs/aimsandscope.html.
We also welcome the submission of book reviews and review essays, which may be sent directly to the reviews editor, Benjamin Sacks.
New Global Studies
Cambridge, MA 02138
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[from H-ASIA, 7/8/11]
International Journal of Intangible Heritage seeks to be an inter-communicative and interdisciplinary channel for scholarly research on intangible heritage around the world with respect to its preservation, transmission and promotion. With critical academic articles, provocative viewpoints and reviews, the IJIH, a peer-reviewed academic journal tries to enrich discourses on intangible heritage that reflects the connections between intangible heritage and people. International Journal of Intangible Heritage is an annual-basis publication officially supported by the International Council of Museums (ICOM) with its publication secretariat office in the Cultural Exchange and Education Division, the National Folk Museum of Korea.
For further information and inquiries, please refer to the oficial webpage of IJIH.
International Journal of Intangible Heritage
Cultural Exchange & Education Division
The National Folk Museum of Korea
37 Samcheong-no, Jongno-gu
Seoul Korea 110-820
tel +82 (0)2-3704-3101, 3122, 3123
fax +82 (0)2-3704-3149
For editorial policy etc.
Editor-in-Chief: Professor Amareswar Galla
e-mail: <email@example.com>, <firstname.lastname@example.org>
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[from CAA, 6/29/11]
Exposure, the journal of the Society for Photographic Education (SPE), invites submissions for scholarly articles, interviews, conversations, art and cultural criticism, pedagogical essays, book and exhibition reviews, and any manuscripts that engage with the contemporary conversation on photography and related media. A leading voice in the conversation on photography and related media for over thirty years, Exposure publishes an inclusive range of images and ideas by those passionate about photographic discourse.
For publication consideration, please submit an abstract of no more than one hundred words, a list of illustrations, and a biographical statement of no more than fifty words. Detailed submission guidelines and more information on the journal can be found on the Web site at https://www.spenational.org/publications/exposure. Submissions are accepted year-round.
For more information, contact Stacey McCarroll Cutshaw, Editor of Exposure.
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[from H-ASIA, 8/3/11]
Palgrave Studies in the History of the Media was launched in 2010 with the objective of becoming a leading international series in media history. Its overriding objective is to publish high caliber research in the field which will help shape current interpretations not only of the media, in any of its forms, but also of the powerful relationship between the media and politics, society, and the economy.
A number of important monographs have already appeared: Dr Christoph Muller's West-Germans against the West (2010) and Professor Michael Krysto's American Radio in China (April 2011). More studies are due out soon, not least Professor Joel Weiner's Americanization of the British Press (October 2011).
The series editors would welcome monograph proposals on any aspect of the history of the media from the mediaeval and early modern periods up to the present day.
Informal enquiries are very welcome. Proposals can be completed on Palgrave's standard form and submitted to:
Director, Centre for the History of the Media
School of History and Archives
University College Dublin
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[from MCLC, 8/11/11]
The Journal of Asian Studies has begun using Editorial Manager, a web-based manuscript submission system.
We ask that all new manuscript submissions be submitted through Editorial Manager. Please note that if you currently have a manuscript under review, it will not show up in the database. Before submitting a manuscript for consideration, please read the "Requirements for Manuscript Submission" to ensure that your work conforms with the Journal's guidelines on style and formatting.
If you have previously submitted a manuscript, served as a reviewer, or helped us in some other way, we invite you to register with Editorial Manager and update your contact information. Please let us know about your areas of interest, and if you would like to review books and/or manuscripts. Once you are in the system, you can also submit manuscripts to JAS. You will not have to reenter your contact or specialty information after you have registered unless you need to update your information. If you ever forget your password, you can ask to have it sent to you.
If you have questions that you can not answer through Editorial Manager, please feel free to send an e-mail to email@example.com.
Jeff Wasserstrom, Editor
Jennifer Munger, Managing Editor
Journal of Asian Studies
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[from H-ASIA, 8/11/11]
The International Journal of Islamic Architecture (IJIA) publishes bi-annually, peer reviewed articles on the urban design and planning, architecture and landscape architecture of the historic Islamic world, encompassing the Middle East and parts of Africa and Asia, but also the more recent geographies of Islam in its global dimensions. The main emphasis is on the detailed analysis of the practical, historical and theoretical aspects of architecture, with a focus on both design and its reception. The journal also aims to encourage dialogue and discussion between practitioners and scholars. Articles that bridge the academic-practitioner divide are highly encouraged.
IJIA is now soliciting manuscripts in the following categories:
Design in Theory: DiT manuscripts focus on the history, theory and critical analyses of architecture, urban planning and design and landscape architecture. Essays submitted should be a minimum of 5,000 words but not more than 8,000 words.
Design in Practice: DiP manuscripts focus on the practice of architecture, planning and landscape design. It is preferential that DiP papers focus on contextual and/or conceptual issues, analysis or critique of proposals or built projects. Submissions may also include interviews or practitioner reflections or lessons learned. Manuscripts should range from 2,000 to 3,000 words.
Book, Media and Exhibition Reviews: For those are interested in writing book/media/exhibition reviews for IJIA , please submit your CV and your areas of expertise and interest and the books/media/exhibition you wish to review to Nancy Um, the Reviews Editor, for consideration. Unsolicited reviews will not be accepted. The length of the reviews should generally not exceed 1000 words for one book review essay and no more than 1800 words for an essay that reviews multiple books.
For information and for guidelines on submission please visit the IJIA website. E-mail the editors at firstname.lastname@example.org for any additional questions or information.
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[from H-ASIA, 8/22/11]
Hangzhou Normal University has established a new Academy of Chinese Studies (Guoxue Yuan); and among its five Centers is an International Center for Research on the Song (Guoji Song Yanjiu Zhongxin). The Song Center and its new journal (Guoji Song Yanjiu) take a broad view of the Song, so it is not limited to history, but encompasses other disciplines, such as the fine arts, literature, archeology, etc. Studies of the Western Xia, the Liao, Jin and Yuan are welcome, especially as they relate to the Song. Moreover, the Center and its journal invite research on Song studies in later dynasties in East Asia and also during the Modern era worldwide. In the future, the Center will announce programs to assist the research of graduate students and professors; however, the focus at present is the journal.
Hoyt Tillman (Tian Hao) is serving as chief editor of the journal in close collaboration with Professor Deng Xiaonan of Peking University and other members of the editorial board. The journal will publish research articles and book reviews in either Chinese or English. In addition, the journal will publish Chinese translations of selected important articles in other languages.
English and Chinese articles should be submitted via e-mail attachment and supplemented by a mailed hardcopy. Please send inquiries and article manuscripts to email@example.com and/or to firstname.lastname@example.org.
Mailing addresses for hard copies are:
School of Historical, Philosophical and Religious Studies
P. O. Box 874302
Arizona State University
Tempe, AZ 85287-4302
Department of History
Format and style issues follow the Harvard Journal of Asiatic Studies for English language articles and Lishi Yanjiu for Chinese language articles.
The journal also welcomes longer articles than are usually published in China. The journal will be published annually beginning in May 2012.
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[from H-ASIA, 8/24/11]
Routledge Critical Studies in Buddhism is a comprehensive study of the Buddhist tradition. The series explores this complex and extensive tradition from a variety of perspectives, using a range of different methodologies. The series is diverse in its focus, including historical, philological, cultural, and sociological investigations into the manifold features and expressions of Buddhism worldwide. It also presents works of constructive and reflective analysis, including the role of Buddhist thought and scholarship in a contemporary, critical context and in the light of current social issues.
The series is expansive and imaginative in scope, spanning more than two and a half millennia of Buddhist history. It is receptive to all original, scholarly works that are of significance and interest to the broader field of Buddhist Studies. Books published in the series are first issued in a high-quality durable hardcover format geared toward institutional sales, and then they are subsequently published in an affordable paper format through the Routledge Paperbacks Direct program. Books in the series benefit from Routledges strong international presence, which markets and distributes books worldwide.
Please send your proposals
Dorothea Schaefter, Editor for Asian Studies at Routledge
Stephen C. Berkwitz, Department of Religious Studies, Missouri State University.
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[from CAA, 9/1/11]
The Art Bulletin welcomes submissions from scholars worldwide and at every stage in their career. To facilitate the process, CAA has prepared guidelines for authors who wish to submit a manuscript for consideration and for those preparing an accepted manuscript for publication.
Please submit manuscripts and letters to the editor to:
Department of History of Art
University of Warwick
Coventry CV4 7HS
The Art Bulletin no longer accepts hard-copy submissions. All submissions must be sent electronically, either via e-mail or a large-file transfer service such as YouSendIt.com. All files must be in Microsoft Word or a Microsoft Word–compatible format. Please review the submission guidelines for more information.
The Art Bulletin does not accept unsolicited book and exhibition reviews. Inquiries, letters regarding reviews, and commissioned reviews should be sent to:
College Art Association
New York, NY 10004.
Books for review should be mailed to:
College Art Association
New York, NY 10004.
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[from H-NET, 9/23/11]
Troika is an undergraduate journal in Slavic, East European and Eurasian studies at UC Berkeley. The first issue of Troika came out this Spring. The journal publishes outstanding undergraduate student work in Eastern European and Eurasian studies. This may include, but is not limited to, academic research papers, creative writing, photography, artwork and memoirs. If you would like to submit your academic work to Troika, please e-mail it as an attachment to email@example.com, and please include your name, university, major (or intended major), and graduation year. All submissions must be original, unpublished work. We gladly accept papers and other creative works written for classes. Please limit your submission to 3000 words. Only one submission per person will be considered during each submission period. If you are submitting photography, please include a short description of the photograph. If you are unsure whether your submission is appropriate for the journal, or if you have any other questions, feel free to send an e-mail to firstname.lastname@example.org.
Troika is sponsored by the Institute for Slavic, East European and Eurasian Studies as well as the Slavic Department and the ASUC. Additional information and a pdf version of the first issue of the journal are available on our website: http://www.ocf.berkeley.edu/~troika/.
There will also be print versions of the journal available in the UC Berkeley Slavic Department. If you would like to request a copy of one, feel free to e-mail us at email@example.com.
University of California, Berkeley
tel (609) 651-1578
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[from MCLC, 10/30/11]
Art Review is an illustrated bilingual international academic journal which publishes essays and reviews on all types of art, artists and art theories. Contributions in either English or Chinese are eagerly solicited. The journal is sponsored by Sichuan University, one of the most prestigious universities in China.
Art Review provides a broad field for various approaches and arguments. It covers not only essays on art history, art criticism and aesthetic theory, but also interdisciplinary art studies such as philosophical, psychological, anthropological, semiotic, sociological, politico-economic, or any other approaches so long as it aims at a enlightening interpretation of art.
Art Review advocates the idea of "BIG ART," with no constrains on the genres and subject of the art to be studied. The genres covered not only could be traditional art (painting, sculpture, architecture, calligraphy, music, dance, drama, folk art, ethnic art, cinema, etc), but also any form of art so long as you sufficiently argue that it is art. For instance, Art Review expects studies on "industrial" art such as advertisement, packaging, fashion, toys and gifts design, etc. Art Reviewparticularly welcomes studies on environment art, such as landscape, gardening, decoration, and digital art design such as video game and animation.
Contributions should follow the APA style.
Editor: Shunqin Cao
Executive Editor: Yirong Hu
Contacts of Art Review: <firstname.lastname@example.org> (international) + <email@example.com> (domestic)
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[from H-ASIA, 11/3/11]
Brill Series on Modern
East Asia in Global Historical Perspective
Series Editors: Billy K.L. So and Madeleine Zelin
Prasenjit Duara (National University of Singapore)
Wang Fan-sen (Academia Sinica)
Rana Mitter (Oxford University) Joshua Fogel (York University, Toronto)
John Makeham (Australian National University)
Charles Armstrong (Columbia University)
Tomobe Kenichi (Osaka University)
The economic emergence of East Asia--first Japan, followed by the Little Dragons and Southeast Asia, and the recent rise of China, has produced a paradigm shift in the study of the East Asian regions. Not only has an earlier understanding based on adaptation to Western models given way to a re-evaluation of the interface between the local and the global, but scholarship itself has become increasingly transnational. This is evidenced in hitherto unseen levels of transnational collaboration, conferences and research programs, and the creation of on-line archives and virtual intellectual communities. East Asia, broadly defined to include both northeast and Southeast Asia, has contributed greatly to this shift. This series aims at providing a platform for the products of this scholarship, encouraging interdisciplinary, transnational and comparative research on the countries and peoples of the East Asian region, and their regional and global interactions. In an effort to reflect the full range of collaborations that are now taking place across the globe this series will feature monographs and edited volumes as well as translated works that explore the global processes of change in East Asia and the historical role of East Asia in the creation of the institutions, ideas, and practices that constitute our contemporary world.
Brill welcomes submissions of book proposals and manuscripts for consideration for inclusion in the series. Submissions should be in English and can be sent to the attention of the Series Editors, Billy So, Madeleine Zelin, or the Publishing Editor, Qin Higley.
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[from AAH, 1/23/12]
Submissions are invited from authors (artists and scholars) who can make a provocative contribution to this book series. We are particularly looking for further titles in the area of socio-political aesthetics or global aesthetics.
The RadicalAesthetics-RadicalArt (RaRa) series of books expands the parameters of art and aesthetics in a creative and meaningful way beyond visual traditions. Encompassing the multisensory, collaborative, participatory and transitory practices that have developed over the last twenty years, Radical Aesthetics-Radical Art is an innovative and revolutionary take on the intersection between theory and practice. The series aims to:
Titles already commissioned include:
Practical Aesthetics: Events, Affects and Art after 9/11- Jill Bennett (July 2012)
Eco-Aesthetics - Malcolm Miles
Indigenous Aesthetics: Art, Activism and Autonomy – Dylan Miner
Durational Aesthetics: Contemporary Art and the Prolongation of Time – Paul O'Neill and Mick Wilson
Proposals should be 3 to 5 sides A4 and include:
Author details should include:
Proposals should be e-mailed to both series editors by the end of March and for further information regarding submission please contact J.Tormey@lboro.ac.uk and G.Whiteley@lboro.ac.uk.
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[from H-ARTHIST, 1/17/12]
Sammelband für die Teilnahme von NachwuchswissenschaftlerInnen - mit begleitendem Kolloquium zum Thema: "Wechselbeziehungen zwischen Text und Bild - Komplementarität, kultureller Bezug, Analogie"
In diesem Sammelband und dem für Juni/Juli 2012 an der Humboldt-Universität anberaumten Kolloquium für NachwuchswissenschaftlerInnen (es schliesst an das Kolloquium "Die Schrift findet zum Bild" (im Juni/Juli 2011) an), wird den verschiedenartigen Wechselbeziehungen und -wirkungen von Texten und Bildern nachgegangen. Ein erster Überblick über vielfältige inhaltliche und formale Varianten von Beziehungen zwischen literarischem Text und gemaltem Bild ergab eine Unterteilung in komplementäre und symbiotische "Schreibweisen". Vertiefend und erweiternd soll nunmehr drei Ansätzen einer Betrachtung Raum gegeben werden:
1. Der Untersuchung "komplementärer" (kompensatorischer) Beziehungen zwischen Text und Bild, innerhalb derer sich Bild und Text nicht entsprechen, sich nicht ergänzen oder erklären (wie Bibelillustrationen, Emblemata, Merkbilder), aber dennoch aufeinander bezogen sind, in Abhängigkeit stehen bzw. sich zu einer Synthese oder Symbiose erweitern. Es geht um dialektisch angelegte Überschreitungen der Grenzen von Ausdrucksweisen im jeweiligen Medium, indem komplementäre (kompensatorische) Ausdruckspotentiale der jeweils anderen Gattung einbezogen werden. "Sinn" oder "Bedeutung" des schriftstellerisch-bildnerischen Verbundes oszillieren zwischen den beiden Medien, ergeben sich aus der gegenseitigen Beeinflussung und Erweiterung. Gefragt wird hier nach intermedialen Verschränkungen sowie ob diese möglicherweise genderspezifisch zu differenzieren sind. Keines der Medien ist vorrangig; sie stehen in einer nicht-hierarchischen Beziehung zueinander. Beispiele für gattungsübergreifende Fusionen finden sich bei Else Lasker-Schüler, Unica Zürn, Friederike Mayröker, Frida Kahlo.
2. Ein weiterer Ansatz der Betrachtung soll sich auf die Verbindung von getrennt entstandenen Texten und Bildern beziehen, die allerdings kulturell verhafteten Prinzipien einer Wechselwirkung unterlagen. Hier wären geistes- und kulturgeschichtlichen (literarischen, philosophischen, künstlerischen) Zusammenhängen nachzugehen, transmediale Einflüsse und Übereinstimmungen zu erkennen, d.h. auch ein Netzwerk von Bezügen (anhand von Quellenstudien) zu erarbeiten. Es könnte gezeigt werden, wie Werke der bildenden Kunst bzw. der Literatur nicht selten unlösbar im Zusammenhang der aktuellen Kulturszene (ent-)stehen, wie hier auch (weibliche) Genealogien (Bezüge zwischen LiteratInnen und KünstlerInnen) auszumachen sind. Vergleichende Analysen von Texten und Bildern zielen darauf ab, ihre kulturelle, auch genderspezifische Zusammengehörigkeit festzustellen. Herausragend sind hier die Beiträge von Reinhard Brandt (Philosophie in Bildern) über u.a. Las Meninas von Velazquez oder Die Schule von Athen von Raffael.
3. Darüber hinaus fordern "analogische" Entsprechungen zur Diskussion heraus: Selbst wenn Text und Bild unvergleichbarscheinen, möglicherweise verschiedenen Epochen angehören, können sie auf analoge Ausdrucksintentionen verweisen. Als Beispiel sei die Darstellung des Ehebruchs in Madame Bovary genannt, den Flaubert literarisch verhüllt, ebenso wie Jan Vermeer van Delft in seinem Bild Das Glas Wein den Moralbruch der Verführung der Dame durch den Kavalier. Der Fokus der Betrachtung läge hier auf-eventuell auch genderspezifisch zu differenzierende-Darstellungstechniken zum Beispiel des Unausgesprochenen oder Nicht-Dargestellten. Fragen ergeben sich, wie anhand der medial zu unterscheidenden Darstellungsweisen ein gleicher künstlerischer Ausdruck (z.B. des "Innehaltens", einer "Anspannung", eines "Moments höchster Dramatik") erzeugt wird. Bei einem solchen Vorgehen wären die unterschiedlichen Ausdruckspotentiale von Literatur und bildender Kunst exemplarisch an ihrer zeitlosen Gegenüberstellung bewußt zu machen. Die sich ergebenden Parallelen beruhen nicht zwingend auf einer wechselseitigen Rezeption, vielmehr auf Konstanten bzw. Grundstrukturen der literarischen und bildkünstlerischen Produktion.
InteressentInnen am Sammelband (2 Bände) und/oder Kolloquium nehmen bitte Kontakt auf mit:
Professor Dr. Renate
Philosophische Fakultät II
Unter den Linden 6
tel +49 (0)30-2093-5146; 30-2123-2668
Philosophische Fakultät II
Unter den Linden 6
tel +49 (0)163 574 11 17
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[courtesy of M. Schimmelpfennig, 2/9/12]
Theoretical Studies in Literature and Art (TSLA), which was initiated in 1980 and published bimonthly, is one of the most highly ranked academic journals in China that publish original research articles in arts and humanities, especially in literary theory. From 2012 year onwards, TSLA will publish original academic articles that are written in English. Articles that deal with any issues in literary theory, critical theory, aesthetics, philosophy of art, cultural studies will be welcome. Discussions of Asian issues, particularly issues concerning China are encouraged but not required.
The length of papers should be about 6000-12000 words and in MLA format. The papers will be peer-reviewed, and the final decision about publication will be notified in four months. Authors can send e-mails to inquire the status if they receive no feedback in two months.
Queries and contributions can be sent to firstname.lastname@example.org. Contributions must be sent as attachments in either rtf(s) or Word 97-2003 file(s) with "contribution from xxx (i.e. your name)" as the subject heading.
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[courtesy of K. Burnett, 2/16/12]
The Journal of the Royal Asiatic Society China in Shanghai publishes original research articles of up to 10,000 words (shorter articles are also welcome) on Chinese culture and society, past and present, with a focus on mainland China. Original articles, which will be peer-reviewed, must be previously unpublished, and make a contribution to the field. The Journal encourages contributions from both inside and outside the academy, and also accepts for consideration material that falls outside the boundaries of traditional scholarship including, but not limited to, photo-essays, interviews, translations, maps, essays. The Journal also publishes timely reviews of books on all aspects of Chinese history, culture and society.
All material should be submitted as an electronic attachment to the editor. A separate cover sheet should include the following:
Title of work
Contributor's name and contact information
Abstract of up to 300 words
For peer review, the main body of the text should not include the author's name. Text should be double-spaced, left-aligned, 12pt, in an easily read font such as Times New Roman, and paginated. The first line of paragraphs should be indented.
Illustrations should be high quality JPEG or TIFF files, and able to reproduce well in black and white. Authors are responsible for securing copyright permissions, and for any associated costs.
Submissions will be acknowledged by e-mail. Original articles that in the opinion of the editor (working with the editorial advisory committee) make a significant contribution to the field will be sent to one independent peer reviewer. The Journal operates a "doubleblind" system of review which means that neither the reviewer nor the writer is informed of the other's identity. Following peer review, an article may be accepted, accepted with revisions, or declined.
Authors of accepted original articles will be sent a proof before publication. This is for final checking only, as no substantial revisions are possible at this stage.
The journal uses British English. For punctuation, vocabulary and Romanization of Chinese, please refer to the Hong Kong University Press Style Manual.
Notes should appear at the end of the article, and be formatted according to The Chicago Manual of Style. The notes and bibliography system, or the author-date system may be used according to whether your paper falls into the category of humanities, or physical/social sciences. A quick guide is available at http://www.chicagomanualofstyle.org/tools_citationguide.html.
For archival sources, please follow the format requested by the repository.
The editor welcomes enquiries at email@example.com.
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[from H-ASIA, 1/26/12]
I have recently agreed to assume the co-editorship of the journal Asian Ethnology. Asian Ethnology is a semi-annual, peer-reviewed journal dedicated to the promotion of ethnographic and ethnological research on the peoples and cultures of Asia. Though rendered entirely in English, the journal draws manuscript submissions from across Asia and Europe as well as North America. Topically, it occupies a special niche located at the intersection of Anthropology, Folklore, and Asian Studies. The journal has been particularly instrumental in bringing the important work of Asian scholars (that is, scholars of Asian nationality) to the attention of an English readership, thereby helping to mitigate Western domination of the global academic arena.
Formerly called Asian Folklore Studies, the journal was founded by Austrian ethnologist Matthias Eder in Beijing, China in 1942. Under threat from the Maoist takeover in 1949, Eder relocated to Nanzan University in Nagoya, Japan, from where the journal has been based ever since. We are especially interested in submissions on the following topics:
narratives, performances, and other forms of cultural representations
popular religious concepts
vernacular approaches to health and healing
collective memory and uses of the past
cultural transformations in diasporas
Generally, each issue of the journal contains at least one or two articles on the South Asian region, so we encourage you to submit your work to us. We also encourage thematic issues (e.g., an issue on Chinese folklore guest edited by Thomas DuBois is forthcoming). More information on the journal can be found on the home page.
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[from H-ARTHIST, 4/16/12]
"Studies in Art Historiography," published by Ashgate, welcomes contributions from architectural historians. Much recent historiography has focused on scholars of "Art History" but many of these made considerable contributions to architectural history, from Heinrich Wölfflin whose Renaissance und Barock is essentially architectural history, to Rudolf Wittkower whose impact is usually assessed in relation to the architectural profession and Modernist architecture. Cornelius Gurlitt, Geoffrey Scott, Hans Sedlmayr, Nikolaus Pevsner, Colin Rowe, Venturi and Scott Brown are just some of the names that come to mind and Studies in Art Historiography welcomes proposals for volumes dedicated to relevant themes in architectural historiography as well as individual studies of significant figures in the field.
More information about our book series and submission guidelines are available at http://arthistoriography.wordpress.com/studies-in-art-historiography-submission-guidelines/.
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[from H-ARTHIST, 3/3/12]
Digital Humanities Research and Publication in NCAW
Nineteenth-Century Art Worldwide has received a grant from the Mellon Foundation for a three-year capacity-building initiative to maximize the possibilities of the journal electronic delivery. With this in mind, NCAW is soliciting potential articles that take full advantage of new web technologies either in the research or the publication phase, or both. The Mellon grant is intended to help authors in the development phase of their articles as well as to aid NCAW in the implementation phase. NCAW is seeking scholarship that engages in one or more of the following, interrelated areas of investigation:
Data Mining and Analysis:
Use of data analytics programs (e.g., SEASR, Network Workbench) to investigate connections among particular groups or individuals, such as artists, writers, art dealers, art markets and other networks of exchange (social networks). See for example "Mapping the Republic of Letters," produced by researchers and technologists at Stanford University.
Geographic Information Systems (GIS) and Mapping:
Use of maps in concert with data sets (e.g., depictions of sites, location of objects, paths of travel) in order to investigate and communicate change over time and space. The website for the project "Imago Urbis: Giuseppe Vasi's Grand Tour of Rome," for example, links Giambattista Nolli's 1748 map of Rome with vedute created by Vasi, providing insight into the vedutismo tradition as well as the urban development of Rome in the eighteenth century.
High-Resolution imaging and dynamic image presentation:
Use of panoramic and/or high-resolution imagery to view, for example, panoramas, conservation images (x-ray, infrared reflectography), moving images. The QTVR panoramas of world architecture produced by Columbia University, are an example of the kind of image viewing interface that could be used in support of scholarship on, for example, panorama paintings or large-scale architectural installations.
Authors are not expected to have extensive technical expertise themselves; instead NCAW will work with them to help in realizing the computing aspects of their project. Authors should, however, be generally knowledgeable about the technological possibilities related to their project and should be able to articulate how both specific computer-based research methods and the online publication format connect with the research questions on which their project focuses. In addition, authors should expect to collaborate with technical experts on the realization of their projects. To this end, proposals which give some indication of how authors envision working with such experts, or which identify specific collaborative partners will be preferred. Finally, proposals should outline projects which are relatively small-scale, able to be realized within a time span of about three to six months and requiring around 100 hours of development work.
Interested contributors are asked to submit a 500-word abstract that describes the author's (or authors') project and explains how it fits within the areas described above and why advanced computing technologies are necessary for conducting this research and/or for presenting the resulting scholarship. In addition, they are asked to provide a short CV and a budget. For further information or to submit an application for funding, e-mail to Petra Chu and Emily Pugh.
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[courtesy of R. Woodfield, 3/6/12]
The Journal of Art Historiography is an Open Access journal that exists to support and promote the study of the history and practice of art historical writing. The historiography of art has been strongly influenced by traditions inaugurated by Giorgio Vasari, Winckelmann and German academics of the nineteenth and early twentieth centuries. Consequent to the expansion of universities, museums and galleries, the field has evolved to include areas outside of its traditional boundaries.
There is a double danger that contemporary scholarship will forget its earlier legacy and that it will neglect the urgency and rigour with which those early debates were conducted. The earlier legacy remains embedded in ‘normal' practice. More recent art history also stands in need of its own scrutiny. The journal is committed to studying art historical scholarship, in its institutional and conceptual foundations, from the past to the present day in all areas and all periods.
This journal will ignore the disciplinary boundaries imposed by the Anglophone expression "art history" and allow and encourage the full range of enquiry that encompassed the visual arts in its broadest sense as well as topics now falling within archaeology, anthropology, ethnography and other specialist disciplines and approaches. It will welcome contributions from young and established scholars and is aimed at building an expanded audience for what has hitherto been a much specialised topic of investigation.
Besides articles, it will accept notes, reviews, letters, bibliographical surveys and translations. It will be published every June and December and include both peer-reviewed and commissioned contributions.
It will be the first contemporary journal dedicated specifically to the study of art historiography and its ambition is to make it the point of first call for scholars and students interested in that area. It is being supported by the Department of the History of Art at the University of Birmingham. In collaboration with Ashgate it also publishes Monographs in Art Historiography.
Editor: R. Woodfield
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[from H-ASIA, 3/11/12]
The Journal of Chinese Military History, edited by David A. Graff and David Curtis Wright, is a peer-reviewed semi-annual from Brill that will begin publication in 2012. It publishes both research articles and book reviews, aiming to fill the need for a journal devoted specifically to China's martial past. It takes the broadest possible view of military history, embracing both the study of battles and campaigns and the broader, social-history oriented approaches that have come to be known as "the new military history," and it covers all of the Chinese past, from prehistory through the pre-imperial and imperial periods down to the present day, aiming to publish a balanced mix of articles that represent a variety of different approaches and address both the modern and pre-modern periods of Chinese history. The Journal of Chinese Military History also welcomes comparative and theoretical work, as well as studies of the military interactions between China and other states and peoples, including East Asian neighbors such as Japan, Korea, and Vietnam.
Manuscripts for articles should be between 7,500 and 20,000 words, double-spaced, and submitted electronically as MS Word documents.
Article submissions may be
sent to either of the editors:
David A. Graff (Kansas State University)
David Curtis Wright (University of Calgary)
If you are interested in reviewing books for the journal, please contact the Book Review Editor, Kenneth M. Swope (Ball State University).
Yingcong Dai (William Paterson University)
Nicola Di Cosmo (Institute for Advanced Study)
Xiaobing Li (University of Central Oklahoma)
Peter Lorge (Vanderbilt University)
Arthur Waldron (University of Pennsylvania)
Peter Worthing (Texas Christian University)
Robin D.S. Yates (McGill University)
Xiaoming Zhang (U.S. Air War College)
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[from H-ASIA, 4/18/12]
We are pleased to announce the launch of the Journal of the British Association for Chinese Studies (JBACS, ISSN 2048-0601), the new official journal of the British Association for Chinese Studies (BACS).
This is a peer-reviewed e-journal publishing original and innovative research in the multidisciplinary field of Chinese Studies, with articles in a wide range of subject areas--history, economics, politics, society, archaeology, language, literature, philosophy, culture, gender, international relations and law--relating to modern and pre-modern China.
We welcome submissions from all scholars with a focus on China, including items that cross disciplinary boundaries or do not otherwise match the subject areas listed above. All research articles in this journal undergo rigorous peer review, based on initial editor screening and anonymous double-blind refereeing by two referees. If you would like to submit an article or a book review, please check the submission guidelines available on our website. All queries and material should be submitted by e-mail [to] firstname.lastname@example.org.
Don Starr (Durham University)
Sarah Dauncey (University of Sheffield)
Tim Barrett (School of Oriental and African Studies)
Robert Bickers (University of Bristol)
Harriet Evans (University of Westminster)
Stephan Feuchtwang (London School of Economics)
Natascha Gentz (University of Edinburgh)
Michel Hockx (School of Oriental and African Studies)
Rana Mitter (University of Oxford)
Roel Sterckx (University of Cambridge)
Tim Wright (University of Sheffield, Emeritus)
Shujie Yao (University of Nottingham)
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[from H-ASIA, 5/22/12]
Cross-Currents: East Asian History and Culture Review (e-ISSN: 2158-9674) is a peer-reviewed quarterly online journal that uses new technologies to facilitate a dialogue among East Asia scholars around the world that is enhanced by audio-visual and multilingual features. The e-journal is embedded in a web-based platform with functions for collaboration, discussion, and an innovative editing and publishing process. The semi-annual print issues of Cross-Currents (ISSN: 2158-9666) published by University of Hawai'i Press feature articles and review essays that have been selected from the journal's online counterpart for their scholarly excellence and relevance to the journal's mission.
Cross-Currents offers its readers up-to-date research findings, emerging trends, and cutting-edge perspectives concerning East Asian history and culture from scholars in both English-speaking and Asian language-speaking academic communities. A joint enterprise of the Research Institute of Korean Studies at Korea University (RIKS) and the Institute of East Asian Studies at the University of California, Berkeley (IEAS), Cross-Currents seeks to balance issues traditionally addressed by Western humanities and social science journals with issues of immediate concern to scholars in China, Japan, Korea, and Vietnam. This English-language journal includes scholarship on material from the sixteenth century to the present day that has significant implications for current models of understanding East Asian history and culture. An editorial board consisting of established scholars in Asia and North America provides oversight of the journal, in collaboration with two faculty co-editors (one each at Korea University and UC Berkeley).
The editors invite online submissions of original, unpublished research articles. The submission process and complete information about manuscript preparation can be found at http://cross-currents.berkeley.edu/e-journal/authors. Cross-Currents also features photo essays, review essays, annotated bibliographies, and summaries of important recent publications in C/J/K/V. We welcome proposals for these categories as well.Requests for further information may be directed to the managing editor.
Keila Diehl, Ph.D.
Cross-Currents: East Asian History and Culture Review
Institute of East Asian Studies
University of California, Berkeley
2223 Fulton Street, 6th Floor
Berkeley, CA 94720-2318
tel (510) 643-5104
fax (510) 643-7062
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[from H-NET, 3/13/13]
Journal of Asia Pacific Studies (JAPS) is calling for papers for the May issue. JAPS is a peer-reviewed academic journal published in Florida, USA. The journal is published both in print and online. JAPS is indexed by EBSCOhost and other prestigous databases.
Editor in Chief
Journal of Asia Pacific Studies
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[courtesy of S. Abe, 6/5/12]
Dear Colleagues and Friends,
I would like to update you on some new developments in Archives of Asian Art:
Editor and Chair of the Editorial Board
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[from H-ASIA, 6/12/12 and 7/11/12]
Dissertation Reviews is a website that features friendly, non-critical overviews of recently defended and unpublished dissertations. Dissertation Reviews currently covers 15 fields, including Chinese History, Japan Studies, Korean Studies, South Asian Studies, Southeast Asian Studies, Inner Asian Studies, Tibetan and Himalayan Studies and many more.
The goal of the site is to offer all scholars a glimpse of the "immediate present" of the field. Rather than reviewing monographs, the publication of which may take a number of years after the completion of a project, the site is dedicated to examining what is happening right now in the field.
The Asia-related branches of Dissertation Reviews are currently seeking new dissertations to be featured in the 2012-2013 season. If you would like to have your dissertation reviewed (2011 defense onwards), or would like to contribute a review, please contact us at: email@example.com. For more details, please visit the sites below:
Overview of the Site
"Dissertation Reviews: An Introduction" by Thomas Mullaney
If you work in any of the fields listed below, and have recently spent time/will spend time conducting research in archives, libraries, special collections, museums, private collections, etc., please contact us at firstname.lastname@example.org.
- Asian Art History
- Chinese History
- Inner Asian Studies
- Islamic Studies
- Japan Studies
- Korean Studies
- South Asian Studies
- Southeast Asian Studies
- Tibetan and Himalayan Studies
Editor-in-Chief: Thomas Mullaney
Managing Editor: Leon Rocha (University of Cambridge)
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[from H-ASIA, 7/11/12]
Intellectual history has long held a central place in the scholarly traditions of France, Germany, and Britain, as well as China. The new journal Intellectual History aims to promote this disciplinary field in the world of Chinese-language scholarship, especially that of Taiwan, though we will also publish English-language articles. We hope to stimulate thinking about intellectual history in the broadest terms and to encourage a community of scholars to forge closer ties.
The new journal is interested in the processes by which individual texts and particular systems of thought have been made, developed and appropriated in different civilizations at different periods of history. In this context the word 'text' will be taken to cover philosophical, scientific and literary texts, art objects, music, experimental instruments, and etc. Intellectual History will be open to all contributions that touch upon the development of thought in China and in the rest of the world, and that consider theoretical and methodological issues. We welcome contributions that report findings of historical investigations and of textual analyses; moreover, we especially welcome innovative and suggestive approaches to new research topics of historical interest.
Intellectual History's inaugural issue will be published by Lianjing Publishing Company in the spring of 2013. The journal will publish semi-annually in Chinese and English. Chinese style sheet: please see Xinshixue; English: please see Modern Intellectual History. Paper submissions and queries to: email@example.com.
Editors: Chen Jeng-guo (Academia Sinica), Lu Miawfen (Academia Sinica), Carl K. Y. Shaw (Academia Sinica), Peter Zarrow (Academia Sinica)
Advisory board: David Armitage (Harvard), Peter Bol (Harvard), Chang Hao (Hong Kong University of Science and Technology), Chen Ruo-shuei (Taiwan University), Benjamin Elman (Princeton), Ge Zhaoguang (Fudan), Knud Haakonssen (University of Sussex), Huang Chin-hsing (Academia Sinica), Jonathan Israel (Institute for Advanced Studies, Princeton), Lin Yusheng (University of Wisconsin), Luo Zhitian (Sichuan University and Peking University), Murata Yujiro (University of Tokyo), Nicholas Phillipson (Edinburgh University), Wang Fan-sen (Academia Sinica), Yu Ying-shih (Princeton)
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[from Asian Archaeology, 1/16/12]
Asian Archaeology is an annual journal that is sponsored by Research Center for Chinese Frontier Archaeology (RCCFA), Jilin University (the Key Institute of Humanities and Social Sciences granted by the Ministry of education, PRC). The first issue will be published in 2012.
Asian Archaeology is an academic English journal that publishes original papers on the new discoveries, achievements and viewpoints of Chinese archaeology, also concerning the new discoveries and research of other parts of Asian and Oceanian areas, mainly for overseas scholars. Asian Archaeology will draw up the four columns or theses as follows:
1) Chinese archaeology. It includes reports and research of new archaeological materials in Chinese archaeology.
2) Asian archaeology. It includes the new discoveries and research of other parts of Asian and Oceanian areas.
3) Archaeological sciences. It includes new archaeological methods, theories, and practice on various subdisciplines of, archaeological sciences, including Archaeometry, Zooarchaeology, Paleoethnobotany, Physical Anthropology, Environmental Archaeology, Molecular Archaeology, Biochemical Archaeology, and so on.
4) Newsletters. It includes the important new discoveries of China and other parts of Asia.
We accept English manuscripts that are best about 8,000 to 10,000 words in length (including figures and references). A manuscript should be prepared with an abstract (about 600 words), a list of five keywords and a brief introduction of authors. The Manuscripts are contributed by bidirectional Anonymous Paper Reviewing System. If the manuscript is printed, author will be presented five sample journals and copyright royalties.
E-mail for submission: firstname.lastname@example.org
Correspondence should be
Research Center for Chinese Frontier Archaeology (RCCFA)
(No. 244, Kuangyaming Building, Qianwei Campus), No. 2699
tel +(86) 431-85166321
fax +(86) 431-85166320.
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[from H-NET, 11/29/12]
A new quarterly journal is to be launched by Brill: The Journal of Jesuit Studies. Each issue of the journal will contain an extensive review section that looks at all aspects of Jesuit history (from the sixteenth century to the present day, and in all corners of the globe), as well as books that explore the Jesuit role in the arts and sciences, theology, education, literature, and the many other avenues of Jesuitica. We will also include numerous reviews on the broader history of post-1500 Christianity and other related topics.
Publishers are invited to send copies for review consideration to the following address:
Journal of Jesuit Studies
Department of Theology and Religion
Durham DH1 3RS
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[from H-NET, 11/27/12]
The Buddhist College of Singapore has just launched a new peer-reviewed Chinese & English journal of Buddhist Studies, the Singaporean Journal of Buddhist Studies. The first issue is to be published in a year or so, after that it will be published twice a year.
It accepts unpublished research papers on all aspects of Buddhist Studies. Interested scholars can send their work to email@example.com.
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[from H-ARTHIST, 12/17/12]
Die Diskussion um Kunst und Öffentlichkeit ist zurzeit nicht nur in Zürich sehr aktuell–Stichwort Hafenkräne!–und trotzdem ist es für Interessierte und Beteiligte schwierig, die Debatten zu verfolgen, da diese in verschiedenen Kontexten stattfinden und in unterschiedlichen Medien publiziert werden. Common, das neue Journal für Kunst im öffentlichen Raum, soll dieses Defizit beheben, indem es die unterschiedlichen Diskussionen zu Kunst und Öffentlichkeit bündelt und einem breiten Publikum vermittelt.
Kunst im öffentlichen Raum hat in den letzten Jahren stark an Aufmerksamkeit gewonnen: sie fällt auf, polarisiert, wird öffentlich (und meist kontrovers!) diskutiert. Dank ihrer Situationsbezogenheit, Einzigartigkeit und Exklusivität haben sich künstlerische Projekte im öffentlichen Raum als vielseitig verwendbares Instrument erwiesen, das von der öffentlichen Hand und von Privaten als Fördermittel und Aufwertungsmassnahme, für Standortmarketing und Werbung, aber auch zur Identitätsstiftung eingesetzt werden. Allerdings sind Informationen zu Kunstprojekten, die in Sphären des Öffentlichen stattfinden, nur mühsam auffindbar. Sie werden nur punktuell publiziert und sind vorwiegend in der Tagespresse, oder in Eigenpublikationen der Firmen oder der öffentlichen Hand zu finden. Es fehlt eine Plattform, welche die Projekte und Diskussionen bündelt und vermittelt.
Common ist ein unabhängiges, internationales Webjournal, das sich mit Fragen um künstlerische Verfahren in Sphären des Öffentlichen beschäftigt. Es schafft eine interdisziplinäre Plattform für einen kritischen Diskurs über theoretische und praktische Konzepte von Kunst, die sich engagiert mit dem Öffentlichen auseinandersetzt. Common besteht aus einem Journalteil mit redaktionell betreuten Beiträgen, in denen AutorInnen das Thema reflektieren, und aus einem Diskussionsteil, in welchem die Texte durch ein breites Publikum kommentiert werden und so das Thema erweitert wird. Common wird von Michèle Novak (Editor) herausgegeben; das Journal erscheint dreimal jährlich in digitaler Form und einmal als gedruckte Jahresausgabe im Verlag Buch & Netz.
Common interessiert sich für Projekte, die einen Beitrag zur öffentlichen Verhandlung des gemeinsam Genutzten, des Zusammenlebens, sowie der Funktion, Ästhetik und Bedeutung des Öffentlichen leisten und darüber hinaus eine neue Sicht, Öffnungen oder Verschiebungen der Praxis und der Nutzungen des Stadtraumes beabsichtigen. Experten und Akteure aus den Bereichen Bildende Kunst, Theater, Musik, Architektur, Landschaftsarchitektur, Stadtentwicklung, Humangeographie, Soziologie und Philosophie bringen ihre Perspektiven ein und denken kritisch mit. Common interessiert sich für eine Durchlässigkeit der disziplinären Diskurse, für die Verdichtung und Reibung verschiedener Konzepte und Herangehensweisen. Wir nehmen aktuelle Tendenzen auf, arbeiten am Topos des "Öffentlichen Raumes" und an der entsprechenden Begriffs- und Themenbildung.
Common widmet sich jeweils einem aktuellen Thema, das breit und kontrovers diskutiert wird. Akteure und Interessierte aus unterschiedlichen disziplinären Blickwinkeln beschreiben, reflektieren und diskutieren Projekte, Verfahren, Konzepte und Theorien. Sie denken mit an der Entwicklung und Umsetzung von neuen Ideen für den öffentlichen Gebrauch. Der englische Begriff "common" verweist mit seinem Wortsinn auf das Gemeinsame, Alltägliche und auch Gebräuchliche, welches im Sinne der weiteren Bedeutung des Wortes, der Allmende, reflektiert wird.
Anfang Dezember wird die erste Nummer des interdisziplinären Onlinejournals Common–Journal für Kunst & Öffentlichkeit aufgeschaltet. Aus der Perspektive von Bildender Kunst, Landschaftsarchitektur, Musik und Theater wird darin zum Thema "Ideologien der Kompensation–künstlerische Verfahren im öffentlichen Gebrauch" berichtet und diskutiert. Wenn künstlerische Projekte im öffentlichen Raum stattfinden und öffentliche Sphären suchen, dann stehen immer auch Ideologien als Herkunft und Motivation der engagierten Positionen und Projekte im Hintergrund. Mit welchen inneren Bildern von Raum, Öffentlichkeit und Gesellschaft werden Künstler aktiv? Welches sind die Konzepte und Entwürfe hinter der Analyse und künstlerischen Bearbeitung der vorgefundenen Situation? Und was sind die Ziele eines Projektes am spezifischen Ort? In dieser Ausgabe werden daher Ideologien als Engagement für eine jeweils spezifische Öffentlichkeit verstanden; und Kompensationen sind entweder selber Korrektive und Veränderungen oder können solche initiieren. Kompensation wäre in diesem Zusammenhang also weniger als Ausgleich, sondern eher als Erweiterung, Verschiebung, Neubewertung und Veränderung des Vorgefundenen zu verstehen. Dies ist vielleicht auch der Grund, warum das Kompensatorische so wunderbare Überraschungspotentiale in sich birgt.
Kontakt und Chefredaktion:
tel +41 (0)78 761 92 72
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[from H-ASIA, 12/20/12]
The University of San Francisco Center for the Pacific Rim is pleased to announce the call for papers for Asia Pacific: Perspectives. The editors welcome submissions from all fields of the social sciences and the humanities that focus on the Asia Pacific region, especially those adopting a comparative, interdisciplinary approach to issues of interrelatedness in the Asia Pacific region.
Asia Pacific: Perspectives (ISSN: 2167-1699) is a peer-reviewed electronic journal published twice a year by the University of San Francisco Center for the Pacific Rim. Our task is to inform public opinion through publications that express divergent views and ideas that promote cross-cultural understanding, tolerance, and the dissemination of knowledge. The journal offers a forum for the exchange of ideas from both established scholars in the field and graduate students.
To submit a paper, Send a single DOUBLE-SPACED copy with any and all inclusions to the editors. Electronic copies must be in MS Word or compatible format; tables, charts or images may be inserted in the text document or be included as separate files. Further guidelines are posted at http://www.usfca.edu/pacificrim/perspectives/. Submissions should be addressed to:
Barnes, Managing Editor
Asia Pacific: Perspectives
The Center for the Pacific Rim
University of San Francisco
2130 Fulton Street
San Francisco, CA 94117-1080.
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[from H-NET, 12/16/12]
Brill has founded a monograph Series of Jesuit Studies.
Associated with the Journal of Jesuit Studies, SJS will target those areas of scholarship on Jesuit history in its broader context that have been lamentably neglected but it will also invite contributions of important but hard to find monographs in other languages, which we shall encourage to be translated.
Contact: Dr. Robert A. Maryks
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[from H-ASIA, 1/6/13]
The American Journal of Chinese Studies is soliciting manuscripts in the humanities (including history, literature, religion, fine arts, philosophy, etc.) that focus on Chinese communities, including mainland China (past and present), Taiwan, Hong Kong and the Chinese Diaspora.
AJCS is a peer-reviewed interdisciplinary journal published by the American Association for Chinese Studies. Past issues have included humanistic work, but the emphasis was on social sciences. The editorial board is looking to increase the number of humanistic papers published in the journal.
For questions about submission and subscriptions contact the journal editor:
Department of Political Science
The University of Texas at San Antonio
San Antonio, TX 78249.
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[from H-ARTHIST, 1/6/13]
The editors of the Journal of Curatorial Studies invite proposals for original research articles on the subject of curating, exhibitions and display culture. The journal also seeks reviews of recent exhibitions, books and conferences.
The Journal of Curatorial Studies is an international, peer-reviewed publication that explores the increasing relevance of curating and exhibitions and their impact on institutions, audiences, aesthetics and display culture. Inviting perspectives from visual studies, art history, critical theory, cultural studies and other academic fields, the journal welcomes a diversity of disciplinary approaches on curating and exhibitions broadly defined. By catalyzing debate and serving as a venue for the emerging discipline of curatorial studies, this journal encourages the development of the theory, practice and history of curating, as well as the analysis of exhibitions and display culture in general.
Potential topics include:
- critical case studies of curators and exhibitions
- curatorial methodologies and transdisciplinary strategies
- curatorial media (e.g., social, digital and virtual)
- the cultural politics of display
- exhibition typologies and histories
- curatorial ethics and aesthetics
- curating and globalization
- para-curating: artworld rituals, openings, tours, prizes
- curating collections, archives and commissions
- display practices in popular and mass culture
The Journal of Curatorial Studies publishes three times a year and considers submissions on a continuing basis. Please send a 250-word abstract and a CV to the editors. Essays run 5-6000 words. Please send submissions and correspondence to the Editors: Jim Drobnick (OCAD University) and Jennifer Fisher (York University).
The first issue of the Journal of Curatorial Studies is available free on-line: http://www.intellectbooks.co.uk/journals/view-Journal,id=205/. Visit the journal on Facebook to keep informed about new developments.
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[from MCLC, 3/16/13]
Eurosinica is a book series for monographs of various thematic focuses, sharing the goal of studying culture and literature in contemporary or historical contexts. The series, under the imprint of Peter Lang, was founded in 1984 by the German sinologist Günther Debon (1921–2005) and the Canadian comparatist Adrian Hsia (1938–2010); so far, thirteen books have been published. While the founding editors placed the emphasis on the transfer processes of classical literary works and motifs between cultures, the continuation of their work requires new approaches.
Rather than operate within the conceptual framework of "cultural dialogue" between an East and a West viewed as distinct entities, the series editors tend to a view of cultures in contact. Eurosinica is accordingly open for studies and interpretation of authors, personalities, genres and individual works committed to an understanding of humanity as a common source of values which, rather than be impeded by cultural, linguistic or ethnic disparity, are being reshaped and reinvented in different settings.
From the basic concept the series' founders have contributed, we will carry on the approach to literature, the arts and history as transnational narratives emerging out of distinct contextualization and relying on as well as contributing to both the European and the Sinic cultural spheres. We explicitly welcome well-argued innovative interpretations of classical works, as we do historical and translation studies. At a time of ongoing global changes of aesthetic and critical paradigms, Eurosinica does not intend to propose the East-West-paradigm as a last refuge for intellectual cultural conservatism, but rather envisages new critical approaches to the sporadic process of aesthetic and historical interactions ("contacts") between formerly allegedly "separated" cultural spheres.
Eurosinica expects to publish between one and two volumes annually and aims for a balance between studies of contemporary or ancient focus. It thereby seeks to counter the trend of separating research on classical and modern issues.
Eurosinica will consider manuscripts in European languages. The series editors and board members are scholars at universities in the Baltic and Nordic countries of Europe, as well as in mainland China, Japan, Taiwan, Hong Kong and Macao. They represent the disciplines of comparative literature, cultural studies and history in European and East Asian languages.
As a series, Eurosinica is directed and managed by AsiaRes, the Baltic Research Center for East Asian studies at the University of Latvia in Riga and the Department of Oriental Studies at Stockholm University). For further information, please write to Eurosinica@asiares.lv or firstname.lastname@example.org.
Frank Kraushaar (Tallinn University; AsiaRes University of Latvia)
Irmy Schweiger (University of Stockholm/Sweden)
He Chengzhou (Nanjing)
Mark Gamsa (Tel Aviv/ Riga)
Sher-shiueh Li (Taibei)
Shu-ching Ho (Düsseldorf)
Lucie Berner (Macao)
Tatsuo Takahashi (Tokyo)
Rossella Ferrari (London)
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[from H-NET, 3/2/13]
The Chinese Buddhist Encyclopedia is a large-scale and vast web project with numerous different aspects and purposes:
1) provide easy access to vast amount of materials for everyone with access to internet
2) create a platform for Chinese and English speaking Buddhists to interact, co-operate, work and study together
3) gather all available existing digitized materials, review them, categorize and post them online
4) collaborate with relevant universities, monasteries, institutions, libraries, museums and individuals from around the globe 5) continue digitizing more materials
6) use the advantages of modern technology to develop different forms of Buddhist education (both on and offline)
7) create a international team of specialists interested in those topics, who would collaborate and meet on regular bases.
The author and main organizer of Chinese Buddhist Encyclopedia is Vello Vaartnou. The CBE project was officially started in December 2012, when Vaartnou presented the idea of the CBE at the ECAI conference in University of California, Berkeley, USA.
We are looking for volunteer editors for the Chinese Buddhist Encyclopedia project. CBE needs a lot of data research and editing. Usually every editor has their own Buddhism-related topic(s) (English and Chinese speakers). Which he/she would gather as much material as possible.
Together we can make a difference and build up huge online Buddhist source. So we welcome everyone who could contribute their valuable time by editing and adding materials from different sources all over the internet. Also we are looking for people who has some computer skills as well do help develop the system little better. There is much work to do so anyone who would like to give their contribution for the Chinese Buddhist Encyclopedia project are most WELCOME to do so.
If you think you want to participate then please visit our http://www.friends-in-dharma.com and http://www.chinabuddhismencyclopedia.com for more information or e-mail email@example.com.
Head of Estonian Nyingma
Perth, Western Australia
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[from H-NET, 4/3/13]
Launching in 2014, the bi-annual academic journal Asiascape: Digital Asia now invites submissions for research articles that explore the political, social, and cultural impact of digital media in Asia. Although we do not exclude scholarship in digital culture and culture studies, Asiascape: Digital Asia's focus is on research from the social sciences, arts, media and communication studies, information and computer sciences, and area studies.
Bringing together state-of-the-art research from these fields, 'Asiascape: Digital Asia' examines the role that information, communication, and other digital technologies play in Asian societies (Japan, the Koreas, China, Hong Kong, Macao, Taiwan, India, Pakistan, Nepal, Sri Lanka, Bangladesh, Myanmar, Laos, Thailand, Vietnam, Cambodia, Malaysia, Singapore, Indonesia, and the Philippines), as well as in intra-regional dynamics and transnational links between the region and other parts of the world. The peer-reviewed journal addresses issues such as:
- media converge in the digital age
- transnational flows of digital culture,
- the politics of network societies,
- online activism and digital challenges to state power,
- the workings of social and participatory media, and
- the dynamics of digital play.
The editors welcome contributions that analyse these issues through research that takes seriously the workings of ICT in different contexts, that critically theorizes such workings, and that is based on authoritative empirical analysis. We particularly encourage inter- and multi- disciplinary research that adopts digital methods, as well as theoretically-minded work that critically explores how ICTs can be understood through the lenses of different realities in Asia.
Asiascape: Digital Asia further welcomes reviews of book on the topics outlined above, with a specific focus on reviews that introduce non-Asian related works and scholars to the area-studies community, and research on Asia to the larger field of digital media and communication studies. In addition, the editors encourage reviews of relevant conferences, as well as of digital platforms and media products from Asia, such as social media websites, video sharing services, games, digital tools, etc.
Manuscript submissions should not exceed a length of 10,000 words, including notes and references. Review articles should not exceed 1,000 words. Asiascape: Digital Asia only accepts English-language articles.
All inquiries regarding article submissions can be addressed to:
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[from H-ARTHIST, 3/8/13]
Architectural Histories, the new open access journal of the European Architectural History Network (EAHN), is now online and open to submissions.
Architectural Histories is an international, blind peer-reviewed scholarly journal that creates a space where historically grounded research into all aspects of architecture and the built environment can be made public, consulted, and discussed. The journal is open to historical, historiographic, theoretical, and critical contributions that engage with architecture and the built environment from a historical perspective.
We invite original contributions of the highest quality from scholars and critics in all stages of their career. The journal especially welcomes contributions that stimulate reflection and dialogue about the place of history and historical research within the varied and multifaceted ways in which architecture and the built environment are studied and debated today, across disciplines, cultures and regions.
We publish scholarly articles as well as position papers, shorter pieces addressing topical issues in our field of interest. For more information and guidelines, please visit journal.eahn.org. To submit a paper, please register for the journal and submit online. Questions and queries may be addressed to the editor-in-chief, Maarten Delbeke.
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[from AAH, 3/12/13]
Third Text is an international art and visual culture journal founded in 1987 and has to date published 121 issues. The journal occupies a forefront position at the research interface of contemporary art practice and critical theory.
Third Text invites submissions of original articles that will contribute radically new perspectives on the global artworld and its challenges to the ecology of contemporary art practices in the aftermath of postcolonial and institutional critiques. The journal welcomes varied explorations of visual art, cinema, video, photography, performance and activist art. Articles of 6000 words are preferred but lengthier ones will be considered on merit. Contributors should consult authors' guidelines on submissions.
Third Text has launched a bi-monthly online platform which also calls for original submissions of articles and reviews (1500 words) to be published under Creative Commons Agreement with authors.
Third Text is a peer-reviewed journal.
Submissions and questions should be addressed to Basia Sliwinska, Associate Editor, at firstname.lastname@example.org.
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[from H-NET, 4/11/13]
ARCHITECTURE_MPS (Architecture, Media, Politics, Society), ISSN 2050-9006
The journal's themes revolve around the relationship of architecture(s) in the politico-media-complex. Areas of interest include (but are not restricted to: architecture, landscape design, urbanism, critical studies, human geography, media studies, design. It is published monthly on-line and has a two yearly print version. It is indexed with all the main databases including Avery Index, EBSCO, ProQuest, Ulrichsweb etc.
In addition to full papers submitted for peer review, abstracts and works in progress will be accepted for initial consideration.
Dr. Graham Cairns
Ravensbourne (University College)
tel +44 (0)20 3040 3500
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[from H-ARTHIST, 5/3/13]
Book series from Ashgate Publishing
Series Editor: Michael Yonan (University of Missouri)
The Histories of Material Culture and Collecting, 1700-1950 provides a forum for the broad study of object acquisition and collecting practices in their global dimensions from the eighteenth through the mid-twentieth centuries. The series seeks to illuminate the intersections between material culture studies, art history, and the history of collecting. HMCC takes as its starting point the idea that objects both contributed to the formation of knowledge in the past and likewise contribute to our understanding of the past today. The human relationship to objects has proven a rich field of scholarly inquiry, with much recent scholarship either anthropological or sociological rather than art historical in perspective. Underpinning this series is the idea that the physical nature of objects contributes substantially to their social meanings, and therefore that the visual, tactile, and sensual dimensions of objects are critical to their interpretation. HMCC therefore seeks to bridge anthropology and art history, sociology and aesthetics. It encompasses the following areas of concern:
1. Material culture in its broadest dimension, including the high arts of painting and sculpture, the decorative arts (furniture, ceramics, metalwork, etc.), and everyday objects of all kinds.
2. Collecting practices, be they institutionalized activities associated with museums, governmental authorities, and religious entities, or collecting done by individuals and social groups.
3. The role of objects in defining self, community, and difference in an increasingly international and globalized world, with cross-cultural exchange and travel the central modes of object transfer.
4. Objects as constitutive of historical narratives, be they devised by historical figures seeking to understand their past or in the form of modern scholarly narratives.
The series publishes interdisciplinary and comparative research on objects that addresses one or more of these perspectives and includes monographs, thematic studies, and edited volumes of essays. A list of current and forthcoming titles in the series can be viewed at http://www.ashgate.com/Default.aspx?page=4163.
Proposals should take the form of either:
1. a preliminary letter of inquiry, briefly describing the project; or
2. a formal prospectus including: abstract, brief statement of your critical methodology, table of contents, sample chapter, estimated word count, estimate of the number and type of illustrations to be included, and a c.v.
Please send a copy of either type of proposal to the series editor and
Professor Michael Yonan
Margaret Michniewicz, Commissioning Editor
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[from H-ARTHIST, 7/11/13]
Museum and Curatorial Studies Review is a new peer-reviewed journal powered by the University of California, Berkeley Electronic Press, and the California Digital Library. Each issue will feature full-length academic articles, exhibition reviews, book reviews and dialogic contributions (such as interviews and open letters).
Volume 1, Number 1 will be published very soon. The editors are now seeking contributions to journal's second issue.
All submissions should be sent electronically in MS Word format and follow The Chicago Manual of Style. The details for each submission type are below:
Article (6,000-9000 words): send a fully drafted, polished version of the paper to be blind peer reviewed.
Interview, open letter, or other conversational piece (2,000-6,000 words): send a 300-400 word proposal for the item [Note: interviewers are responsible for all transcription work]. Final drafts are also welcome.
Exhibition review (1,000-2,500 words): send a 250 word proposal that includes a description of the exhibition you intend to review and a brief discussion of its significance to the field of museum and curatorial studies.
Book review (1,000-1,500 words): send a 250 word proposal that includes a description of the book you intend to review and a brief discussion of its significance to the field of museum and curatorial studies.
E-mail submissions and inquiries to: email@example.com.
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[from H-NET, 4/11/13]
We are delighted to announce the development of the new Intellect East Asian Journal of Popular Culture and to issue a general call for papers. In the last few decades there has been a huge rise in the interest in East Asian popular culture. The East Asian Journal of Popular Culture will be engaging directly with that trend. From film to music; art to translation and fashion to tourism, this journal will offer a forum where multidisciplinary work can come together in new and exciting ways.
The East Asian Journal of Popular Culture is the first academic peer-reviewed journal for scholars, teachers, and students from around the world who have an active and passionate interest in the popular culture of East Asia. The journal is devoted to all aspects of Popular Culture in East Asia. With the growth in popularity of Asian visual products in the Western world and the increasing strength of the Asian markets, this publication fulfils the need for an international journal that allows Western and Asian film, media, literary, music, fashion, digital media, television, art and cultural scholars alike to engage in discussion. The journal encourages articles that are both localised (towards a specific popular culture trend, figure or industry) as well as articles that are more global in their outlook (forging links between East Asian popular culture and wider global issues).
We welcome papers on any of these and related topics. If you would like to submit a paper or contact us about a proposed special edition please e-mail firstname.lastname@example.org or one of the editors for further advice. This journal will also be offering in English reviews of Asian Language publications devoted to popular culture. This will bring Asian-based material via detailed summaries and reviews to an English Language readership. If you are interested in acting as a reviewer or are interested in proposing a book to be reviewed please contact the reviews editor.
Editors: Kate Taylor-Jones (Bangor University), Ann Heylen (National Taiwan Normal University), John Berra
Reviews Editor: Chris Howard (Chongqing University)
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[from H-ASIA, 8/1/13]
It gives us great pleasure to announce the publication of the e-Journal of East and Central Asian Religions (e-JECAR), edited by Ian Astley and Henrik Sørensen, and hosted by the University of Edinburgh, UK. The journal has an international editorial board and submissions will be peer-reviewed. The first volume is scheduled for release in September 2013.
e-JECAR is concerned with the development and interaction of the religious cultures of East and Central Asia, whether historically or in the present. In particular we seek to disseminate original research on primary sources that span geographical and disciplinary boundaries. The work to appear in e-JECAR is of three types: (i) extensive research articles; (ii) essays from emerging scholars, to give (typically) younger scholars the opportunity to present recently completed work (e.g. a doctoral thesis) or to describe new work that they may be embarking on (such as a post-doctoral project or a new database); and (iii) review articles that engage with issues raised by recently published research (please note that we do not publish short, mainly descriptive book reviews).
e-JECAR is published in electronic form only and is offered to the academic community and the general public in the spirit of open scholarship and open-source technology. Authors are encouraged to exploit the opportunities offered by new technology, e.g. in including graphic materials and audio-visual sources that inform their work.
The journal will thus initially have three sections:
We invite substantial studies of topics covered by the journal's remit. Submissions which range across the borders of the countries of East and Central Asia (both historically and in the present) and those which avail themselves of multi-media technology in an innovative manner, are particularly welcome. The first volume will include studies by Friederike Assandri, Stephan-Peter Bumbacher, Carmen Meinert, Licia Di Giacinto, and Henrik H. Sørensen.
2. Emerging Scholars
The purpose of this section is to provide a forum for emerging scholars to present their work (typically but not necessarily work from a recent doctoral thesis) in a manner which is more formal and permanent than short reviews or postings to e-mail distribution lists. It is expected that contributors to this section will have completed their PhD or be in the final stages of completing their doctoral thesis or dissertation. Items will normally be in the region of 3,000 to 5,000 words.
3. Review Articles
Review articles are extended essays which address an issue that features in more than one major study. Whilst submissions may focus on one work, it is expected that authors will write with reference to other relevant studies in the field. We do not envisage publishing brief synopses that address critical issues incidentally. The normal length for items in this section is also 3,000 to 5,000 words.
We have elected to distribute the studies in this journal freely to the scholarly community, under the terms of the Creative Commons licence and in line with the policies of major funding bodies in the UK. Thanks are due to the University of Edinburgh, which is providing the hosting service and technical assistance for setting up and maintaining the site.
Henrik Sørensen and Ian Astley
The e-Journal of East & Central Asian Religions (e-JECAR) ISSN 2053-1079 (Online)
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[from JJA, 8/14/13]
The Japanese Journal of Archaeology (JJA) features peer-reviewed original research and review articles written in English, primarily, but not exclusively, concerning 1) archaeological studies of Japanese archipelago, and 2) archaeological studies of any region and any time-periods in the world undertaken by Japanese archaeologists, their collaborators, scholars who are affiliated with Japanese institutions or scholars who specialise in Japanese archaeology. The Chief Editor welcomes queries about the suitability of manuscripts to the JJA. Please read Notes to Contributors and Style Sheet carefully when you prepare your manuscript.
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[from H-ASIA, 9/26/13]
Transnational Subjects: History, Society and Culture is a journal for cultural and transnational history post-1500. The journal is print and online, and fully peer-reviewed. We invite essays on all aspects of transnational and cultural history (4,000-7,000 words) and shorter report-type articles (less than 3,000 words) demonstrating transnational history work. We also particularly welcome digital submissions, including audio/visual work that would not be suitable for a traditional journal. Digital content will also be peer-reviewed and published on our website. Send proposals to email@example.com.
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[courtesy of J. Kee, 12/1/13]
ARTMargins invites authors to submit full-length articles (maximum 8000 words) for possible publication. Please send inquiries or proposals to the managing editor. All submissions are peer-reviewed.
Published by MIT Press, ARTMargins publishes scholarly articles and essays about contemporary art, politics, media, architecture, and critical theory. ARTMargins studies art practices and visual culture in the emerging global margins, including Asia. The journal seeks a forum for scholars, theoreticians, and critics from a variety of disciplines who are interested in postmodernism and post-colonialism, and their critiques; art and politics in transitional countries and regions; post-socialism and neo-liberalism; and the problem of global art and global art history and its methodologies, among other things.
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modified 10 Mar 2014.
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