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When: Spring 2013 issue, ed. by Anna Hickey-Moody & Timothy Laurie, The University of Sydney

Deadline: Mar 31, 2012 (abstract) and September 25, 2012 (full paper)

“The concept is not object but territory. It does not have an
Object but a territory. For that very reason it has a past form,
a present form and, perhaps, a form to come”

(Deleuze and Guattari What is Philosophy? 1996: 101)

Knowledges are generated by located cultural formations embedded in particular historical trajectories. Our themed edition of Angelaki builds on the suggestion ‘the concept is not object but territory’ through positing material-cultural geographies of masculinity as the sites in which thought is created. Such forms of thought are, we argue, necessarily gendered and the products of gendered cultures. We are specifically interested in ways in which lived cultures of masculinity might be read as offering means for understanding men and masculinities articulated across political formations, aesthetic practices and institutionalized systems of thought. Three specific disciplinary axes of analysis are suggested through which to explore these trajectories: performance studies, continental philosophy (especially Deleuze and Guattari’s work), and critical race theory. As editors, we are interested in contributions that consider cultural formations ranging from local performance spaces and working environments to global demarcations of masculinised territories, such as the nation-state or the “Western” hemisphere. We are interested in the ways in which different social boundaries and cultural economies are made and remade through articulations of masculinity and the extent to which such re-mappings can (or can not) be read as constitutive of thought.

An imperative driving this project is an interest in how cultural geography and masculinity studies might offer conceptual resources for scholars working in continental philosophy. Specifically, we are interested in how the examination of political and aesthetic terrains involved in the formation of masculinities, hegemonic or otherwise, might be mapped onto the field of continental philosophy. As such, the editors encourage a focus on the political implications and/or methodological consequences of poststructuralist approaches to masculinities, especially perspectives on the possible limitations of continental philosophical thinkers within more applied disciplines or fields of inquiry. To this end, articles utilizing models of thought generated within masculinity studies to reconsider or critique Deleuze and Guattari’s thought, and/or the work of other continental philosophers, are welcomed. We also invite contributions that draw on continental philosophy to interrogate literature from the field of masculinity studies.

Contributors are invited to explore specific geographies of masculinities as thought-machines. As suggested above, there are three areas in which we would like to locate contributions:

• Cultures of performance, music, dance and visual arts, including (ethico)aesthetic approaches to masculinities within artworks or performances, but also extending to the gendered dynamics of artistic production, consumption and/or reception.
• Cultures of scholarship, including the institutional politics of masculinity studies, the impact of masculinities on research practices and publishing, and the take-up of psychoanalysis and post-structuralism within gender studies. We welcome contributions that explore the gender dynamics of knowledge production within specific university environments and/or in the context of global knowledge production. This work might also develop Alice Jardine’s response to Deleuze and Guattari in the context of gendered research environments.
• Masculinity and geographies of race, including the formation of masculine identities, stereotypes and spaces along racial and ethnic lines, or within racially “marked” diasporic communities. This could also include considerations of masculinities within anthropology, migration studies and critical race studies.

Contributors are invited to consider the constitutive relationship to femininity performed through the masculinities under consideration.

Submission Details: Abstracts of 500-750 words should be submitted in electronic format to the editors by March 31st 2012. This special issue of Angelaki is scheduled for publication in spring 2013. This means that completed papers should be with the issue editors no later than September 25th 2012. Papers will then be circulated to external referees and depending on their feedback, papers will be amended or accepted by the deadline of November 20th 2012. Length: 5,000 -10,000 words.

Queries on this themed edition should be addressed to both the issue editors: Anna Hickey-Moody or Timothy Laurie.

Work accepted for development in this special issue must conform to the Modern Language Association Handbook for Writers of Research Papers (www.mla.org). Manuscripts should be original in content and not published, and not under consideration for publication elsewhere. Manuscripts are not returned.

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When: April 2012 Issue “Queer Interventions and Intersections”

Deadline: Jan 1 (full paper)

Trans-Scripts – a new interdisciplinary online journal in the Humanities and Social Sciences based at the University of California, Irvine – invites graduate students to submit their work for publication. The theme of the second volume will be “Queer Interventions and Intersections.”

While some argue that the very nature of “naming” a “queer” critique dismantles its efficacy, we use the term to reference a mode of critical inquiry that has historically worked as and at the limits of the (hetero)normative, interrogating the incoherencies and ambivalences of normative scripts of gender and sexuality, race and class. For many scholars, queer critiques represent an alternative hermeneutics and critical topography that emerges at the limits of regulatory practice and disciplinary formation. Therefore, “queer” emerges as a fluid, protean, and fungible term, one that is in constant formation and acutely aware of its entanglements with and resistance to structures of power within society.

Invariably bound up in discussions of gender, sexuality, race, and class, among other social categories of identity, queerness is a productive and vast critical terrain whose relevance to disciplines as diverse as literature, anthropology, politics, theology, sociology, military studies, disability studies, informatics, geopolitics, pedagogy, and critical race theory cannot be understated. Given the increased attention to queerness and queer theory in academia over the past two decades, we invite submissions that engage with the notions of “queer interventions and intersections” across a variety of registers. Queerness is central to many of the events currently structuring transnational public discourses, from the recognition of “third gender” identity in Nepal and the repeal of the American military’s “Don’t Ask, Don’t Tell” policy, to Lady Gaga’s queer video aesthetics and the mobilization of queer rhetoric in the grassroots movements and political revolutions in the Middle East.

Possible paper topics include, but are not limited to:

• queer bodies and inhabitations/queer cyborgs/disordered bodies/disembodied queers queerness and animal studies
• posthumanisms queer metacritiques
• problematizing queer theories
• cyberqueers/technologizing the queer
• queer disability studies
• queer affective lives/queer negativity, queer futurity/anti-futurity
• queer and feminist methodologies/pedagogies
• mobilizing queer desires and sexualities/queering desire
• homonationalism and militarizing queerness/(de)nationalizing queerness (e.g., DADT)
• trans lives and communities
• transgender rights movements
• queer rhetorics and literary queers
• queer enabling fictions
• queer poetics/queer lyrics
• reparative reading and/or anti-histories
• queer kinships/queering kinships
• queer geographies and geopolitics, queer spatiality and temporality
• queer criminality, queer violence
• the economic crisis and queer communities/queerness and poverty
• queer aesthetics in popular culture/queer reality television
• queerness and sports, queerness and health/healthcare
• transnational queer connectivities and performativities
• queer ethnographies/queer tourism/movement, queer diasporas
• queer revolutions/resistances
• queer mobilizations in the 2011 Middle East revolutions

Trans-Scripts welcomes all submissions that engage topics related to “Queer Interventions and Intersections.” They may, but certainly need not, address the examples listed above. As we believe that scholarship from a variety of approaches can help inform contemporary understandings, submissions need not conform to any disciplinary, methodological, temporal, or other criteria. They need only be original, well researched, and properly cited in MLA style. English language contributions from all universities in all countries will be considered. By contributing work, unpublished students can gain experience of the peer-review process and achieve their first publication, while those already published gain further professionalization.

Faculty Contributors
In addition to selected student work, renowned academics will contribute editorial pieces, offering students the chance to place their work in conversation with experts in various fields. Past contributors have included Étienne Balibar, Hortense Spillers, Frank Dikötter, Clarence Lang, and Joy James.

The deadline for submission is January 1, 2012. All submissions should be written in English. The total word count should be between 3,000 and 12,000 words, including footnotes. Explanatory footnotes should be kept to a minimum. Submissions should employ the MLA style of citation (for further information on the journal’s submission guidelines and mission statement, see the journal website at http://www.humanities.uci. edu/collective/hctr/trans-scripts/index.html).

Submission Guidelines and Review Process
All pieces should be submitted as a Word document attached in an email to transscriptsjournal@gmail.com. The email should include your name, institution, program/department, and an email address at which you can be contacted. Please also include a short abstract of less than 300 words describing the content and argument of the piece.

Comments and General Inquiries
Please direct all general inquiries about the journal or any comments on published pieces to our 2012 volume’s Editor-in-Chief, Jen Kosakowski, at jkosakow@uci.edu.

When: 2012 Issue

Deadline: Dec 15 (full paper)

The Theatre Annual: A Journal of Performance Studies is the oldest theatre periodical continuously published in America. Founded in 1942 by the Theatre Library Association, Theatre Annual is now published in the fall of each year by The College of William and Mary in Virginia.

Theatre Annual publishes articles on the history and ethnography of performance, drawing from such areas as theatre studies, performance studies, popular culture, music, anthropology, communication, dance, philosophy, folklore, history, and the special areas of interest that cross disciplinary lines.

Scholars wishing to publish in Theatre Annual are invited to prepare their manuscripts in conformity with the guidelines in The Chicago Manual of Style (endnotes, no Works Cited list) and submit them as a Word attachment to the editor, Dorothy Chansky, Department of Theatre and Dance, Box 42061, Texas Tech University, Lubbock, Texas, USA 79409-2601. Please use the email address dorothy.chansky@ttu.edu. In order to assist in the anonymous review process, the author’s identity should not be revealed in the manuscript except on a separate title page that should also include full contact information (academic affiliation, mailing address, home, cell, and work telephone numbers, and email address). Articles should be 5000-6500 words long including notes. Illustrations are highly desirable; authors are responsible for securing rights.

The 2012 issue will be an unthemed, general issue. Papers are welcome on any subject that fits the journal’s mission. Submission deadline is December 15, 2011. Please allow eight weeks for a response.

More information available at http://theatreannual.wm.edu/

When: October 2012 Issue

Deadline: Dec 1 (proposal)

The idea of duration has always been essential to the experience of performance from the briefest execution of the smallest gesture on a stage to the expansive Ram Lila events in India or Tehching Hsieh’s One Year Performances. Duration often refers to the actual time it takes to do things, like drop a brick onto your foot or nail your arm into a wall (Mike Parr), or cut a star onto your stomach or even to walk the Great Wall of China (Abramovic and Ulay). For performance artists, duration refers to the time it takes to break away from the things that inhibit creativity, empathy and intuition, yet the extent to which any performance develops its object in real time forms the basis of what we might call the durational aesthetic.

In recent times, the citational performance forms of postmodernity have constructed a temporality of the eternal return, an endless loop or action replay within which the object’s precarious place in the flux of time became key to the aesthetic strategy. We might think of re-enactment in this regard, as a key marker of the postmodern turn in performance art. The time based work of multimedia artists with its renewed emphasis on replay and remix might also constitute a useful example of this notion of temporal circuitry.

In performance, duration can mean a specific quantity of time as in a musical rhythm or even in Henri Bergson’s terms, a quality of time, characterised as the absolute time of the lived body, multiple and heterogeneous. This issue will explore the aesthetics of duration in performances which foreground the passage of time in the work and the experience of time for the spectator. ‘On Duration’ intends to develop ways of re-thinking the perceived space/time templates of performance, its modes of presencing, and to suggest different models for its interpretation.

Possible Topics:

Forms of Duration

• The chronotopes of performance: Bakhtin and time
• Bergson’s Matter and Memory as a paradigm for thinking about time as real duration
• Time signatures in performance
• The loss of temporality
• Micro-narratives v. durational events
• Inverted and intensified temporalities

Real Time Performances

• Happenings, John Cage and the emergence of time based art
• Fluxus and after
• Endurance art: Marina Abramovic, Tehching Hsieh, Mike Parr
• Time is money: Antony Gormley, Martin Creed, Coco Fusco, Santiago Sierra

Time Shifting in Video Performance

• Video and the remediation of art and performance traditions
• Re-enactments
• Manipulations and distortions of time: Martin Arnold, Douglas Gordon

Temporal Environments and Architectures

• Temporal embodiments of place /the trans-architectural
• Temporary architectures: Diller and Scofidio
• Projections and ‘relational architectures’: Lozano-Hemmer, Krzysztof Wodiczko

The volume will gather perspectives from a range of fields, including architecture, sound-art, media-art and a range of performance practices: proposals are invited from any relevant area. The format of Performance Research allows for artists’ pages and other visual representations alongside articles, interviews, documents or reviews.

First drafts are due 8th March 2012, final drafts: 1st May 2012. ALL proposals, submissions and general enquiries should be sent direct to: Becci Curtis <rec12@aber.ac.uk>. Issue-related enquiries should be directed to the issue editor: Edward Scheer <e.scheer@unsw.edu.au>.

Where: Department of Theatre Arts and Performance Studies, Brown University, Providence, RI

Deadline: Dec 20, 2011

We work here. But where is “here,” and how do we define the “work” that we do? Beginning with these questions about the corporate university, “Performing Under Pressure” intends to make visible the invisible work of students and scholars (when most academics don’t call themselves workers). We enjoin academics and artists in the humanities, social sciences, life sciences, and physical sciences to think about their field and the work they do, by: paying attention to what pressures are in play across class, racial, gender, and sexual lines and how such performances play out in the institutional framework in which we do our work; critically reflecting on how images of ourselves as students, academics, and teachers are constructed; and considering how these identities remain distinct from, and are also sustained by, the institution that gives rise to them.

Let’s attempt something like a Brechtian exposure of the university’s workings; in creatively thinking about the things we do, and how they are done. We’ll explore the economic basis for the university, and how it is covered over by long-held assumptions about what goes on at an educational institution; it is not for nothing that Brown University’s governing body is “The Corporation.” The university reflects the stratifications of labor–these people pay (students in unfunded MFA and MA programs, who will leave the academy to join the “real” economy) and these other people get paid (funded PhD students and professors who remain in the “unreal” university economy)—even while it retains the veneer of pursuing knowledge for knowledge’s sake. Or, more troubling: becomes an incubator for “real world” skills for graduates who will become actors in the finance world. (The Brown website advertises: “A Brown education is a catalyst for creativity and entrepreneurship.”)

Possible topics include:

• The labor—affective, immaterial, and other—of the scholar in the neoliberal university
• Artists, performers, and culture workers in the university
• How “life” is constructed by and within the academy, with reference to race, gender, dis/ability, etc.
• University-based arts funding practices, forms of curation, and valuation schemes
• Government and non-government sources of research funding
• Collaborations with business and connections to the knowledge economy
• The global university as it participates in forms of off-shoring
• Campus sites that reflect on real world institutions: galleries, laboratories, markets, newspapers, and political forums

This two-day conference will feature keynote speakers including Nicholas Ridout (Queen Mary, University of London) and Patricia Ybarra (Brown University), plenary paper sessions, forums with invited speakers in a “long table” format, and performance events.
Submissions welcome from all humanities and social and hard science disciplines and approaches. We are asking for you to present your work to the conference if you can also bring a discussion of the labor that went into it, and of the negotiations behind it. We are looking not for studies of the university per se, but papers and proposals that reflect on our own practice. Please select one of the following options and email your response along with a short bio to performingpressure@gmail.com.

1. Papers: Please submit a 300-word abstract for a 20-minute paper relating to one or more conference themes.
2. Long Table: Please submit a short (200 words or less) description of your research topic(s) and a list of key terms relevant to your work.

THE DEADLINE FOR ALL ABSTRACTS AND INQUIRIES IS DECEMBER 20, 2011. Please save the dates, plan to join us, and share this announcement with your colleagues and contacts. For more information, or to watch the conference take shape in a shared planning space, direct your web browser to: http://performingunderpressure.wordpress.com.