期刊名称：CRITICAL ARTS-SOUTH-NORTH CULTURAL AND MEDIA STUDIES
 期刊简介(About the journal)
投稿须知(Instructions to Authors)
编辑部信息(Editorial Board)
About the journal
Of the early issues dating from 1980 Ntongela Masilela observed that Critical Arts was coterminous with the awakening of the historical consciousness that the practice of cultural studies could facilitate in securing the demise of apartheid. He concluded that “This monumental undertaking is evident on practically every page of Critical Arts ”. Seminal authors who lent their intellectual labour to the early Critical Arts Project included JM Coetzee, Nadine Gordimer, Andre Brink and later Stuart Hall, Tom O’Regan, Ian Ang and Handel Kashope Wright, amongst many others. Masilela continued, “On the eve of the fall of apartheid these and other scholars were engaging “with the intersection of Marxism, race, representation and feminism in an attempt to create new epistemologies” (in Denzin, N. Cultural Studies: A Research Volume , Vol 5, 2000). Ioan Davies wrote in Border/lines (1985/6), “Critical Arts’s nervousness about what stance would be appropriate to coming to terms with culture in Africa seems to be perfectly in tune with anyone’s nervousness with coming to terms with Africa”. The early contributions can be accessed via the Michigan State University eJournals project: http://digital.lib.msu.edu/projects/africanjournals/
Critical Arts examined the relationship between texts and contexts, cultural formations and popular forms of expression, mainly in the Third World. After 1994, Critical Arts repositioned itself in the South-North nexus, developing the transdisciplinary epistemologies mentioned by Masilela, but now in conjunction with globally seminal scholars and transnational conceptual trajectories, again with the nervousness identified by Davies.
Critical Arts interprets cultural studies as a form of praxis, of experience, and of strategic intervention. How does one explain the contradictions, the opposing ir/rationalities, the fracturing of logics which so brutally feed political solidarities at any cost? The exigencies of being under fire make it hard to find the discursive space in which participants can catch enough breath to speak the truths of their own participation. Our journal seeks to profile those approaches to issues that are amenable to a cultural studies-derived intervention, on the basis that `culture' is a marker of deeper continuities than the immediate conflicts under the fire of which so many must somehow live their lives. They must, perhaps, restore the vision of earlier theorists and historians, for whom `culture' was a kind of synthesis arising from the contradictions between human society and the politics of nations. Under the pressures of globalization, this kind of understanding becomes more relevant at every turn.
The journal is rigorously peer reviewed and aims to shape theory on the topics it covers. Cutting edge theorisation (supported by empirical evidence) rather than the reporting of formulaic case studies are preferred as submissions. Our editorial board has consisted of African studies scholars (e.g., David Wiley, Maureen Eke), cultural studies luminaries (e.g., Stuart Hall, Larry Grossberg, Daniel Mato, John Hartley), influential media scholars (e.g., Paddy Scannell, Helge Ronning, Hopeton Dunn, Tom O’Regan), anthropologists (Dave Coplan, Lesley Green), and literary scholars (Ken Harrow) amongst many others drawn from African institutions also. Critical Arts ' authors are Africans debating Africa with the rest; and the rest debating Africa and the South and with each other.
Submissions are sought from both established and new researchers. Recent topics have included political economy of the media, political communication, intellectual property rights visual anthropology, dance and cultural studies in the Middle East.
Keyan G Tomaselli
Editor-in-Chief
Culture, Communication and Media Studies
University of KwaZulu-Natal
Howard College Campus
Durban 4041, South Africa
Fax: + 27-31-20-1519
Abstracted/ Indexed in: African Studies Abstracts Online; Alternative Press Index; ARTBibliographies Modern; Arts & Humanities Citation Index; British Humanities Index; Film Literature Index; Humanities International Index; Index to South African Periodicals; International Bibliography of the Social Sciences; International Bibliography of Theatre & Dance; Linguistics and Language Behavior Abstracts; M L A International Bibliography; Periodicals Index Online; Social Sciences Citation Index and R I L M Abstracts of Music Literature
Instructions to Authors
REFEREEING GUIDELINES AND EDITORIAL NOTES
Please read these notes carefully . They deal with legal and other matters.
Critical Arts is a peer-reviewed journal that has, from its outset, maintained a wide reputation of conceptual freshness, textured writing, and experiential analysis, which draws readers into its articles, its narrative themes and its theoretical explorations. Articles published in Critical Arts are universal in reach while retaining a particularity of context, specificity of content and relevance of topic. We invite articles which have the potential to influence the ways in which disciplines represented by cultural and media studies think about themselves in terms of critical dialogues generated within the South-North relationship, with special reference to Africa. How do people, institutions and constituencies cope within, resist and engage this relational nexus?
Critical Arts prides itself in publishing original, readable, and theoretically cutting edge articles. Many articles first published in the Journal have been subsequently reprinted with acknowledgement elsewhere. We are proud of this republishing record, which includes original articles first published in Critical Arts by, eg., JM Coetzee, Nadine Gordimer, and later, Stuart Hall, David Kerr, Ntongela Masilela, Handel Kashope Wright, and Arvind Singhal, amongst many others.
Critical Arts:
i) Is subscribed to by over 13 000 universities and other libraries in South Africa, Africa, the USA and Europe via Routledge and UNISA Press;
ii) Is available online via Routledge. 1980-1992 back copies are available at: http://digital.lib.msu.edu/projects/africanjournals/
iii) Has been published by UNISA Press since 2005, and from 2007 an international edition is published by Routledge. Routledge took over the electronic subscriptions managed by EBSCO, Gale, SABINET and AJOL as from January 2007.
Critical Arts has been publishing since 1980. A number of integrated theoretical trajectories and ongoing debates have emerged during the intervening period. Submitting authors are requested to familiarise themselves with these themes . For example, Critical Arts prefers analyses which interrogate essentialist ideas rather than simply assuming them. We prefer it if current authors address and critically engage discussions previously published in the Journal, in their own analyses.
Critical Arts publishes the work of established scholars and is also geared to opening spaces for new, young and dynamic authors, whose emerging work is of critical and theoretical significance. Amongst our authors (and in the book series) are MA and Ph.D. students whose work is often theoretically refreshing, conceptually innovative and critically challenging. Critical Arts provides a platform for such students who need to find their niche within the research and publishing community.
Critical Arts receives many submissions which are inappropriate to its preferred interpretation of cultural and media studies within the South-North axis (e.g. orthodox journalism and communication studies and studies which assume the notion of `mass’ communication). Where appropriate the Editor-in-Chief will reroute such submissions to more paradigmatically appropriate publications. We hope that this facilitation by us will help such authors to acquire some experience in this regard and obtain eventual publication in a journal better suited to such submissions. ( Critical Arts however takes no responsibility for outcomes or negotiations relating to rerouted articles. This is simply a courtesy on our part).
All articles submitted to Critical Arts are refereed. This includes guest edited theme issues. About 80% of articles submitted to, and refereed by Critical Arts , require minor to major revisions. We request that our referees and editorial consultants write helpful, anonymous reports, which can be sent on directly to our authors to assist them in revision in Critical Arts or for submission elsewhere if not appropriate for Critical Arts . The referee reports will indicate whether or not a paper is publishable, and the editors will then, where necessary, work further with authors on conceptualisation, any additional modifications and on other issues which may need addressing. This may require revisions -- conceptual, stylistic, factual -- over and above those initially identified by the referees. Authors thus need to be prepared and available to engage in such extra liaison and remain in touch with the journal’s editors throughout the production process. (Papers accepted from authors who have disappeared or failed to sign the publishing contact will be pulled.) We ask authors to help us to ensure timely publication by fulfilling their own responsibilities in this partnership. Our objective is to ensure the best possible outcome, articles which have a potentially high international impact.
Author Details
The Routledge/Taylor & Francis internet site CATS (Central Article Tracking System) logs and track the journal manuscripts. The following information is ideally needed for each contributor .
Submission Guidelines :
a) Submissions should be original works not simultaneously submitted elsewhere.
b) Papers are usually between 5,000-7,000 words in length, including references and end notes.
c) UK English spelling must be used should your article be accepted. Provide an Abstract of about 200 words and a list of about 6 Keywords
* In cases where internet connectivity and general IT infrastructure is not conducive to a ScholarOne submission, we will still accept manuscripts submitted via email to the Critical Arts office ( criticalarts@ukzn.ac.za , tomasell@ukzn.ac.za ). e) Electronic copies should be submitted in Word compatible formats. Please note that we cannot process Mac formats.
f) Please place title, name, contact details and acknowledgements on the cover page. On the second page put only the title of the paper. This is to ensure blind refereeing.
g) Submission to, and acceptance by, Critical Arts implies that the journal has an exclusive right to publish the article, in both printed and electronic form. We cannot consider articles being considered for publication elsewhere.
h) Critical Arts is not able to offer prior comment on unsolicited manuscripts, especially dissertations which are sometimes sent us. If writers want to publish from their dissertations, then they must distil the article from the larger study themselves, and submit in terms of the required work length, theme and so on. We will respond to articles which are formally submitted for consideration.
i) Authors whose work is accepted will be required to sign a contract with the journal.
In text:
Book (Chambers 1983, 110-112)
Organisation as author (UNDP 2003, 14)
Reference list:
Bhabha H. and G. Viswananthan. 2002. Border crossings in education. Cultural Critique 35 (2):34-48.
Chambers, R. ed. 1983. Rural development: Putting the last first . London: Longman.
Ezedu, H. 2001. Cross-cultural learning. In Co-operation in African Education , ed. S. Dlamini, 134-138. Pretoria: UNISA Press.
k) Authors who feel it is necessary to include images with their articles, please take note of the following information:
- each figure/image/photo/table is counted as taking up the space of 280 words
- the images must be sent via email, separately from the article, usually in jpeg format (ie. The images must not be included in the Word document of the actual article)
- The author must indicate in the article exactly where he wishes each image to be placed. The images must be numbered to correspond with the order in which the images appear in the article (for more information on this and for an example of how to indicate image placement, please e-mail criticalarts@ukzn.ac.za- Each image must have a caption, which also mentions where the image is sourced from (note: many authors take their own photos, but for those who use other people's images, they must receive permission to include the images in their articles)
When refereeing submissions, apart from conceptual coherence, logical argument, adequate empirical substantiation, etc., our editorial board and referees are asked to address the following:
a) Is the article adequately referenced? Are the references accurate?
b) If submission is not initially in the Chicago referencing style we will evaluate the paper anyway, and we'll ask for a resubmission in Chicago if the article is accepted.
c) Critical Arts sometimes is sent unmodified conference papers for publication as main research articles. Critical Arts does not publish conference papers, but it does publish commentary, debates and extended book reviews. We will also consider conference papers which have been obviously revised for publication.
d) All submissions are required to be submitted with short abstracts and five or six key words. Does the abstract accurately reflect the substance of the article? Is the abstract suitable for inclusion in an index?
e) Critical Arts is sometimes sent articles which have been previously published elsewhere with a request that particular articles be considered for republication in specific theme issues. This status does not itself automatically merit reprinting in Critical Arts . (Sometimes a theme issue is well served by republishing such an article.) We have sometimes found bibliographic and other errors in such publications, not to mention conceptual and other difficulties which may require revision and updating. To safeguard both the authors' and Critical Arts ' interests, such submissions (if considered by the Editor) will be automatically sent on to our consultants and referees for evaluation.
f) Paragraphs or sentences which repetitively start with the name of a source are discouraged. Critical Arts ' preference is that the sources be placed in brackets at the end of sentences, thus foregrounding the author's argument over the name of the source, who is then referenced in the normal Chicago style. We believe that restructuring sentences thus makes for easier reading as it is the argument which is emphasised.
g) For further information on Critical Arts ' achievements and scope of interest, including a bibliography since 1980, please consult Denzin, N. ed. 2000. Cultural Studies: A Research Annual . Offprints are available from the journal. Please e-mail: tomasell@ukzn.ac.za or criticalarts@ukzn.ac.za
h) PLEASE READ THE ABOVE GUIDELINES AND KEEP THEM HANDY. Accepted submissions which do not adhere to them (especially with regard to referencing) will not be published until the author has made the corrections. If you move abode please keep in touch with us so that you can correct the galleys and answer any queries raised during typesetting. Authors who fail to internalise the above guidelines often delay publication. Please help us to keep the journal appearing on time by adhering to the basic procedures listed above.
i) The reviewing process can take anything between 6 weeks and much longer. The international norm is four to six months. We ask our referees for reports within 6 weeks of being sent them, but often reviewers are slow to respond for all sorts of reasons. Please be patient during this process.
j) Page charges are applicable. These are currently calculated at R200 per page. Please ensure that your Research Office is notified that it will receive an account from us.
k) For South African-based authors only : Critical Arts is accredited with the South African Department of Education.
Keyan Tomaselli
Editor-in-Chief
Critical Arts: A Journal of South-North Cultural Studies
c/o Culture, Communication and Media Studies
University of KwaZulu-Natal, Durban 4041, South Africa
Critical Arts Home Page:
http://ccms.ukzn.ac.za/index.php?option=com_content&task=view&id=151&Itemid=87
Author copies and article access
All authors are entitled to a complimentary print copy of the issue in which their article appears. Please supply a full physical address for all authors. Only where an author's complete address details are provided will a copy be sent. Authors will receive free online access to their articles through the Taylor & Francis website, provided author and co-author email addresses are provided from the outset. Reprints of articles published in this journal can be purchased through Rightslink® or alternatively through the Taylor and Francis journals website.
Reproduction of copyright material. As an author, you are required to secure permission to reproduce any proprietary text, illustration, table, or other material, including data, audio, video, film stills, and screenshots, and any supplementary material you propose to submit. This applies to direct reproduction as well as “derivative reproduction” (where you have created a new figure or table which derives substantially from a copyrighted source). The reproduction of short extracts of text, excluding poetry and song lyrics, for the purposes of criticism may be possible without formal permission on the basis that the quotation is reproduced accurately and full attribution is given. For further information and FAQs, please see http://journalauthors.tandf.co.uk/preparation/permission.asp
Copies of permission letters should be sent with the manuscript upon submission to the editors. Copyright permission letter template
Copyright and authors' rights. It is a condition of publication that authors assign copyright or license the publication rights in their articles, including abstracts, to Critical Arts Projects. This enables us to ensure full copyright protection and to disseminate the article, and of course the Journal, to the widest possible readership in print and electronic formats as appropriate. Authors retain many rights under the Taylor & Francis rights policies, which can be found at http://journalauthors.tandf.co.uk/preparation/copyright.asp . Authors are themselves responsible for obtaining permission to reproduce copyright material from other sources.
Exceptions are made for certain Governments’ employees whose policies require that copyright cannot be transferred to other parties. We ask that a signed statement to this effect is submitted when returning proofs for accepted papers.
Editorial Board
Editor-in-Chief:
Prof K G Tomaselli - University of KwaZulu-Natal, South Africa
Editorial Co-ordinator:
Kieran Tavener-Smith - University of KwaZulu-Natal, South Africa
Associate Editors:
Hopeton Dunn - University of the West Indies, Jamaica
Prof Helge Rønning - University of Oslo, Norway
Prof Ruth Teer-Tomaselli - University of KwaZulu-Natal, South Africa
Prof Handel K Wright - University of British Columbia, Canada
Book Review Editors:
Dr Nhamo Mhiripiri - Midlands State University, Zimbabwe
Jeffrey Sehume - Mapungubwe Research Institute, South Africa
Editorial Consultants
Louise Bethlehem - The Hebrew University of Jerusalem, Israel
Aggrey Brown - The University of the West Indies, Jamaica
Prof David Coplan - Wits University, South Africa
Prof Jenny de Reuck - Murdoch University, Australia
Prof Brenda Dervin - Ohio State University, USA
Prof Maureen Eke - Central Michigan University, USA
Dr Lesley Green - University of Cape Town, South Africa
Prof Stuart Hall - London, UK
Prof John Hartley - Queensland University of Technology, Australia
Dr. William Heuva - University of Namibia, Namibia
Prof Larry Grossberg - University of North Carolina, USA
Prof Lena Jayyusi - Zayed University, Dubai
Beth le Roux - University of Pretoria, South Africa
Prof Eric Louw - University of Queensland, Australia
Dr Sonja Narunsky-Laden - University of Johannesburg, South Africa
Tom O’Regan - The University of Queensland, Australia
Prof Jeanne Prinsloo - Rhodes University, South Africa
Prof Paddy Scannell - University of Michigan, USA
Prof Shi-xu - Zhejiang University, China
Dr Arvind Singhal - University of Texas, USA
Lynette Steenveld - Rhodes University, South Africa
Prof Robert White - Hekima College, Kenya
Prof Doreen D. Wu - The Hong Kong Polytechnic University, China
Dr Miranda Young-Jahangeer - University of KwaZulu-Natal, South Africa
Prof Abebe Zegeye - University of South Australia, Australia
Prof Kristin Skare Orgeret - Oslo & Akershus University College
Dr Leora Farber - University of Johannesburg
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