期刊名称：PARALLAX
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ISSN： | 1353-4645
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出版频率： | Quarterly
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出版社： | ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2-4 PARK SQUARE, MILTON PARK, ABINGDON, ENGLAND, OXON, OX14 4RN
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出版社网址： | http://www.tandfonline.com/toc/tpar20/current#.UrEBWbKcFeA
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影响因子： |
1.019 (2020年)
0.281(2018年)
0.107(2017年)
0.349(2016年)
0.238(2015年)
0.083(2014年)
0.141(2013年)
0.203 (2012年)
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| 主题范畴： | CULTURAL 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
Founded in 1995, parallax has established an international reputation for bringing together outstanding new work in cultural studies, critical theory and philosophy.parallax publishes themed issues that aim to provoke exploratory, interdisciplinary thinking and response. Each issue of parallax provides a forum for a wide spectrum of perspectives on a topical question or concern. parallax will be of interest to those working in cultural studies, critical theory, cultural history, philosophy, gender studies, queer theory, post-colonial theory, English and comparative literature, aesthetics, art history and visual cultures.
parallax regularly publishes issues compiled by guest-editors. Potential guest-editors should make an initial proposal to the editors including a title, thematic outline and suggested contributors.
Disclaimer
Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in its publications. However, Taylor & Francis and its agents and licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content and disclaim all such representations and warranties, whether express or implied to the maximum extent permitted by law. Any views expressed in this publication are the views of the authors and are not the views of Taylor & Francis.
Abstracting & indexing
Abstracted/ Indexed in: Arts and Humanities Citation Index®; Current Abstracts; Current Contents; Dietrich's Index Philosophicus; EBSCO (including Academic Search Complete; Humanities International; SocINDEX and TOC Premier); Scopus; MLA International Bibliography; International Bibliography of the Social Sciences; OCLC (including ArticleFirst; Arts and Humanities Search; Electronic Collections Online and Sociological Abstracts) and the Social Sciences Citation Index
Instructions to Authors
The instructions below are specifically directed at authors who wish to submit a manuscript to parallax . For general information, please visit the Author Services section of our website.
parallax
School of Fine Art, History of Art and Cultural Studies
University of Leeds
Leeds LS2 9JT
UK
Tel: +44 (0) 113 233 2577
Fax: +44 (0) 113 245 1977
Email: parallax@leeds.ac.uk
parallax considers all manuscripts on the strict condition that they have been submitted only to parallax , that they have not been published already, nor are they under consideration for publication or in press elsewhere. Authors who fail to adhere to this condition will be charged with all costs which parallax incurs and their papers will not be published.
Contributions to parallax must report original research and will be subjected to review by referees at the discretion of the Editorial Office.
Taylor & Francis make every effort to ensure the accuracy of all the information (the “Content”) contained in our publications. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. Terms & Conditions of access and use can be found at http://www.tandfonline.com/page/terms-and-conditions
Publication charges
Submission fee and page charges
There is no submission fee or page charges for parallax .
Colour charges
Colour figures will be reproduced in colour in the online edition of the journal free of charge. If it is necessary for the figures to be reproduced in colour in the print version, a charge will apply. Charges for colour pages in print are £250 per figure ($395 US Dollars; $385 Australian Dollars; 315 Euros). For more than 4 colour figures, figures 5 and above will be charged at £50 per figure ($80 US Dollars; $75 Australian Dollars; 63 Euros).
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 supplemental 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/permissions/usingThirdPartyMaterial.asp
Copyright and authors’ rights
It is a condition of publication that all contributing authors grant to Taylor & Francis the necessary rights to the copyright in all articles submitted to the Journal. Authors are required to sign an Article Publishing Agreement to facilitate this. This will ensure the widest dissemination and protection against copyright infringement of articles. The “article” is defined as comprising the final, definitive, and citable Version of Scholarly Record, and includes: ( a ) the accepted manuscript in its final and revised form, including the text, abstract, and all accompanying tables, illustrations, data; and ( b ) any supplemental material. Copyright policy is explained in detail at http://journalauthors.tandf.co.uk/permissions/reusingOwnWork.asp .
Free article access
As an author, you will receive free access to your article on Taylor & Francis Online. You will be given access to the My authored works section of Taylor & Francis Online, which shows you all your published articles. You can easily view, read, and download your published articles from there. In addition, if someone has cited your article, you will be able to see this information. We are committed to promoting and increasing the visibility of your article and have provided guidance on how you can help .
Reprints and journal copies
Article reprints can be ordered through Rightslink® when you receive your proofs. If you have any queries about reprints, please contact the Taylor & Francis Author Services team at reprints@tandf.co.uk . To order a copy of the issue containing your article, please contact our Customer Services team at Adhoc@tandf.co.uk
Manuscript submission
One copy of word processed papers should be submitted in UK English to the Editors by email attachment (to parallax@leeds.ac.uk ) with the file name as follows: ‘parallax [issue number, issue name, your name]’. Submissions should be no longer than 5-7,000 words in length, including footnotes. Please ensure your document has been virus checked. A list of any illustrations can be included at the end of the main body of your text. For submissions to guest-edited issues, please send your paper directly to the Guest Editor and not to the Editors of parallax. Editing decisions concerning content and length of the paper rest with the Guest Editor, or the parallax Editors in the case of an in-house issue.
Please insert a page break at the end of the document in order to provide a short biographical note (80-100 words) including your full contact details (full name, affiliation, address, telephone, fax and email) and any recent publications with the full title, publisher and place and date of publication (see ‘Referencing’ below for format).
Manuscript preparation - Style guidePlease write clearly and concisely, stating your objectives and defining terms where appropriate. Non-discriminatory language is mandatory. The Editors recommend the use of the latest editions of the Oxford English Dictionary , The Oxford Writers’ Dictionary andThe New Fowler’s Modern English Usage .
Format
Use of the show/hide facility (¶ on the toolbar) is recommended when formatting your document. Use word processing default settings for all page margins.
All papers to be formatted throughout in Times New Roman, twelve-point font, single-spaced and left-aligned.
Include the title of your paper and your name at the head of the first page only (full contact details are given at the end on a separate page, see above). Full points are not required after the essay’s title, your name or subtitles. Question marks may be retained in titles and subtitles.
Epigraphs are right aligned and indented. The quotation is given in italics, not quotation marks. The author is given in roman (normal) font; should the title of the cited work be added too, this should be in italics. A full stop is required after the author’s name/cited work. Complete reference of the epigraph (publisher, page number, etc.) should be given in the endnotes. There is no space between the text of an epigraph and its author.
Use one paragraph space between: the title and contributor name; contributor name and epigraph; each new paragraph. Use two paragraph spaces between your name (or epigraph) and the main body of text. Sub-headings within the text are set apart with two paragraphs before and one after. Do not use paragraph indentations.
Do not use page numbers or headers and footers.
Italics are to be used for the titles of entire published works: books, journals, plays, long poems and newspapers (exceptions: The Bible, The Koran, The Talmud). Italics are also used for the titles of works of art, films, for foreign words not fully naturalized into English, for emphasis and within interviews to indicate the speech of the questioner and their name. For guidelines on the use of italics, consult The New Fowler’s Modern English Usage (latest edition) . Italics are used for the text of an epigraph but not for the author. Do not use underlining. The titles of chapters in books, journal articles and song titles are enclosed in single quotation marks.
The title, subtitles and author’s name are written in bold.
The title of an interview is given in full on the first line. On the line immediately below appears ‘An Interview with [name of interviewee]’. These are given in bold as for titles. The interviewer’s name will appear below in the text of the interview. Names of interviewer/s and interviewee/s should be given in full in the first instance and thereafter as initials. These are both written in bold throughout the interview. Names and initials are followed by a colon. The text of the interviewer’s questions is given in italics.
All notes are endnotes and are preceded by the title ‘Notes’ and one paragraph space.
Any acknowledgements by the author are integrated in the ‘Notes’ section, preceding the first numerical endnote.
Spelling
Use UK English spelling conventions. For example: ‘organize’, not ‘organise’, ‘recognize’, not ‘recognise’, ‘centre’, not ‘center’, and ‘endeavour’, not ‘endeavor’. US English spelling should, however, be retained in the titles of works published using US spelling conventions.
Diacritics are retained where the word in question has not yet been naturalized into English. For example: raison d’être, à la mode.
Hyphens are used to avoid repetition of vowel (re-enter); where two or more words are read as one (a late-nineteenth-century novel); with the use of ‘mid’ (in the mid-nineteenth century) and in order to avoid ambiguity (to re-cover the sofa; to recover lost time).
Non-English place and personal names are given in the accepted English form where this exists. For example: Vienna; Virgil, Catherine the Great.
The following begin with a capital: titles and dignitaries (the Minister for Education); movements or periods (Renaissance, Freudian, the Middle Ages); proprietary names (Sellotape), except where they are no longer registered trade names (jeep).
Diacritics should be retained on all capitals in foreign languages where these appear on the lower-case letters.
Abbreviations
Titles of works cited in the text should be given in full in the first instance and only abbreviated to a comprehensible version if repeated often or for elegance. For example: ‘Richard Huelsenbeck’s Memoirs of a Dada Drummer ’ can be abbreviated to ‘Huelsenbeck’s Memoirs ’.
Full points are not used where an abbreviated form ends in the same letter as the full form. For example: Mr, Mrs, Dr, vols, edn, eds and nos (exception: no. for Italian ‘numero’). Full points are used in other abbreviations. For example: M. (Monsieur), p., pp., vol., ed. and in lower case abbreviations such as e.g. and a.m.
Standard works of reference may be given in capitalized abbreviations and italicized:OED , DNB . Countries and internationally recognized organizations are also given in capitalized abbreviations: UK, USA, UNESCO.
Acronyms for national institutions and organizations should be spelled out in the first instance with the abbreviation given immediately after in parentheses. The abbreviation may be used thereafter. For example: the Federal Bureau of Investigation (FBI).
American states are given in two-letter format when appropriate for identifying the place of publication: Cambridge, MA, not Cambridge, Mass. (see The Oxford Writers’ Dictionaryfor other states).
Accepted truncations do not require an initial apostrophe: phone, not ‘phone.
For further use of abbreviations in endnotes, see ‘Referencing’ below.
Quotations and Punctuation
Short quotations should be set in single quotation marks. Double quotation marks are only used for quotations within quotations (i.e. nested quotations). For example: Adorno writes: ‘When the hero of Gottfried Keller’s novel Der grüne Heinrich was asked about the German capital letter P, he exclaimed, “That’s pumpernickel!”’
Longer quotations (forty words or more) should form a separate, indented paragraph with one paragraph space before and after. Quotation marks are not used unless they represent a quotation within the main quotation, which is then given in single quotation marks.
Punctuation comes after quotation marks except where it is integral to the quotation, for example if the quotation is known to be a full sentence or if it is a question or an exclamation. No additional full point is required if the quotation ends in either a question mark or an exclamation mark.
No comma is required before ‘and’ and ‘or’ indicating a final item in a sequenced list: ‘apples, pears, bananas and oranges’. No comma is required after abbreviations such as e.g. and i.e. even where this appears grammatically necessary.
Dashes are represented by an en dash with a space on either side ( – ).
Parentheses (round brackets) are used for parenthetical statements and references within the text. Square brackets are used for authorial interventions within citations. For example: ‘he [George Best] is the greatest footballer ever’ and for indicating emphasis: ‘he is the greatest footballer ever ’ [my emphasis]. Indicating such interventions comes after the closing quotation marks. Emphasis in the original can also be indicated in brackets after the closing quotation marks as ‘[original emphasis]’.
This use of parentheses and brackets also applies to discussion of terms in a language other than English where translation is provided for clarity. For example, translation within the contributor’s text would appear as: ‘One finds it in Hölderlin’s appeal to words like das Heilige (the holy)’. Translation within a quotation would appear as: ‘Hölderlin writes: “ Und was ich sah, das Heilige sei mein Wort ” [And what I saw, the holy be my word]’.
Full points always come after parentheses or brackets.
Ellipses in the original version of any citation are given without brackets. For example: ‘The house… on the hill is still there’.
Excisions from original quotations are indicated by ellipses in brackets. Original punctuation is retained wherever possible. Therefore where an ellipsis shortens a sentence, if this comes after a full point, the first word requires a capital letter. For example: ‘I rode to the lighthouse that day. The day started out fine but by nightfall the wind was howling’ would become: ‘I rode to the lighthouse that day. […] By nightfall the wind was howling.’
Apostrophes are used only for contractions (don’t) and for all possessives. For example the genitive: Nancy’s, Marx's; but Cixous’ and James’. Where the possessive subjects are listed the possessive apostrophe should come after the final name only. For example: Deleuze and Guattari’s.
Dates and Numbers
Dates are given as follows: 18 October 1977. In citations of an era, BCE follows the year and ACE precedes it. For example: 65 BCE and ACE 94. However, in centuries both follow: the third century BCE; the fourth century ACE.
Decades are given as follows: the 1960s, not the 1960’s. Centuries should be spelled out. For example: the nineteenth century and nineteenth-century art production. Approximate dates are given with an abbreviated form of circa as follows: c. 1845, c. 200 BCE.
Numbers up to one hundred including ordinals are given as words other than in the use of dates. For example: ninety-nine, first. Words are only given for numbers from one hundred onwards if these are at the beginning of a sentence, the number is approximate or the sentence appears inelegant. Commas are only used in figures from 10,000 upwards and not for figures of a lesser amount than this.
When using inclusive numbers all the figures of the numbers should be given. This also applies to page spans. For example: 14-16; pp.145-152; 1961-1966; 1998-2009. This use of a hyphen does not require adjacent spaces. Roman numerals are used sparingly: for ordinals for monarchs and popes; and for subdivisions within books, plays or long poems.
Image Captions
Captions in the main body of the text are included like the following, using parenthesis. Example: Victor Burgin, in his work Office at Night refers to the work of Hopper (Figure 1).
Figure 1. Victor Burgin, Office at Night , 1986 (one of seven sections). Courtesy Canadian Centre for Architecture, Montreal. © Victor Burgin.
In short: Figure: Artist, Title [italics], Date (any further specification). Medium. Size. Courtesy/ Location. Copyright.
Referencing
All references are given as endnotes and should remain succinct. Unless unavoidable, endnote numbers should be given at the end of a sentence where they immediately follow the punctuation. Do not attach an endnote number to the title of your article. Any explanatory notes you wish to include can be given at the beginning of the ‘Notes’ section, prior to the numbered endnotes. Insert two paragraph spaces after your text followed by the title ‘Notes’ and one further paragraph space before beginning the numbered notes.
Do not use op. cit or ibid. in endnotes. Instead, an abbreviated form of reference should be given within each endnote. An abbreviated version of a reference is given in repeat references. Following the examples for references below, these could read: Teresa De Lauretis, Alice Doesn’t , p.4; Alexander Doty, ‘Whose Text is it Anyway?’, p.46. Within endnotes the numbered reference should be followed by one space before the text.
There is no space between the abbreviation for page or pages (p. and pp.) and the page number/s given. The full range of page numbers is given for an essay or chapter in a book or an article in a journal. The specific reference is then given in parentheses after this.
Only the main name of the publisher need be given (Penguin, not Penguin Books), with the exception of university publishers (MIT Press).
Where useful, the first date of publication may be indicated in brackets immediately after the title (see ‘Translated works’ below for an example). Where details of a publication are unknown, use the following abbreviations without the use of spaces: ‘[n.p.]’ (= no place); ‘[n.pub.]’ (= no publisher); ‘[n.d.]’ (= no date).
When referencing sections ( Phenomenology of Spirit ) or fragments or aphorisms (Heraclitus, Human, All too Human ) in canonical texts, the first footnote in which the reference is made should indicate what edition is being followed and, where it is necessary for clarity, page numbers should also be included.
Page references are provided after the publication details, which is followed by a comma. Page references for books are given only for the section of text referred to. Please insert final punctuation as appropriate (i.e. full points, semi-colons, etc). The following give examples of the format for references within endnotes.
Teresa De Lauretis, Alice Doesn’t: Feminism, Semiotics, Cinema (London: Macmillan, 1984), p.24.
Herodotus, Histories , trans. George Rawlinson (New York: Alfred A. Knopf, 1997), 1.30.
Oscar Wilde, The Picture of Dorian Gray [1891](London: Penguin, 2000), p.23.
William Shakespeare, Julius Caesar (Cambridge: Cambridge University Press, 1988.), Act 4, Scene 3: 203.
Aristotle, ‘Book II’, Nicomachean Ethics, Books II-IV , trans. C. C. W. Taylor (Oxford: Clarendon, 2006), 1103a 20-24.
Jean-Luc Nancy, L’Intrus (Paris: Galilée, 2000), p.30, 31, 37 and 39.
Collected essays by the same author may indicate the date of original publication of an essay in brackets immediately after the title.
Erwin Panokfsky, ‘Iconography and Iconology: An Introduction to the Study of Renaissance Art’ [1939], in Meaning in the Visual Arts (Harmondsworth: Penguin, 1993).
- Edited collections of essays by more than one author and chapters in edited books
Elizabeth Mansfield, ed., Art History and its Institutions: Foundations of a Discipline(London and New York: Routledge, 2002).
John Hill and Pamela Church Gibson, eds, American Cinema and Hollywood: Critical Approaches (Oxford: Oxford University Press, 2000).
Catherine Stimpson, ‘The Somagrams of Gertrude Stein’, in The Female Body in Western Culture: Contemporary Perspectives , ed. Susan R. Suleiman (Cambridge, MA: Harvard University Press, 1986), pp.30-43.
James Clifford, ‘Partial Truths’, in Writing Culture: The Poetics and Politics of Ethnography , ed. James Clifford and George E. Marcus (Berkeley, CA: University of California Press, 1986), pp.1-26.
The date of first publication in the original language may be given in (square) brackets immediately after the title. The name of the translator comes immediately after the work s/he has translated; either the title of an entire book or the title of an individual essay, whether in an edited book or a journal. When including a full reference for both an original text and its translation into English, the order in which these come is at the contributor’s discretion and should be consistent throughout the notes. The two references are separated by a semi-colon.
Roland Barthes, Mythologies [1957] , trans. Annette Lavers (London: Vintage, 1993).
Christian Metz, ‘The Imaginary Signifier’, trans. Ben Brewster, Screen , 16 (1975), p.54.
- Edited and translated works
Michel Foucault, Language, Counter-Memory, Practice: Selected Essays and Interviews , ed. Donald F. Bouchard, trans. Donald F. Bouchard and Sherry Simon (Ithaca, NY: Cornell University Press, 1977).
Jacques Lacan, The Language of the Self: The Function of Language in Psychoanalysis[1956], ed. and trans. Anthony Wilden (New York: Dell, 1968).
Books in more than one volume should be indicated as ‘24 vols’. The volume number referenced is given like this:
Sigmund Freud, ‘Obsessions and Phobias, Their Psychical Mechanism and Their Aetiology’ [1895], in The Complete Psychological Works of Sigmund Freud , 24 vols, ed. James Strachey (London: Hogarth and Institute of Psychoanalysis, 1962), vol. 3, p.55.
Volume numbers are given in arabic figures regardless of the form given in the journal itself and ‘vol.’ or ‘vols’ is not required. Numbers within a volume are not required unless these have been separately paginated. The date follows the volume number in parentheses. Only the year of publication is required, not the season or months.
Alexander Doty, ‘Whose Text Is It Anyway?: Queer Cultures, Queer Auteurs, and Queer Authorship’, Quarterly Review of Film & Video , 15 (1993), pp.41-54.
Robert Bernasconi, ‘The Assumption of Negritude: Aimé Césaire, Frantz Fanon and the Vicious Circle of Radical Politics’, parallax 23 , 8:2 (2002), pp.69-83.
- Works not published in English
These should follow the same format as the referencing for works published in English, however, the capitalization scheme should be retained in the titles.
Ginette Vincendeau, ‘Dorothy Arzner: la mise en scène du féminin’, Positif , 341 (1989), pp.44-47.
- Newspaper or magazine articles
Titles of newspapers in references are given as Guardian , Observer , except for The Times . Foreign newspapers are given as the title appears on the front page: Le Figaro ,El País .
Jo Revill and Mark Townsend, ‘Food Giants Told: Clean Up or Face Prosecution’, Observer(27 February 2005), pp.1 and 3.
References should include the title, director, distributor and date of first release. Video or DVD details may be added at the end.
The Killing of Sister George . Dir. Robert Aldrich (ABC Features International, 1968). Video: Palomar Pictures.
- Recordings of voice or music
These should include separated by full points the composer or author, title, artist or orchestra, conductor and the recording studio and date of release in parentheses. The first name of well-known composers may be omitted.
Beethoven. Symphony No. 7. Royal Philharmonic Orchestra. Cond. Colin Davis (EMI Records, 1961).
Leonard Cohen, ‘Waiting for the Miracle', The Future (Columbia, 1992).
The universal resource locator should be given in full in the first instance and can be abbreviated in later references, as below:
<http://www.tandf.co.uk/journals/titles/13534645.asp>[21/03/2006].
<http://www.tandf.co.uk> [25/10/2005]
If the reference refers to the author and a specific essay, details should be given:
Eduardo Kac, ‘Against Gravitropism: Art and the Joys of Levitation’, <http://www.tate.org.uk/space/spaceart.htm> [09/12/2007].
Editorial Board
Editors
Fiona Allen, Simon Constantine and Agnieszka Jasnowska
University of Leeds Centre for Cultural Studies School of Fine Art, Art History and Cultural Studies University of Leeds Old Mining Building Leeds LS2 9JT UK Tel: +44 (0) 113 3435277; Fax: +44 (0) 113 245 1977. Email: parallax@leeds.ac.uk
Arts Editor:
Lynn Turner
Reviews Editor
Peter Kilroy
Executive Editors:
Barbara Engh
Eric Prenowitz
Editorial Board:
Mieke Bal, Andrew Benjamin, Rachel Bowlby, Elisabeth Bronfen, Ian Buchanan, Susan Buck-Morss, Elizabeth Cowie, Omayra Cruz, Barry Curtis, Jonathan Dollimore, Simon Frith, Sue Golding, Ray Guins, Mark Little, Joanne Morra, Frank Mort, Christopher Norris, Peter Osborne, Kristin Ross, Marquard Smith, Allan Stoekl, Valerie Walkerdine, Jeffrey Weeks, Lola Young.
Advisory Panel:
Parveen Adams, Steven Connor, Joan Copjec, Mary Anne Doane, Hal Foster, Stephen Heath, Linda Hutcheon, Martin Jay, Dominick LaCapra, Teresa de Lauretis, Andrew Milner, Laura Mulvey, Lynda Nead, Linda Nicholson, Sadie Plant, Adrian Rifkin, Irit Rogoff, Andrew Ross, Edward Soja, Gayatri Spivak, John Tagg, Trinh Minh-ha, Robert Young
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