期刊名称：FEMINIST 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
Feminist Studies first appeared in 1972, after more than three years of discussion and planning. At that time, women from Columbia University¡¯s women¡¯s liberation group, students in a women¡¯s studies course at Sarah Lawrence College, and feminist activists from New York City brought together a wide network of feminists committed to creating a scholarly journal with high scholarly standards and community relevance. This feminist network believed that the women¡¯s movement needed an analytic forum to engage the issues raised by the movement and to bring together the contributions of feminist activists and scholars. The title, Feminist Studies, was chosen to indicate that the content of the journal would be both scholarly and political and would foreground women as a social group and gender as a category of analysis.
The journal¡¯s first editor, Ann Calderwood, ran the journal as an out-of-pocket, out-of-apartment operation, publishing only three volumes before 1977, several of which were Special Issues drawing on papers first presented at the earliest conferences organized by the Berkshire Conference in Women's History. It is sometimes difficult to remember how rapidly feminism grew in the early 1970s. In 1969 it was a radical notion to argue that women should be studied; by 1977 women¡¯s studies was beginning its phenomenal growth inside the academy. In the fall of that year, the journal was restructured and thereafter edited by a collective of academics. It found its current home at the University of Maryland at College Park under the guidance of Editorial Director, Claire G. Moses, and a small paid staff. Feminist Studies is still housed at the University of Maryland and through the Department of Women¡¯s Studies enjoys office space and a small financial stipend. Other than this assistance, Feminist Studies remains self-publishing, self-supporting, and independent of the university or with any other institution.
Over the years, Feminist Studies has been a reliable source of significant writings on issues that are important to all classes and races of women. Those familiar with the literature on women¡¯s studies are well aware of the importance and vitality of the journal and the frequency with which articles first published in Feminist Studies are cited and/or reprinted elsewhere. Indeed, no less than four anthologies have been created from articles originally published in Feminist Studies: Clio¡¯s Consciousness Raised: New Perspectives on the History of Women; Sex and Class in Women¡¯s History; U.S. Women in Struggle: A Feminist Studies Anthology; and Lesbian Subjects: A Feminist Studies Reader.
As we continue to grow and to engage new generations of feminist scholars, activists, artists, and creative writers, we find ourselves looking back to our history for inspiration. Always deeply committed to interdisciplinary scholarship, Feminist Studies has been well positioned to engage in global feminist dialogues. In addition to publishing work by women around the world, we have created strong ties with other journals through our membership in the international group, Feminist Journals Network (FJN). We have also in recent years published more work by feminist activists, including commentaries, short reports, and interviews and have strengthened our connection with contemporary artists by publishing full color, high quality art reproductions in each issue. As our history reflects, Feminist Studies has not remained stagnant; we continue to seek out new ways to remain a vital forum for women involved in all aspects of feminist practice.
Instructions to Authors
Guidelines
Feminist Studies invites submissions that are not presently under consideration elsewhere.
Feminist Studies is committed to publishing an interdisciplinary body of feminist knowledge that sees intersections of gender with racial identity, sexual orientation, economic means, geographical location, and physical ability as the touchstone for our politics and our intellectual analysis. Whether work is drawn from the complex past or the shifting present, the pieces that appear in Feminist Studies address social and political issues that intimately and significantly affect women and men in the United States and around the world.
A manuscript submission will not be considered complete until we receive all of the following:
- Two hard copies of the work. (In order to protect anonymity, the author's names should appear only on a separate title page.) Mail all manuscripts to the editorial office at Feminist Studies, 0103 Taliaferro, University of Maryland, College Park, MD 20742.
- An electronic version of the work, either as a disk mailed to the Feminist Studies office, or as an email attachment sent to submit@feministstudies.org
- A 200-word (or less) abstract.
- A mailing and e-mail address with cover note.
General Guidelines and Style Requirements
- We will only review work that is not under consideration elsewhere.
- Articles should be no longer that 10,500 words, approximately 35 pages, including endnotes.
- We use the 15th edition of the Chicago Manual of Style for manuscript and citation style.
Please be aware that Feminist Studies does not return any submitted submissions.
Please scroll down to the type of submission you are interested in for the specific submission guidelines.
Call for Papers
Feminist Studies is planning several Special Issues over the next three to five years. The first will focus on Chicana Studies. As with all our issues, this will include articles from all disciplines, art work, poetry, fiction, memoir, interviews, and commentaries. If you are currently working in this field and are interested in submitting to us, please contact the Editorial Director, Claire Moses, to discuss your work with her.
For the future, we are planning Special Issues on Transgender Studies and Popular Music Culture. We invite submissions that are not presently under consideration elsewhere
Research and Criticism
Feminist Studies publishes research and criticism that address theoretical issues and offer analyses of interest to feminist scholars across disciplines. Although many, if not most, of the articles we publish draw on the methodology of a single discipline, we especially encourage scholars to pursue truly interdisciplinary research and research methodologies that not only showcase but integrate contributions from multiple disciplines.
How to Submit: Submissions should not exceed 10,500 words, approximately 35 pages, including endnotes. Please include a mailing and e-mail address with your submission. Authors should also submit a 200-word (or less) abstract. In order to protect anonymity, the author's name should appear only a separate page. Please consult the 15th edition of the Chicago Manual of Style
Creative Writing
Feminist Studies is deeply committed to publishing creative work. Beginning with our very first issue published in 1972, we have included creative work in every issue and are impressed by both the quality and variety of work we have received over the years. We welcome all forms of written creative expression, which may include but is not limited to poetry and short fiction. Because of space constraints we are unable to publish individual pieces that run longer than 25 pages.
We only consider original work that is not under review elsewhere. Authors should send a hard copy of their work, along with an electronic version to the Feminist Studies office. We will not process creative submissions until we receive both a hard copy and an electronic version, either by e-mail or on disk. Since creative work will not be returned, authors should retain a copy of their work. If other work is cited in the piece, please use our citation style.
Deadlines for submission of creative work are May 1 and December 1. At that point all work will be reviewed by our creative writing editor. Her recommendations will then be read anonymously by our editorial collective who will make the final decisions. Authors will receive notice of the collective's decision by mid-July and mid-February.
How to Submit: Authors should mail one (1) hard copy of their work to 0103 Taliaferro, University of Maryland, College Park, MD 20742, along with a disk or CD electronic version, or mail one hard copy as indicated above and e-mail an electronic version to creative@feministstudies.org.
for proper manuscript form and citation style.
Art & Art Essays
Each issue of Feminist Studies features feminist art from around the world. Although we often run retrospectives of established artists (e.g. Betye Saar, vol. 30, no. 1) or those no longer living (e.g. Alice Neel, vol. 28, no. 2), we especially wish to introduce new artists to our readers. Currently, we are able to showcase a limited number of artists' works in color. We can run black and white images more frequently and encourage artists also to submit black and white art and photographs.
For art essays, we also publish an artist's statement or an essay written either by the artist or another author along with art work. Feel free to submit a statement with your work; if you have suggestions of someone who could write an accompanying art essay, please include their curriculum vitae and writing sample (or art essay).
The Feminist Studies collective accepts art work three times a year at our board meetings. At the meetings we also select the images we will eventually publish.
How to Submit: Please send us images of art including but not limited to paintings, sculpture, crafts, installations, and photography, which reflect the range and scope of your portfolio. We prefer that these be submitted in digital format, as TIFF files at 300 dpi (preferably) or high quality JPEG files. We also accept prints, slides, or negatives. Do not send original works of art, or anything that must be returned. For electronic submissions send e-mail attachments to: art@feministstudies.org .
Review Essays
The Feminist Studies collective publishes one or more review essays in each issue. Review essays examine a cluster of important books or films on a general theme with the aim of providing our interdisciplinary audience an engaged overview of developments in feminist scholarship. Our review essays are original pieces in their own right that not only review important works but offer a sustained argument about theoretical trends and new research developments that would be of interest to our diverse readership.
Although we often commission review essays, we also welcome unsolicited proposals. Such proposals should identify the books or films to be reviewed, state why these books are important and deserve consideration as a cluster, and briefly present the concepts or questions that will be developed in the essay. (If a book has only minor merits, it should not be included in the review at all.) Along with the proposal, please submit a writing sample and a cv/resume.
Proposals will be discussed by the editorial collective at one of its regular meetings (held three times a year). On the basis of this discussion at the board meeting, the editors will either commission the review essay, in which case you will be assigned an editor with whom you will work directly, or the proposal will be rejected. Below is our set of guidelines for writing the review essay; they should be considered when preparing a proposal.
How to Submit: E-mail proposal idea, curriculum vitae, and a writing sample to review@feministstudies.org.
Et cetera: Other Forms of Writing and Visual Expression
We are actively seeking political and social commentaries, activist reports from the field, political manifestos, interviews, and other forms of writing that are not easily categorized. To this end, we encourage authors and artists to submit individual or collaborative projects that cross established boundaries of scholarship, activism, visual culture, memoirs, et cetera. Through such work we hope to ensure that Feminist Studies continues to engage, challenge, and reevaluate standard domains of inquiry to create new forms and objects of knowledge. Authors should send two hard copies, double-spaced, and a disk copy of their manuscript. Names should appear only on a separate title page. Please include mailing and e-mail addresses.
Please send work to our editorial and business office, along with a cover letter explaining your project and a disk copy. Depending on the nature of the work, we will either send it out for anonymous review or will review it at one of our tri-annual editorial collective meetings.
How to Submit: Authors should send two (2) double-spaced hard copies to 0103 Taliaferro, University of Maryland, College Park, MD 20742, and e-mail an electronic copy to submit@feministstudies.org. Names should appear only on a separate title page. Please include contact information, including mailing and E-mail addresses.
Citation Style
Scholarly articles should follow Chicago Manual of Style (15th ed.). Feminist Studies articles use endnotes, limited to essential material and specific textual citation. We do not publish discursive notes.
Sample Endnote Form
Sarah Franklin and Helena Ragone, Reproducing Reproduction: Kinship, Power, and Technological Innovation (Philadelphia: University of Pennsylvania Press, 1998), 9.
Ibid., 13.
Sheryl Pimlott Kubiak and Lilia M. Cortina, ¡°Gender, Victimization, and Outcomes: Re-Conceptualizing Risk,¡± Journal of Consulting and Clinical Psychology 71 (June 2003): 39. [Issue number may be provided instead of month or season. Page number rather than inclusive pages is required when referencing a specific statement or idea.]
Rosalind Petchesky, ¡°The Body as Property: A Feminist Re-vision,¡± in Conceiving the New World Order: The Global Politics of Reproduction, ed. Faye Ginsburg and Rayna Rapp (Berkeley: University of California Press, 1995), 394.
Natalie Zemon Davis, ¡°Women on Top,¡± in her Society and Culture in Early Modern France (Stanford: Stanford University Press, 1975), 124.
Luce Irigaray, This Sex Which Is Not One, trans. Catherine Porter (Ithaca: Cornell University Press, 1985), 209.
Judith Kegan Gardiner, ¡°Rethinking Collectivity: Chicago Feminism, Athenian Democracy, and the Consumer University,¡± 191-201; and Minoo Moallem, ¡°Women of Color in the U.S.: Pedagogical Reflections on the Politics of ¡®the Name,¡¯¡± 368-82; both in Women Studies on Its Own, ed. Robyn Wiegman (Durham, N.C.: Duke University Press, 2002). [Give inclusive pages only when citing the complete chapter rather than a particular statement.]
Franklin and Rogone, Reproducing Reproduction, 16. [For references already cited, a short title of 4 words or fewer is preferred.]
Diane Elam, ¡°Taking Account of Women¡¯s Studies,¡± in Women¡¯s Studies on Its Own, 220. [Subsequent reference to an anthology should repeat title, not editor.]
William Farmwinkile, Humor of the American Midwest, vol. 2 of Survey of American Humor (Boston: Plenum Press, 1983), 132.
Phyllis Turnball, ¡°The Politics of Toys: Politicization of Child Development¡± (Ph.D. diss., University of Hawaii, 1978), 134.
Memorandum to Bill, 6 June 1942, Lilian Wald Papers, reel 94, Columbia University.
Pepe Karmel, ¡°Behind Folk Forms, Classical Modes,¡± sec. C, New York Times, 27 Oct. 1995.
Antoinette Burton, introduction to Transforming the Public Sphere: The Dutch National Exhibition of Women¡¯s Labor in 1898, by Maria Grever and Berteke Waaldijk (Chicago: University of Chicago Press, 1989).
Carla Williams, ¡°Naked, Neutered, or Noble: Extremes of the Black Female Body and the Problem of Photographic History,¡± www.carlagirl.net.
Editorial Board
CURRENT EDITORS
EDITORIAL DIRECTOR
Claire G. Moses
Lisa Crooms, Judith Kegan Gardiner, Sandra Gunning, Minnie Bruce Pratt (creative writing editor), Leisa Meyer, Claire G. Moses, Suzanne Raitt, Gayatri Reddy, and Millie Thayer.
PAST EDITORS
Kathryn Pyne Addelson, Eileen C. Boris, Lynn Bolles, Paola Bacchetta, Ann Calderwood, Barbara Christian, Rachel Du Plessis, Nan Enstad, Sara Evans, Evelyn Nakano Glenn, Sharon Groves, Heidi Hartman, Arlene Keizer, Susan S. Lanser, Tessie Liu, Marilyn Sanders Mobley, Nancy Hewitt, Irma McClaurin, Ruth Milkman, Debra Newman, Alicia Ostriker, Rosalind Petchesky, Ranya Rapp, Raka Ray, Deborah S. Rosenfelt, Ellen Ross, Mary Ryan, Judith Stacey, Christine Stansell, Rosalyn Terborg-Penn, France Winddance Twine, Marian Urquilla, Mariana Valverde, Martha Vicinus, Judith R. Walkowitz, Rhonda Williams
STAFF
Karla Mantilla (Managing Editor), Paul Howe (Business Manager), Lise Spectre (Typesetter), Duy-Khuong Van (Designer), Shevaun Brannigan (Intern)
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