| symplokē
seeks submissions for its upcoming special issue
Gaming and Theory (Vol. 17, No. 1 (2009))
Welcome are contributions that engage the various intersections of the
idea and practice of digital gaming and critical theory. Topics
include, but are not limited to, gaming and postmodernism, the
politics of gaming, gaming and cultural studies, gaming and
philosophy, gaming and narrative theory, gaming and globalization,
gaming and pedagogical theory, gaming and aesthetics, gaming and media theory,
gaming and feminism, and gaming and its critics. Submit manuscripts to
, University of Houston, School of Arts and Sciences, 3007 N. Ben Wilson, Victoria, TX, 77901
Manuscripts
must be received by January 1, 2009. See below for submission requirements
and instructions. |
| symplokē
seeks submissions for its upcoming special issue
Emotions (Vol. 17, No. 2 (2009))
Welcome are contributions that engage the role of the emotions in contemporary critical theory and practice. Are there particular emotions critics or theorists feel? Are criticism and sympathy mutually exclusive? What is the place of emotions in post-humanism? Are we returning to an aesthetics of feelings? Is this a new aesthetics? To what extent are feelings and sentiments back in the focus of critical inquiry? What does the exploration of emotional representation look like after the global turn in theory? What does it mean to feel for the other in the age of transnationalism? What is the place of emotion after the postmodern deconstruction of the sentimental subject? Submit manuscripts to
, University of Houston, School of Arts and Sciences, 3007 N. Ben Wilson, Victoria, TX, 77901
Manuscripts
must be received by July 1, 2009. See below for submission requirements
and instructions. |
Submissions of
any length which are appropriate to the aims of symplokē will
be considered, although those between 4,000 and 6,500 words (approximately
16-26 typed, double-spaced pages) are preferred. Please keep in mind
that submitted manuscripts need not be intended for an upcoming special
issue; general submissions of high quality are encouraged. The editors
reserve the right to make stylistic alterations in the interest of clarity.
Authors will receive two complementary issues of the journal. All submissions
must strictly follow the guidelines for copy preparation listed below.
Articles not conforming to these guidelines may be sent back to the
author for revision.
Preparation of Copy
1. All submissions must provide a complete listing of references
and use footnotes rather than endnotes.
2. Footnotes should generally consist only of references and
are to be consecutively numbered throughout the manuscript.
3. References must include the names of publishers as well as
places of publication. Also include full names and a complete listing
of translators and editors.
4. The format of the manuscript must conform to the current MLA
Style Manual.
5. All manuscripts must be submitted in duplicate. If the manuscript
was word-processed, include a copy of your IBM- or Macintosh-compatible
disk. Microsoft word or ASCII files are preferable.
6. All quotations, titles, names and dates must be checked for accuracy.
7. All articles must be written in English.
8. This journal has a policy of blind peer reviewing; thus the
author's name should not appear on the manuscript and a separate title
page must be provided.
9. Material not kept for publication will be returned if accompanied
by a stamped, self-addressed envelope.
10. Address submissions to:
symplokē
Jeffrey R. Di Leo, Editor-in-Chief
University of Houston-Victoria
3007 North Ben Wilson
Victoria, TX 77901.
Or send
attached files to the Editor-in-Chief at editor@symploke.org.
All materials
published in this journal are copyrighted by symplokē. Submission
of an article to this journal entials the author's agreement to assign
copyright to symplokē. Articles appearing in symplokē
may be reproduced for research purposes, personal reference, and classroom
use without special permission and without fee payment. This permission
does not extend to other kinds of reproduction such as copying for
general distribution, for the creation of collected works or anthologies,
for advertising or promotional purposes, or for resale. These and
all other rights are reserved.
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