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Author Guidelines

Please note: We are only accepting submissions that respond to themed issues. Please see the Annoucements section for specific timelines: https://www.performancephilosophy.org/journal/announcement

Performance Philosophy only considers submissions that have not been previously published, and are not under consideration for publication with another journal. We do not charge fees for publishing or processing articles.

Format

Submit your article via the website as an OpenOffice, Microsoft Word, or RTF format. The text should be single-spaced; use a 12-point font; employ italics, rather than underlining (except with URL addresses); and indicate in the text where any images or media should be placed along with a caption that includes any acknowledgement of rights to the image or media (see below for more information on image rights).

Images should be submitted as separate files (minimum dimension of 600 pixels).

Any audio or video should be hosted on Youtube, Vimeo, Soundcloud, etc. Include a note in Comments to the Editor section of the submission form if you will need help arranging this.

Any consistent spelling and punctuation styles may be used. A typical article will be 6000-8000 words including notes, though other formats are welcome in our [Margins] and ReView sections (see below).

An abstract of 200 words should be entered into the ‘Abstract’ field when you make your submission, and a short author(s) biography(ies) of 100-150 words should be entered into the 'Bio Statement' field. Please do not include your name or biography in the article submission itself, and be sure to remove your name from the document's metadata; see Ensuring a Blind Review for instructions on how to do this.

Citation and references

Citation should follow the Chicago Author-Date formatting:

http://www.chicagomanualofstyle.org/tools_citationguide.html (click on Author-Date tab)

Use in-text citation (rather than footnotes) for references, and included a “Works Cited” (not a Bibliography) at the end of your document.

Some examples:

  • Pollan, Michael. 2006. The Omnivore’s Dilemma: A Natural History of Four Meals. New York: Penguin.
    In-text: (Pollan 2006, 99–100)
  • García Márquez, Gabriel. 1988. Love in the Time of Cholera. Translated by Edith Grossman. London: Cape.
    In-text: (García Márquez 1988, 242–55)
  • Kelly, John D. 2010. “Seeing Red: Mao Fetishism, Pax Americana, and the Moral Economy of War.” In Anthropology and Global Counterinsurgency, edited by John D. Kelly, Beatrice Jauregui, Sean T. Mitchell, and Jeremy Walton, 67–83. Chicago: University of Chicago Press.
    In-text: (Kelly 2010, 77)
  • Weinstein, Joshua I. 2009. “The Market in Plato’s Republic.” Classical Philology 104:439–58.
    In-text: (Weinstein 2009, 440)
  • Kossinets, Gueorgi, and Duncan J. Watts. 2009. “Origins of Homophily in an Evolving Social Network.” American Journal of Sociology 115:405–50. Accessed February 28, 2010. https://doi.org/10.1086/599247.
    In-text: (Kossinets and Watts 2009, 411)
  • Stolberg, Sheryl Gay, and Robert Pear. 2010. “Wary Centrists Posing Challenge in Health Care Vote.” New York Times, February 27. Accessed February 28, 2010. http://www.nytimes.com/2010/02/28/us/politics/28health.html.
    In-text: (Stolberg and Pear 2010)
  • Google. 2009. “Google Privacy Policy.” Last modified March 11. http://www.google.com/intl/en/privacypolicy.html.
    In-text: (Google 2009)
  • McDonald’s Corporation. 2008. “McDonald’s Happy Meal Toy Safety Facts.” Accessed July 19. http://www.mcdonalds.com/corp/about/factsheets.html.
    In-text: (McDonald’s 2008)

Where necessary, endnotes may be used to provide supplemental commentary or explanation, but should be used sparingly. References to other works (e.g., “See also”) should be included in the body of the article.

Copyright and licensing

Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Attribution-NonCommercial-ShareAlike License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal, provided it is for non-commercial uses; and that lets others excerpt, translate, and build upon your work non-commercially, as long as they credit you and license their new creations under the identical terms.

Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.

If you wish to include any third-party material in your article for which you do not hold copyright, you must obtain written permission from the copyright owner for their work to be included under these terms. Such material may be in the form of text, data, table, illustration, photograph, line drawing, audio clip, video clip, film still, and screenshot, and any supplemental material you propose to include.

Open access

This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge.

See the Copyright and Open Access policies for more information.

ReView

  • Aims and scope: Whereas the traditional academic review in our field(s) provides an overview of recently published books or recently produced performances, ReView asks for something different.

    Authors of a ReView will craft either an essay-length piece of writing (4500-5000 words) or a creative response (audio, visual, mixed-media) to a book, piece of music, live performance, news article, current event, or facet of everyday life that the author has already encountered at least once before in the course of her/his/their life. As such, the author will be re-viewing this book, artwork, etc. with the explicit purpose of bringing the methodologies and vocabularies of performance philosophy to bear on it. While the style and content of the ReView could take many shapes, it must ultimately oscillate around two structural elements: 1.) an argument for the role of performance philosophy in understanding this book, artwork, etc., and 2.) an argument for highlighting this book, artwork, etc. for practitioners of performance philosophy (i.e., why is this important?). The primary focus of the ReView should be the re-encountered event/object, though it should also treat the repetition that goads the ReView into being.

    The editors of ReView intend to attract and house creative and rigorous scholarship that pushes the boundaries of the typical “review” format. Submissions may take any number of shapes, including essay, sound art, video (of the artistic, instructional, and/or journalistic sort), and truly anything the author/producer can imagine as long as the form relates the content.
  • Proposal: Those wishing to ReView something must create a short proposal containing the following information:
    • Name, geographical location of author, area of research and/or artistic media
    • The object/event of focus (i.e., that which will be ReViewed)
    • A few sentences about the specific nature of the repetition involved (When did you first encounter this object/event? What brought you back to it or brought it back to you? Etc.)
    • Either a brief version of the argument that the ReView will forward (related to the two structural elements outlined above) and/or an explanation of how this ReView will benefit Performance Philosophy audiences/readers.
    • Email your proposal to [email protected] .
  • Peer review: ReView publications will first pass through an initial proposal stage. Every ReView that is accepted for consideration will be evaluated by the ReView editors and sent for double-blind review by an external referee. The ReView editors reserve the right to refuse a work on the basis of poor fit with the journal’s overall aims and scope, and/or lack of originality, artistic or critical merit.
  • Formatting: Please see the formatting guidelines above for all submissions, including reference format. We are happy to accommodate non-standard document formats; contact the editors if this is the case. Note that as for all regular submissions, authors / artists should ensure that they have obtained appropriate permission for the reproduction of any images, artwork, etc. Authors/producers must also include bio(s) (100 to 150 words for each contributor) and a short abstract. Artist or writer collectives may submit one joint bio (up to 200 words).
  • Length: Written ReViews can be between 4000-5000 words in length. Far longer or shorter submissions are not encouraged.

[Margins]

  • Aims and scope: [Margins] is dedicated to publishing creative, non-standard approaches to the manifold relationships that may arise out of the conjunction between performance and philosophy, including (but not limited to) ficto-criticism, aphorism, forays, manifestos, and visual essays.
  • Peer review: Publication in [Margins] will consist in a combination of commissioned pieces and open submission. Themed issues and calls for proposals will be advertised on the journal website and distributed through the Performance Philosophy and other relevant networks semi-annually. All open submissions, including invitations to submit work, will be reviewed by the [Margins] editor(s) and one or two further editors as necessary to determine suitability for publication. Submissions accepted for consideration will be sent for double-blind review by an external referee. The [Margins] editor(s) reserve(s) the right to refuse a work on the basis of poor fit with the journal’s overall aims and scope, and/or lack of originality, artistic or critical merit.
  • Formatting: all submissions should be uploaded as Word documents or as print-ready image files (to which a header and footer for the journal will be added). As for all regular submissions, authors / artists should ensure that they have obtained appropriate permission for the reproduction of any images, artwork, etc. All submissions must be accompanied by author bio(s) (100 to 150 words for each contributor) and a short abstract. Artist or writer collectives may submit one joint bio (up to 200 words).
  • Length: submissions should normally sit between half a page and ten pages upon conversion to PDF. No word length specified. Far longer or shorter submissions are not encouraged. If you would like to submit a longer or shorter piece, please enquire with the [Margins] editor(s), clearly stipulating your reasons; serial works may be considered where appropriate.

 

Submission Preparation Checklist

As part of the submission process, authors are required to check off their submission's compliance with all of the following items, and submissions may be returned to authors that do not adhere to these guidelines.

  1. The submission has not been previously published, nor is it before another journal for consideration (or an explanation has been provided in Comments to the Editor).
  2. The submission file is in OpenOffice, Microsoft Word, RTF, or WordPerfect document file format.
  3. References follow Chicago Author-Date formatting.  Where available, URLs for the references have been provided.
  4. The text is single-spaced; uses a 12-point font; employs italics, rather than underlining (except with URL addresses); and all images and figures have been uploaded as supplementary files, with captions placed within the text at the appropriate points.
  5. The text adheres to the stylistic and bibliographic requirements outlined in the Author Guidelines, which is found in About the Journal.
  6. The instructions in Ensuring a Blind Review have been followed.

    Do not tick this box unless you have removed your name and bio from your document,

    and
    read and followed the instructions for removing identifying information using Word's "Document Inspector". Instructions here: https://tinyurl.com/yaz6cdc4
  7. If submitting to the ReViews section, you have first emailed your proposal to [email protected] and had your proposal accepted.
 

Copyright Notice

Authors who publish with this journal agree to the following terms:

  • Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Attribution-NonCommercial-ShareAlike License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal, provided it is for non-commercial uses; and that lets others excerpt, translate, and build upon your work non-commercially, as long as they credit you and license their new creations under the identical terms. 
  • Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
  • Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).

 

Privacy Statement

The names and email addresses entered in this journal site will be used exclusively for the stated purposes of this journal and will not be made available for any other purpose or to any other party.