Guidelines

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 articles and essays 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.

Feminist Studies welcomes submissions across multiple genres and topics. Although we have some specific calls for manuscripts, we still welcome articles on other topics. Most of the articles we publish are on a variety of topics and are not part of special issues or clusters.

We accept submssions in the following categories:

Research & Criticism
Creative Writing
Art & Art Essays
Review Essays
Other Forms of Writing and Visual Expression

General Guidelines and Style Requirements

- We will only review work that is not under consideration elsewhere, including in electronic format or on any kind of Web page or elsewhere on the internet.

- Articles should be no longer than 10,500 words, approximately 35 double-spaced pages, including endnotes.

- We use the 16th edition of the Chicago Manual of Style for manuscript and citation style

 

 

Call for Papers

Feminist Studies welcomes submissions on all topics. In addition, Feminist Studies welcomes contributions on the following topics that we expect to produce special issues on over the next few years:


Feminist Friendships

What does the turn to affect in cultural studies mean for affection and disaffection? How are friendships sustained in contexts that individuate and isolate? How have feminist friendships changed, or not changed, since the era of commitments to sisterhood, an ethic of care, and the lesbian continuum? Do we need to revise theory and scholarship on friendship? How do feminist and/or women's friendships operate in global, multi-ethnic, activist, and other contexts?

All fields and genres welcome within our page limits: we publish research papers, creative writing, commentaries, and art. Style and submission criteria can be found on our website guidelines at http://www.feministstudies.org/submissions/guidelines.html#research. Please send any queries to the Editorial Director of Feminist Studies, Dr. Ashwini Tambe at atambe@umd.edu.

Submission deadline: July 1, 2014

 

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.

Submissions should not exceed 10,500 words, approximately 35 pages, including endnotes. Please consult the 16th edition of the Chicago Manual of Style for proper manuscript form and endnote citation style.

How to Submit:

For your submission to be complete, please send all of the following:

  • One double-spaced hard copy mailed to Feminist Studies, 0103 Taliaferro Hall, University of Maryland, College Park, MD 20742. (In order to protect anonymity, the author's name should appear only a separate title page and not on the manuscript itself.)
  • An electronic copy to submit@feministstudies.org. (Alternatively, you may include a CD with the mailed hard copy.) Please send the electronic file as a Word or WordPerfect document, not as a PDF.
  • A 200-word (or fewer) abstract
  • A cover note with mailing and email addresses.
 

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. We have published such distinguished authors as Meena Alexander, Nicole Brossard, Jayne Cortez, Toi Derricotte, Diane Glancy, Marilyn Hacker, Lyn Hejinian, June Jordan, Audre Lorde, Cherrie Moraga, Sharon Olds, Grace Paley, Ruth Stone, and Mitsuye Yamada.

We continue to welcome all forms of written creative expression, including but not limited to poetry and short fiction in all forms. We are interested in work that addresses questions of interest to the Feminist Studies audience, particularly work that pushes past the boundaries of what has been done before. We look for creative work that is intellectually challenging and aesthetically adventurous, that is in complicated dialogue with feminist ideas and concepts, and that shifts our readers into new perspectives on women/gender.

We only consider original work that is not under review elsewhere. 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.

Because of space constraints we are unable to publish individual pieces that run longer than 15 pages, or about 5,500 words.

Deadlines for submission of creative work are May 1 and December 1. After each deadline, 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:

  • Mail one hard copy to Feminist Studies, 0103 Taliaferro Hall, University of Maryland, College Park, MD 20742.
  • Email an electronic version of your work to creative@feministstudies.org.
 

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.

We are interested in various types of art, including but not limited to paintings, sculpture, crafts, installations, and photography, that reflect the range and scope of an artist's portfolio. 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.

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:

  • Send e-mail attachments of art images to: art@feministstudies.org. We prefer that these be submitted as TIFF files at 300 dpi (preferably) or as high quality JPEG files. If the file size is too large, you may use a site such as www.yousendit.com for emailing large files.
  • Or mail high-quality prints of the work. (Do not send original works of art or anything that must be returned.)
  • Include an already-written art essay or artist's statement, or suggestions about who could write an accompanying art essay. (Please include a curriculum vitae and writing sample for art essay proposals.)
 

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. Click here for our set of guidelines for writing the review essay; they should be considered when preparing a proposal.

How to Submit:

 

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.

Please send work to our editorial and business office, along with a cover letter explaining your project. 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:

  • Mail one double-spaced hard copy to Feminist Studies, 0103 Taliaferro Hall, University of Maryland, College Park, MD 20742. (Names should appear only on a separate title page.)
  • Email an electronic copy (not a PDF) to submit@feministstudies.org.
  • Include contact information, including mailing and e-mail addresses.
 

Citation and References Guide

Feminist Studies articles follow the 16th edition of the Chicago Manual of Style (CMS) documentation style I, but we use endnotes only, without a bibliography. See the CMS general guidelines 14.14–14.32 and the detailed citation information from 14.68 on.

We do not publish discursive endnotes, unless such notes include essential information. Whenever possible, please combine endnotes and eliminate long endnotes that are not essential to the argument at hand. Please be careful to supply all required information, including full name for authors, numbers of volumes of a multi-volume work, name of publisher, issue number or month/season for periodicals, and the page(s) upon which specific information, whether a direct quote or not, is based.

Below are some examples of common endnote types.

Book

1. Sarah Franklin and Helena Ragone, Reproducing Reproduction: Kinship, Power, and Technological Innovation (Philadelphia: University of Pennsylvania Press, 1998), 9.

Book with full citation immediately preceding

2. Ibid., 13.

Book cited previously, but not immediately preceding

3. Franklin and Rogone, Reproducing Reproduction, 16.

For references already cited, a short title of 4 words or fewer is preferred.

Journal article

4. 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.

Already cited journal article

5. 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.

Chapter in edited volume

6. 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.

Two chapters in same edited volume

7. 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.

Author’s own chapter in edited volume

8. Natalie Zemon Davis, “Women on Top,” in her Society and Culture in Early Modern France (Stanford: Stanford University Press, 1975), 124.

Translated work

9. Luce Irigaray, This Sex Which Is Not One, trans. Catherine Porter (Ithaca: Cornell University Press, 1985), 209.

Multiple volume book

10. William Farmwinkile, Humor of the American Midwest, vol. 2 of Survey of American Humor (Boston: Plenum Press, 1983), 132.

PhD dissertation

11. Phyllis Turnball, “The Politics of Toys: Politicization of Child Development” (PhD diss., University of Hawaii, 1978), 134.

Memo

12. Memorandum to Bill, June 6, 1942, Lilian Wald Papers, reel 94, Columbia University.

Newspaper

13. Pepe Karmel, ”Behind Folk Forms, Classical Modes,” sec. C, New York Times, October 27, 1995.

Introduction to book

14. 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).

Website

15. Carla Williams, “Naked, Neutered, or Noble: Extremes of the Black Female Body and the Problem of Photographic History,” http://www.carlagirl.net.