The Micronesian Educator publishes scholarly articles that come from a wide range of areas of educational research and related disciplines. The journal serves as a forum to share empirical research findings, literature reviews, theoretical perspectives, and practical applications in such areas and may include as well book reviews, poetry and artistic expressions as well as work done in indigenous/local Micronesian languages.
Note that the next deadline is November 15th, 2014.
Micronesian Educator also invites competent scholars and academicians to voluntarily join its review/editorial board. For more information, please download the call for papers.
Unaisi Nabobo-Baba, editor
Walter Mignolo’s application of decolonial theory to art practice is discussed in a number of papers for the latest edition of Social Text.
“Decolonial aestheSis asks why Western aesthetic categories like ‘beauty’ or ‘representation’ have come to dominate all discussion of art and its value, and how those categories organise the way we think of ourselves and others: as white or black, high or low, strong or weak, good or evil. And decolonial art (or literature, architecture, and so on) enacts these critiques, using techniques like juxtaposition, parody, or simple disobedience to the rules of art and polite society, to expose the contradictions of coloniality. Its goal, then, is not to produce feelings of beauty or sublimity, but ones of sadness, indignation, repentance, hope, and determination to change things in the future.”
CALL FOR SUBMISSIONS
Southpaw issue 2: ‘The climate’
Southpaw is a new literary journal dedicated to publishing fiction, poems, critical cultural commentary and many other forms of writing and image-making from and about the global South. Each issue is loosely themed around a concept, issue or experience (and we hope their mutual relationship) affecting or of interest to those who live in the South. By the ‘South’ we mean both the geographical South (the Southern hemisphere) and those regions and peoples relegated by global forces to much less powerful, and sometimes invisible status, in the play of global cultural relations.
The editors are seeking fiction, creative non-fiction, poetry, play scripts, reviews and essays of 500 to 3000 words and images in colour and black and white for Southpaw issue 2.
The theme of our first issue (2012) was ‘displacement’. The theme of issue 2 will be ‘The Climate’. We expect writers and artists will take this theme up in more and less literal terms. The climate is a pressing question for the global community, but especially for many southern communities – whether south-east Australia and its increasingly fire-prone countryside or Indian Ocean and Pacific island communities’ immediate struggle with the effects of rising sea levels. Another point of departure could be Australia and South America’s special relationship in the mutuality of the la nina and el ninocycles that have shaped cultures on either side of the southern Pacific for millennia. And Southern climates generally, to put it another way, speak of other, and sometimes contrary colours and tones to those dominant in the North, and may have a connection with colonial and anti-colonial settings and experiences.
‘The climate’ carries over into every level of our personal and communal relations, and we hope that this notion will inspire collateral thinking about what ‘climate’ might mean to us in all its shades.
Deadline: 15 September 2012
Send to: email@example.com
AlterNative: An International Journal of Indigenous Peoples is calling for papers to be submitted now for 2010 publication.
AlterNative: An International Journal of Indigenous Peoples is a multidisciplinary peer-review journal. It aims to present Indigenous worldviews from native Indigenous perspectives. It is dedicated to the analysis and dissemination of native Indigenous knowledge that uniquely belongs to cultural, traditional, tribal and aboriginal peoples as well as first nations, from around the world.
Dedicated to the advancement of critical dialogue by, with and for native Indigenous peoples across the globe
Submissions responding to this general call for papers should relate to one or more of themes of the journal—origins, place, peoples, community, culture, traditional and oral history, heritage, colonialism, power, intervention, development and self-determination.
Author guidelines, including format and referencing styles, for submitting articles, commentaries and book reviews can be found on the AlterNative website. http://www.alternative.ac.nz
The African Journal of History and Culture (AJHC) publishes high-quality solicited and unsolicited articles, in all areas of the subject. All articles published in (AJHC) will be peer-reviewed. The following types of papers are considered for publication:
- Original articles in basic and applied research.
- Critical reviews, surveys, opinions, commentaries and essays.
Our objective is to inform authors of the decision on their manuscript(s) within four weeks of submission. Following acceptance, a paper will normally be published in the next issue.
Instruction for authors and other details are available on our website www.academicjournals.org/AJHC. Prospective authors should send their manuscript(s) to African Journal of History and Culture (AJHC)
One key request of researchers across the world is unrestricted access to research publications. AJHC is fully committed Open Access Initiative by providing free access to all articles (both abstract and full PDF text) as soon as they are published. We ask you to support this initiative by publishing your papers in this journal.
Invitation to Review
AJHC is seeking for qualified reviewers as members of the review board team. AJHC serves as a great resource for researchers and students across the globe. We ask you to support this initiative by joining our reviewer’s team. If you are interested in serving as a reviewer, kindly send us your resume to [email protected]
Peter Beilharz is Professor of Sociology at La Trobe University where he edits Thesis Eleven, an interdisciplinary academic journal on theories of modernity. Here he offers his perspective on the way south.
My planned research includes a co-written book on the life and work of the founding mother of Australian sociology, Jean Martin; a book on the peculiarities of Australian modernity across the twentieth century; a shared book on the history of rock music in Australia; and a study of the work of Robert Hughes, to follow on my book on the work of Bernard Smith, Imagining the Antipodes. All this work is animated by the idea of thinking about the antipodes, rather than the south; and by the idea that culture works through cultural traffic . These concerns cross over with some of the agendas of our journal, Thesis Eleven. The Thesis Eleven Centre pursues some of these interests with collaborators in India, the Philippines, Thailand, and New Zealand. We would be very pleased to take them into South America. In addition, I have cause to consider my own location in all this – Australia and el Norte – as we construct the hundredth issue of Thesis Eleven, and begin to narrate our own stories, and as I work with Sian Supski , who is writing about my own work in its antipodean inflexions .
I find Bernard Smith’s thinking both interesting and innovative. Innovation often happens on the edges, and goes unnoticed . For Smith, the antipodes matters as a relationship rather than a place: wherever we are, we are always here and there at the same time. And then, culture is best understood not as emanation of place but as the negotiation of these relationships .
I can see the effectivity of the idea of the South as a political slogan, but it has limits that cause me to have reservations. Culture does not map neatly onto geography . Much of the south is in the north culturally, and the other way round. What interests me is the traffic between peoples, cities and regions. We have a great deal to learn by looking sideways. I would like to see more dialogue on a southern axis, across Australia, New Zealand, South America, South Africa. But all these worlds are co-constituted by other worlds, and cannot be separated out from these entanglements any more than el Norte can be understood without reference to us. In this context I do not have especial priorities – everything should be open for discussion, where stories can be told in a comparative way, and actors can feel comfortable talking about experience or intellect in ways that get the sparks of imagination flying.