Publisher: Johns Hopkins University Press (Total: 22 journals)   [Sort by number of followers]

Showing 1 - 22 of 22 Journals sorted alphabetically
African American Review     Full-text available via subscription   (Followers: 10, SJR: 0.1, CiteScore: 0)
American Imago     Full-text available via subscription   (Followers: 4, SJR: 0.121, CiteScore: 0)
American J. of Mathematics     Full-text available via subscription   (Followers: 8, SJR: 3.171, CiteScore: 1)
American J. of Philology     Full-text available via subscription   (Followers: 18, SJR: 0.186, CiteScore: 0)
American Jewish History     Full-text available via subscription   (Followers: 15, SJR: 0.118, CiteScore: 0)
American Quarterly     Full-text available via subscription   (Followers: 24, SJR: 0.385, CiteScore: 0)
Arethusa     Full-text available via subscription   (Followers: 5, SJR: 0.119, CiteScore: 0)
ASAP / J.     Full-text available via subscription   (Followers: 3)
Book History     Full-text available via subscription   (Followers: 115)
Bookbird: A J. of Intl. Children's Literature     Full-text available via subscription   (Followers: 14)
Bulletin of the Center for Children's Books     Full-text available via subscription   (Followers: 4)
Bulletin of the History of Medicine     Full-text available via subscription   (Followers: 22, SJR: 0.421, CiteScore: 1)
Callaloo     Full-text available via subscription   (Followers: 13, SJR: 0.114, CiteScore: 0)
CEA Critic     Full-text available via subscription   (SJR: 0.101, CiteScore: 0)
Children's Literature     Full-text available via subscription   (Followers: 10)
Children's Literature Association Quarterly     Full-text available via subscription   (Followers: 16)
Classical World     Full-text available via subscription   (Followers: 30, SJR: 0.116, CiteScore: 0)
College Literature     Full-text available via subscription   (Followers: 14, SJR: 0.101, CiteScore: 0)
Configurations     Full-text available via subscription   (Followers: 11, SJR: 0.165, CiteScore: 0)
Dante Studies     Full-text available via subscription   (Followers: 2)
diacritics     Full-text available via subscription   (Followers: 13, SJR: 0.139, CiteScore: 0)
Eighteenth-Century Studies     Full-text available via subscription   (Followers: 28, SJR: 0.16, CiteScore: 0)
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ASAP / Journal
Number of Followers: 3  
 
  Full-text available via subscription Subscription journal
ISSN (Print) 2381-4705 - ISSN (Online) 2381-4721
Published by Johns Hopkins University Press Homepage  [22 journals]
  • To Conjure Her

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      Abstract: The following text is an excerpt of a larger, unpublished autotheoretical work by artist and curator Žana Kozomora. In it, Kozomora engages an autotheoretical, ex-Yugoslav feminist mode to consider representations of Balkan women in contemporary art. In the larger text from which this piece is excerpted, Kozomora takes American conceptual artist Jenny Holzer's Lustmord (1993–1994), a work that looks at violent war crimes against women in Bosnia, as her starting point, reconsidering the ethics and politics of Holzer's work. Here, Kozomora writes reflectively through the figure of the Slavic "witch" via feminist scholar Silvia Federici and works by artists Selma Selman and Šejla Kamerić.The first time I was called a ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • Skin, Kin, Kind, I/you/we: Autotheory's Compositional Grammar

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      Abstract: "Tell me a story." After the familiar childhood injunction, in the microspace of that pause and its calm assurance that what is asked for will be given, comes the strangeness of a self made apposite; me, a story. I want it, I get it, I am it. When I was three and four, my ceaseless demands for just one more bedtime story led my mother to record them, eight-track tapes the size of a dinner plate spooling out surrogate presence.Her voice eventually gave way to mine, as my father recorded me singing nursery rhymes, pretending to be my nursery schoolteacher calling roll, and reciting from memory the stories my mother had read. "Say it off by heart," my father would say, and I would. There's a tender monstrosity to the ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • Dare (Again) to Not Speak Its Name' Translating "Race" into Early
           Twentieth-Century Western Armenian Feminist Texts

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      Abstract: Revolutions only snap dried branches, and trim old trees. Whatever has life and is good will remain, and if it too dies, it will regenerate. Today always has a claim over yesterday and tomorrow always on today.In an empty room with beige walls, a middle-aged woman with black skin and ear-length curly hair sits at a table set against a wall. Although her back is to the camera, her reflection faces the audience through the rectangular mirror that rests atop the table. Her eyes are cast down. "No one sees me," narrates the voiceover of a little olive-skinned tomboy who enters the frame. She fidgets uncomfortably in a pink dress. She's just escaped a moment of awkwardness among her peers and skips behind the woman in ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • Transmogrifying Guadalupes, Transmogrifying Selves: The Queer Inhumanist
           Aesthetics of Gloria AnzaldĂșa's Light in the Dark/Luz en lo oscuro

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      Abstract: Altered by a storm and subsequently repaired by an arborist with a saw, a Monterey cypress tree takes the shape of the Virgen de Guadalupe off the coast of California. Or perhaps this is the Virgen de Guadalupe herself taking the shape of a tree. This miraculous scene of the divine in the ordinary takes place in GLORIA ANZALDÚA'S posthumously published dissertation, Light in the Dark ⁄ Luz en lo oscuro: Rewriting Identity, Spirituality, Reality (2015). In this work she intended for publication but couldn't complete in time due to her passing in 2004, the queer Chicana anthologist, writer, and activist recounts witnessing this Guadalupe tree:I suddenly saw her coming out of the hollowed trunk: It was la Virgen de ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • The Gloria Evangelina Anzaldúa Papers and Radical Research Practices:
           A Collage

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      Abstract: Loosen the dead hand of traditional disciplines and habits in order to allow a new way of doing things to emerge.The question then becomes not so much what is a queer orientation, but how are we orientated toward queer moments when objects slip. Do we retain our hold of these objects by bringing them back "in line"' Or do we let them go, allowing them to acquire new shapes and directions'The work of GLORIA ANZALDÚA taught me that sometimes rules must be broken, tired ways of thinking pulled out by the roots. I anticipate that most of my readers already know something about the ways in which ANZALDÚA broke rules governing language, identity, and genre, but some of her lesser-known works challenge ideas more ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • Borrowed Speech: Giving an Account of Another with Wu Tsang's Full Body
           Quotation

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      Abstract: When multidisciplinary artist WU TSANG was an MFA student at the University of California, Los Angeles, she conducted archival research on JENNIE LIVINGSTON'S well-known 1990 documentary, Paris Is Burning, which followed the queer, trans, Black, and Latinx drag ball scene in Harlem during the late 1980s. TSANG visited UCLA's Film & Television Archive, where she viewed unedited footage cut from the film that contained LIVINGSTON'S interviews with drag ball participants. While the final cut of the documentary does not include LIVINGSTON'S visible presence or audible questioning, the unedited footage includes LIVINGSTON'S prompts and interactions with the interviewees, who in turn respond at times playfully and at ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • Troublesome Knowledge: Autotheory in the Queer Classroom

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      Abstract: "On the eve of finishing this essay my attention is focused not on how to rework the conclusion (as it should be) but instead on news stories of alleged racism at Gay Men's Health Crisis (GMHC)."1 So begins CATHY COHEN'S influential essay, "Punks, Bulldaggers, and Welfare Queens: The Radical Potential of Queer Politics'" COHEN'S opening salvo attunes the reader to the urgency of her project and draws into the political present the act of writing: the "rework[ing] [of] the conclusion." Present on the surface of the text are COHEN'S "attention," her "mixed emotions," and the recursive process of revision. Such moves constitute what readers of this special issue might recognize as an "autotheoretical" gesture.In a ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • If That Which Is at All: Notes Toward an Allotheory of Grace E. Lavery

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      Abstract: Since she began documenting her transition in detail on social media, and especially since at least her 2018 challenge to CHRISTOPHER REED'S defense of the supposed right of academics to deadname and misgender students, GRACE LAVERY has occupied an exceptional position as a humanist scholar, public intellectual, activist, and trans woman.1 This has been due in part to her commitment to the open practice of what might be called an autotheory in which the manifold dimensions of her own hypervisible trans feminine body and life—including even the perhaps unprecedented levels of hostility and harassment she has received from some of the most virulently transphobic corners of the internet—have both informed and ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • Oh What a Circus: A Response to Cliff Mak

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      Abstract: Our profession periodically enforces a vestigial tradition, almost a superstition, concerning the delivery of lectures to faculties. That is, that the lecturer who is awarded with an invitation to deliver a forty-five-minute talk is really being invited to answer questions—at their best, vigorous, probing questions—from her hosts. ("The q&a is more important than the talk.") You remember well that I have never given a successful job talk, so I should probably keep my mouth shut on this topic, especially since I very much enjoy giving such lectures, and the jamboree that they often entail, but it strikes me that the fictional premises of the departmental q&a are also operative as I attempt, now, to respond to your ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • Introduction: Autotheory ASAP! Academia, Decoloniality, and "I"

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      Abstract: This special issue convenes artistic practitioners with early-career and established scholars to engage the burgeoning field of autotheory. As a point of departure, we begin first and foremost with a conception of autotheory as an art of the present. By hailing autotheory as an "art," we bring together practicing autotheorists as well as scholars of autotheory—where the two are often one and the same. Intricately complicated, deliciously slippery: where to draw the line between the life and the work, between theory and practice' Does the attempt to draw a line in fact draw attention to the very impossibility of doing so' The line, it would appear, lies. Second, this issue spotlights the ways in which autotheory's ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • Decolonial Queerness and 2 Spirit Becoming in Cree and MĂ©tis Video Art
           and Film: Thirza Cuthand's Indigenous Autotheory

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      Abstract: THIRZA CUTHAND (LITTLE PINE FIRST NATION) is an Indigenous filmmaker and video artist of Plains Cree and Scots descent. She was born in Regina, Saskatchewan, on the colonized lands known by some as Canada, and currently resides in Toronto. Since 1995, she has been making short experimental narrative videos and films about sexuality, mental health, age, desire, trauma, love, colonialism, indigeneity, and land. Many of her works use tactics from performance for the camera and experimental video art, including monologues, to engage these issues from an embodied place. Her work has screened in festivals internationally, including the Tribeca Film Festival in New York City, Mix Brasil Festival of Cultural Diversity in ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • On The Making of #Topless-Theoryreading

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      Abstract: In #ToplessTheoryReading, artists, curators, writers, critics, and others post topless with books of theory and fiction. These images circulate online, primarily through Instagram, and are organized through this hashtag so that they can be found by others. This emerged from a specific artistic community of folks involved in contemporary art, mostly in Spain and Germany, and has grown into a decentralized form of online community that exists transnationally. In what follows, the "founder" of the project, curator Sonia Fernández Pan, tells the story of its emergence.At the end of August 2017, Ania Nowak arrived at my home in Barcelona from Berlin. It was a very hot and humid evening. We were on the terrace of the ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • The Tyranny of Language

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      Abstract: I'm feeling the fever of feeling, but I'm not sure why ____________ is forbidden in an academic context. Chris Kraus separates ____________ from nostalgia in Video Green.Academia gives me hardcore ____________ syndrome.I feel a bit bad about calling her work, ____________ a word deriving from the American term for someone in their second year of university, in front of all of our classmates at senior critique; I was bitter at the thought of yet another white girl taking unironic black and white glamor selfies with vases of roses as their fine art practice, and riding off into the sunset with a freshly-minted and unchallenged BFA.I spent all of the first semester of my Masters program feeling incredibly drunk and ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • MestizXXX: An autotheory

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      Abstract: Excerpt: the full text by the author is published online in the ASAP/J special issue "Transmedial Autotheory," the digital companion to this print issue, along with original GIFs by the artist.The practice of listing identity labels in bylines for art and academia, profiles on social media, and other bios has prompted me to begin labeling myself as mestizXXX.I have been using mestizXXX as a racial ethnic positioning, but I have put little effort into defining what exactly it means in academic terms. My use of autotheory manifests as a call for self-examination, self-reckoning, and self-obsession. It serves here as a self-defining that is about a specific experience rather than a fixed identity. This is my ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • Notes on Autotheory, Art Writing, and The Encounter with Carla Lonzi

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      Abstract: I wanted to make a book that rambled a little, you know' It's what really bothers me about critics, where you won't find it, this sense of rhythm, this passing from one topic to the next. The critic is always so dogged instead. To me … I can't tolerate that sense of the mind hounding after one thing.Self is in the middle, and it wants to slide away. I experience myself as alternately restrictive and expansive: restrictive when held to the expectation to reproduce myself as more-of-the-same, and expansive when I can stray, and make more of myself in excess of identity. Autotheory sublimates this tension. A hybrid, creative-critical genre, autotheory is writing and thinking the self in relation to the world by way of ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • An Autotheory of Painters

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      Abstract: John Berger describes Egyptian Fayum mummy portraits as "paintings in the second person"—the only intended viewers were gods upon entry to the afterlife.1 I appreciate that I have no way of knowing whether the artist's experience of painting a death portrait for an audience of gods was an existential nightmare or a simple, functional act of rendering someone recognizable to a friend.I think I'm most moved by old paintings by dead painters because of this speculation and limited context, this irreconcilable yet somehow bridgeable divide between their concerns and mine. This experience of asymptotic nearness to an ultimately opaque subject has come to define my relationship to painting. I want to contribute to a ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • What's The Use of Crying'

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      Abstract: What rights do scholars have to their own emotions as they conduct research on issues that directly impact their lives' And how do unscripted emotional exchanges function within critical disaster studies' These questions are ripe for further discussion given our situatedness within the COVID-19 global pandemic. All studies of the novel coronavirus in the coming decades will be conducted by survivors of this shared trauma, whether they involve witness testimonies or not.Like many scholars attempting to stay connected with research communities from home during the pandemic, I have attended several remote conferences, some of which addressed the theme of conducting research in times of catastrophe. At one virtual ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • The Ends of Autotheory

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      Abstract: I'm always looking for terms that are not "memoir" to describe autobiographical writing that exceeds the boundaries of the "personal."I have written then what is meant to be not so much my autobiography as the autobiography of a concept of race.What is the relationship between autotheory, blackness, and abolition' Where does the autobiographical end and autotheory begin' What is the relationship between the autobiography of the concept of race and personhood' Between autotheory and the autotelic' What does the notion of the self as a possessive property have to do with the carceral metaphysics of the subject' Saidiya Hartman's critical labors on and ever urgent diagnosis of slavery and freedom's historical and ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • Notes On Aftermath

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      Abstract: In an Instagram DM exchange between myself and Philadelphia-based poet and fellow comrade Ted Rees, we discussed purging our theoretical idols, coming to terms with our relationship to a given text and its creator, a creator who caused irreparable damage. Rees wrote: "[Fred] Moten said something recently about [T. S.] Eliot that he can't get rid of Eliot's influence. That he wishes he could disavow that racist motherfucker, but that he can't totally." What Moten is left with after negotiating his relationship with Eliot, calling Eliot out for being a "racist motherfucker," is no longer a muddled middle ground. Everything is quite clear. The ideological line drawn between Moten and Eliot is right here. There is no ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • More Life After Ruins: Autotheory, the Politics of Citation, and the
           Limits of The Scholarly Gaze

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      Abstract: A reflection on my autotheoretical essay, "Life After Ruins: Ruderal Ecologies, Afghan Diaspora, and Another Anthropocene," published in ASAP/J on September 27, 2019."A name makes reading too easy." A famous philosopher, who wanted to remain anonymous, said this in a now-famous interview. He withheld his name "out of nostalgia for a time when, being quite unknown, what I said had some chance of being heard." He dreamed of a year of "anonymous books," published with no authors' names attached, but he knew this would do no good: critics don't truly want to read, he said, so they would ignore this year of difficult books.Traditional academic scholarship and many forms of autotheory traffic in names. My introduction ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • Put On My Robe, Tell The Story

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      Abstract: I am an administrator and a new professor.I am a caregiver and a caretaker.I am a performative autoethnographer, an opera singer, and a professional actress.I am educated and I am poor.I live in the liminal spaces created by overlapping Venn diagrams.James Baldwin said, "The artist cannot and must not take anything for granted, but must drive to the heart of every answer and expose the question the answer hides."1 This essay, Putting on my robe, telling my story, laying my questions ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • Face/Name/Play: A Slide of Othered Personhood Play

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      Abstract: I remember playing this memorization game years ago in an English teaching practicum in grad school. It works like this: Two players face off at the board. The instructor calls out a verb and a form, "Write! Past!" The first player to correctly draft "wrote" on the board wins a point for their team, then the turn moves on to the next two players.I've always sucked at games like this. Not in school specifically, anywhere. It doesn't matter what I'm playing—with anything time-based, I get so caught up in the immediacy and scarcity of it all that I go completely blank.Vanessa Nguyen's How Do You Say Your Last Name' A Coloring Book on Growing Up Asian-American (2018) includes a related kind of blankness. Midway through ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • From "WAVES"

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      Abstract: an excerpt from the déjà vu, published by Coffee House Press (2022) and used with permission.WAVES: A SYNOPSISAfter the violence, after the red dissolve, in the heart of being shunned, in the wake of grief, a black girl sits quiet in the radiance of the sun. Imagine this written in yellow gold. … School is almost over: it's the end of year. And maybe now she can start to live. Emily does a lot of things in Waves. She whines and witnesses and slips away. She holds her brother close when he is falling apart. She exchanges lip gloss with his girlfriend, the goddess. What does it mean to take a life or finally have one' Emily is allowed to drift. She sits on her bed beneath a collage of pleated fans. She strokes her ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
  • That Dangerous Supplement

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      Abstract: When Sara Ahmed wrote "theory can do more the closer it gets to the skin" in Living a Feminist Life, she probably wasn't suggesting that we make painstakingly sculpted silicone vibrators of our favorite philosophers' heads.1 But as an artist in love with theory yet unschooled in how to theorize, I decided that perhaps I could know Derrida in the biblical sense, if not the scholarly. So I prototyped him in modeling clay, made a mold, cast him in silicone, painted him, and added a switch and a motor. Standing alone in my MFA studio, I pushed the button on the bottom of the finished piece (Fig. 1). I held his palm-sized vibrating head in my hand, locked eyes with him, and made a promise to both of us: no one will ever ... Read More
      PubDate: 2022-03-17T00:00:00-05:00
       
 
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