RBM: Rare Books, Manuscripts, and Cultural Heritage is accepting proposals for its Spring (May) 2027 issue! We welcome articles related to special collections librarianship, archives, or museum practice.
Articles should be written in a formal style and range between 3,000 and 5,000 words. The submission deadline is December 20th. If interested in submitting, get in touch with the Editor, Diane Dias De Fazio (diane.diasdefazio@gmail.com). Guidelines for authors can be found here.
We invite papers that problematise the ways in which ideas about abuse, harm, trauma, ‘victimhood’ and vulnerability risk limiting our research ambitions and pathologizing our research subjects.
Oral historians, biographers, anthropologists, sociologists and narrative journalists, as well as archivists are increasingly encouraged to reflect on whether their interviewing and archival practices are ‘trauma-informed.’ The feminist therapeutic and organisational practices that situated harms against women and children within systems of oppression (Herman, 1992; Bloom, 1994) have been displaced by individualising models of trauma and trauma-informed practice (Harris and Fallot, 2001; SAMHSA, 2014). Trauma-informed approaches have been adopted uncritically in many settings and contexts, with little opportunity for questioning the concept or the way it has been operationalised. Its emphasis on values and relational practice means a certain vagueness and a difficulty in thus measuring how much it is used and its effectiveness.
This is the case across the disciplinary cultures within which we attempt to recover, preserve and centre the voices of a diverse cohort of survivors, whether of, for example, child abuse, institutional harms, medical malpractice, natural disasters, acts of terrorism or genocide. The uncritical deployment of trauma as an ahistorical concept is applied equally to political and cultural catastrophes as to distressing events in individual lives.
The ‘trauma-informed care’ concept has crept beyond health services into humanities research and has become de rigueur in grant and ethics applications, usually without expounding on how the practice will be operationalised. The avoidance of methods that might ‘retraumatise’ participants or activate ‘traumatic memories’ (Mocnik, 2023) is favoured. Some scholars have offered alternative non-clinical concepts to trauma (Das, 2007; Bourke, 2022; Marecek, 1999). However, the common use of ahistorical, neuro/ psycho-centered notions of trauma raises questions about epistemologies, ethics and our everyday interviewing practices.
This special issue asks how we can work ethically and equitably with living subjects to research recent history or contemporary themes in the arts and humanities via long-form or multi-sessional interview(s). Can we define a new ethic of care that attends to structural harms and systemic failures, power dynamics and intersectionalities rather than individual pathology? Within the interview process, the concept of trauma and the notion of being ‘trauma-informed’ can pose a risk of reducing interviewees to a state of victimhood and in so doing obscure their agency, resilience and fortitude. It can imply that every interviewee is in need of special care and protection, skewing the power and authority towards the interviewer. And in the broader sense, this mode of understanding the dynamic relationship does not appear conducive to achieving historical accountability and justice – personal and political.
Shifting the lens from one of private, personal trauma to a new ethic of care can help to transform in-depth interviewing about individual suffering and resilience, into a tool for addressing issues around historical accountability and justice and to support contemporary advocacy, policy critique and institutional accountability. Moving beyond viewing harm solely as an individual experience, historians adopting a new approach might better trace how state, cultural and economic systems continue to perpetuate and maintain harm, exposing this violence as an ongoing everyday reality, and thereby shifting the focus from individual recovery/healing and instead placing the responsibility onto fixing the cultures and institutions that caused and perpetuated that violence. Can a new ethic of care attend to sensitive topics, vulnerability and painful experiences in a way that neither reproduces harms nor silences participants? Must we reduce this positive ethic of care to a negative: ‘avoiding retraumatisation’?
We invite proposals for papers reflecting on these challenges. Potential topics include but are not limited to:
IMPORTANT INFORMATION TO NOTE:
Papers should draw on individual original research experience and their own research concerns and dilemmas. To express your interest, please submit an abstract of no more than 300 words along with a short bio to r.beecher@bbk.ac.uk cc claudia.soares@newcastle.
Contact Information
Dr Ruth Beecher, Birkbeck University of London, UK. r.beecher@bbk.ac.uk
Dr Claudia Soares, Newcastle University, UK. claudia.soares@newcastle.ac.uk
Contact Email
Notes from the Field, a publication of the TPS Collective, is accepting submissions about teaching and working with primary sources for three series of peer-reviewed blog posts: Epic Fails, Collaborative Wins, and an Open Call.
Grounded in issues your colleagues in the field are exploring, this call is intended to highlight a broad range of voices from all sectors of the TPS community. Please see the calls below for more information.
Not every class session goes according to plan—and sometimes, what happens instead teaches us more than a perfectly executed lesson ever could. Notes from the Field invites submissions for our “Epic Fails: Learning From Experience” series that reflects on teaching with primary sources when an activity fell flat, a carefully designed plan went awry, or an unexpected turn led to a surprisingly successful outcome. We’re especially interested in candid reflections on what authors learned from these experiences and how they shaped their teaching going forward.
Did you recently collaborate with an archivist, librarian, faculty member, student, or community member? Tell us about it! What did you create (e.g., a TPS lesson plan, exhibit, or community event), and what steps did you take to ensure a successful collaboration? We’d love to celebrate your win and to learn tips for successful collaborations with different kinds of people in different kinds of spaces.
We are also accepting submissions on topics related to teaching and working with primary sources to be featured in peer-reviewed blog posts. While we ask that contributions fall into either our “Reflective Practice” or “Practical How-To” categories, this fall we are once again open to reviewing submissions from a range of contexts. Our hope is that this call for miscellaneous submissions will create opportunities for practitioners to submit work that may fall outside our recent thematic calls.
Contributions should be 1000-1100 words and are subject to Notes from the Field’s peer-review process.
Posts will be published on a rolling basis beginning in December 2026. Full submission information is available in the Notes from the Field author and peer review guidelines.
Any questions, expressions of interest, or submissions can be sent to the Notes from the Field general email at tpsnotesfromthefield@gmail.com.
Deadline to apply: 18 November 2026
Notification of acceptance: 11 January 2027
Please note that you will have to create an account in Oxford Abstracts to submit a proposal.
The 12th Global Digital Humanities Symposium is delighted to return, with events across countries and modalities in mid-May 2027. Michigan State University continues as host and is partnering with the University of Guelph, Ontario, Canada, as a lead into their annual DH@Guelph Summer Workshops.
The schedule of events will be as follows. All Symposium days will be live streamed. Multilingual days will be supported through human-generated, live interpretation:
We invite work at the intersections of critical DH that engages with anti-colonial and post-colonial frameworks, supports feminist and anti-racist praxis, and crosses political and disciplinary borders. We define the term “humanities” expansively to create space for a range of issues that encourage interdisciplinary understandings of the field.
This Symposium welcomes proposals by Wednesday, 18 November 2026 midnight in your timezone.
This year, we especially anticipate and welcome presentations on the following topics, and we are especially interested in hearing about specific practical, creative, and theoretical examples from the Global Majority context:
We are always interested to hear about the following topics, and their connections to the digital, as reflected in global research conversations and ethical DH practices across disciplines:
Submission and presentation language options: Spanish, French, English
Presentation materials (draft slides and presentation text) for lightning talks, 15 minute presentations, and panels must be submitted to conference organizers 2 weeks in advance of the Symposium (Monday, 26 April 2027).
7-min lightning talk
Proposal: 250-300 words
Dynamic, hyper-focused talks designed to provoke questions. No more than 2 speakers may present, but the number of listed authors is unlimited.
Presentation text and slides must be submitted to conference organizers 2 weeks in advance of the Symposium for language interpreters’ preparation.15-min presentation
Proposal: 250-300 words
Engaging talks that take a deep dive into a topic, method, or project. This may include reports on experimental, developing, or completed projects as well as critical and/or theoretical discussions.
Presentation text and slides must be submitted to conference organizers 2 weeks in advance of the Symposium for language interpreters’ preparation60-min panel
Proposal: 100 words describing the panel as a whole, plus 100 words for each presentation in the panel.
A pre-composed set of 3-4 presentations on a unified topic or theme. Panelists must leave at least 10 minutes for Q&A with the audience, but may structure the rest of their time as they like.
Presentation text and slides must be submitted to conference organizers 2 weeks in advance of the Symposium for language interpreters’ preparation.Project showcase and Artist Gallery
(Not live streamed; no live interpretation)
Proposal: 250-300 words
The Project Showcase and Artist Gallery is a session similar to a poster session, in which presenters share their work with small groups or individuals over the course of 30 minutes. Moderators will be present to support and facilitate the live discussions among presenters and audience members.These presentations are best suited for discussing concrete projects and digital art projects at any phase in their development, rather than for introducing theoretical frameworks or critiques. We invite artists and designers to submit data-driven online artworks related to this year’s theme.
Submission and presentation language for In-Person at Michigan State University: English
Submission and presentation language options for In-Person at University of Guelph: English, French7-min lightning talk
Proposal: 250-300 words
Dynamic, hyper-focused talks designed to provoke questions. No more than 2 speakers may present, but the number of listed authors is unlimited.15-min presentation
Proposal: 250-300 words
Engaging talks that take a deep dive into a topic, method, or project. This may include reports on experimental, developing, or completed projects as well as critical and/or theoretical discussions.60-min panel
Proposal: 100 words describing the panel as a whole, plus 100 words for each presentation in the panel.
A pre-composed set of 3-4 presentations on a unified topic or theme. Panelists must leave at least 10 minutes for Q&A with the audience, but may structure the rest of their time as they like.
A pre-composed set of 3-4 presentations on a unified topic or theme. Panelists must leave at least 10 minutes for Q&A with the audience, but may structure the rest of their time as they like.Posters
(Not live streamed)
Proposal: 250-300 words
Presenters will share their work with small groups or individuals over the course of one hour. These presentations are best suited for discussing concrete projects at any phase in their development, rather than for introducing theoretical frameworks or critiques.
The Global Digital Humanities Symposium follows an open review process. Names and institutional affiliations of submitters will be shared with reviewers, and names and affiliations of reviewers will be shared with submitters along with a comment on their submission from each reviewer.
Submit a proposal: https://app.oxfordabstracts.com/stages/81897/submitter
Call for Papers: International Journal of Sustainable Fashion & Textiles
Special Issue: ‘Sustainable Fashion and Textile Futures: Intersections of Heritage, Craft and Innovation’
Special Issue Guest Editors
Pratibha Mishra
Professor & HoD, Department of Fashion Design & Department of Interior Design, School of Architecture & Design, Manipal University Jaipur, India
pratibha.mishra@jaipur.manipal.edu
Deepshikha Sharma
Associate Professor, Department of Fashion Design, School of Architecture & Design, Manipal University Jaipur, India
deepshikha.sharma@jaipur.manipal.edu
To view the full call click here>>
https://www.intellectbooks.com/international-journal-of-sustainable-fashion-textiles#call-for-papers
The International Journal of Sustainable Fashion & Textiles (SFT) invites contributions to the Special Issue ‘Sustainable Fashion and Textile Futures: Intersections of Heritage, Craft and Innovation’. The issue investigates how heritage knowledge, craft practices, material cultures and carefully governed technological innovation can contribute to socially just, culturally grounded and environmentally responsible fashion and textile systems.
Fashion and textiles sit at a difficult intersection. The sector is under pressure to reduce resource use, waste and emissions, while also addressing opaque supply chains, precarious work, cultural extraction and short product lifecycles. Heritage craft systems are frequently presented as an easy sustainability solution. That claim needs scrutiny. Traditional craftsmanship contains accumulated knowledge of materials, repair, local production, natural processes and intergenerational skill transmission; UNESCO’s safeguarding framework explicitly recognizes the skills and knowledge associated with traditional craftsmanship as intangible cultural heritage (UNESCO 2003). Yet craft is not automatically equitable, low-impact or economically secure. Artisans may remain excluded from design authorship, intellectual-property rights, data ownership and the financial value generated from their cultural labour.
Cultural sustainability in fashion requires more than incorporating craft motifs or handmade techniques into commercial collections. It concerns the continuation, recognition and fair transmission of textile knowledge, skills and cultural expression across generations (Boța-Moisin 2017; Fletcher 2014). It also demands attention to who defines innovation, who owns the resulting data and designs, and who benefits when heritage is translated for contemporary markets. Research on craft-led sustainability therefore needs to address material and environmental questions alongside labour, gender, community agency, cultural rights, market access and governance.
Technological change intensifies these questions. Digital documentation, virtual archives, traceability systems, e-commerce platforms, artificial intelligence, augmented reality and smart materials may assist preservation, provenance and market access. They can also reproduce unequal control over knowledge and data.
In the European policy context, Digital Product Passports are being developed to provide standardized digital access to product information that can support sustainability, circularity, traceability and regulatory compliance (European Commission 2026). Their relevance to fashion and textile value chains is clear. Their implications for artisan enterprises, informal producers, small firms and heritage-based production systems remain insufficiently examined.
This Special Issue seeks rigorous work that moves beyond celebratory accounts of both craft and technology. It welcomes empirical, conceptual, methodological and practice-based submissions that examine the conditions under which heritage, craft and innovation can contribute to sustainable fashion and textile futures. Particular attention is encouraged for scholarship based in the Global South, work with artisan communities and craft clusters, and research that takes community knowledge, consent, attribution and benefit-sharing seriously.
Suggested themes
Submissions may address, but are not limited to, the following themes:
This list is indicative, not exhaustive. We invite submissions that critically examine the intersections of cultural heritage, craft, sustainability and innovation in fashion and textile contexts.
Contribution types
SFT invites contributions in the following formats:
Submission guidelines
Please submit via the link below:
https://submission.pubkit.co/publisher/29/journal/670/login
All submissions must follow Intellect’s house style:
https://www.intellectbooks.com/journal-editors-and-contributors#style-guide
Authors are responsible for securing permissions for all copyrighted images, illustrations, tables and other third-party material. All manuscripts will be assessed through the journal’s independent and anonymous peer-review process. Final acceptance remains subject to editorial decision.
Provisional schedule
The special issue is scheduled for Volume 7, Issue 1 (2028). The following timeline is proposed for approval:
· Full-paper submission deadline: 30 April 2027
· Peer-review process completed: 30 September 2027
· Final revised manuscript deadline: 30 January 2028
· Issue publication: 30 April 2028
All dates are subject to confirmation by the Journal Editor and Intellect Limited.
References cited in the CFP
Boța-Moisin, A. (2017), ‘The cultural sustainability of fashion: The role of traditional craftsmanship’, in K. Niinimäki (ed.), Sustainable Fashion in a Circular Economy, Aalto University, pp. 1–14. [Please verify page range and final bibliographic details against the source you wish to cite.]
European Commission (2026), ‘Digital Product Passport’, European Commission, https://single-market-economy.ec.europa.eu/single-market/digital-product-passport_en. Accessed 29 August 2026.
Fletcher, K. (2014), Sustainable Fashion and Textiles: Design Journeys, 2nd ed., London: Routledge.
UNESCO (2003), Convention for the Safeguarding of the Intangible Cultural Heritage, Paris: United Nations Educational, Scientific and Cultural Organization, https://ich.unesco.org/en/convention. Accessed 29 August 2026.
Contact Information
Pratibha Mishra
Professor & HoD, Department of Fashion Design & Department of Interior Design, School of Architecture & Design, Manipal University Jaipur, India
pratibha.mishra@jaipur.manipal.edu
Deepshikha Sharma
Associate Professor, Department of Fashion Design, School of Architecture & Design, Manipal University Jaipur, India
deepshikha.sharma@jaipur.manipal.edu
URL https://www.intellectbooks.com/international-journal-of-sustainable-fashion-textiles#call-for-papers
Call for Papers for Volume 7: “Tending To…”
Deadline: Friday, October 9, 2026
In thinking through the theme of “tending to…” we repeatedly returned to, and wrestled with, the terms associated with it. “Tend” has two historical origins: one from the Latin tendere “to stretch,” and the other from the Middle English attenden “to attend.” These definitions imply a sense of bodily orientation, a “tending towards” a particular focal point or directionality (Ahmed, 2006). Colloquially, “tending to” is synonymously used with “care,” both emphasizing attention. Yet, how do we choose what to care about or direct our attention to? How then can we consider what it means for ourselves to “tend to…” something? With this issue, we want to put pressure on the perception of care and also invite expansions of our understanding of it through both theory and praxis. To theorize and conceptualize the idea of ‘care’ is to work through a concept that can be easily dismissed, romanticized, or, at worst, not be placed under any pressure to unpack its complexity (Adams, 2014). This understanding of care as lacking depth may also show up in its relationship to tenderness: an action that, on its face, might equate with gentleness, but is itself revolutionary and a deliberate action of survival and collectivity (Lorde, 1984, 2007). But the topic of care and “tending to…” permeates our everyday relationships with one another, on social media, and politically. Through their repetitive use, these terms gain cultural relevance yet have the potential to lose impact and meaning over time.
The editors of react/review––a peer review, open-access digital journal dedicated to research by emerging scholars––seek essays for Volume 7 that consider these themes of “tending to…” and care. We invite submissions that consider how, as scholars and makers, we ‘tend to’ the very materials that constitute our intellectual and, at times, personal lives. With placing pressure upon the very act of ‘tending to…,’ we also want to consider the moments when that act is itself not cast in a positive light. Questions that guide this issue are, but not limited to: What are the limits of care? What are the possibilities of care? What does it mean to tend to/care about? How can care act as a methodology? How do people/institutions/practices choose what to care for/what not to care for? When does care/tending to become weaponized? Whose histories are protected/preserved/erased? What futures are being tended to? What are we continuing to nurture?
We invite scholarship on any historical period and geographical focus that engages with the volume’s theme. While this journal is situated within the fields of art history, architectural history, museum studies, and visual studies, we welcome submissions from any advanced graduate students, postdoctoral fellows, and early career contingent scholars in any field, whose work relates to the journal’s particular theme.
The journal is currently open to submissions for all categories (see descriptions below). For focus and experimental articles, please submit a manuscript and 150-word bio to the journal’s page on eScholarship using the submit function, located at: https://escholarship.org/uc/reactreview. Please remove any identifying information from manuscripts, as submissions will be evaluated through a double-blind review process.
Questions can be directed to the journal co-managing editors, Graham Feyl, Karla Mendez, and Kristin Yinger at reactreviewjournal@gmail.com.
Topics may include, but are not limited to:
Article categories available for open submission:
Focus articles: essays that emphasize the theme of the call for papers.
Experimental articles: experimental articles are open-ended pieces that discuss new research findings, speculate on pressing research questions, or address methodological issues encountered in fieldwork or archival work. They differ from the more formal focus articles in that experimental pieces are more exploratory and flexible in nature. Experimental articles provide space for researchers to share works-in-progress, make connections between research and current events, or reflect on methodologies or the experience of conducting research or fieldwork. This section is also open to interviews or new translations of art and architecture-related texts accompanied by a brief translator note.
Focus and experimental article guidelines:
Book/exhibition reviews (750-1,000 words): Reviews on recent exhibitions, public art projects, or publications should touch on the theme of the current issue. To pitch a review, please send a ~150-word pitch and CV to co-managing editors, Graham Feyl, Karla Mendez, and Kristin Yinger, at reactreviewjournal@gmail.com with the subject line REVIEW by Friday, October 9, 2026.
Bibliography
Adams. Rachel. Love, Money, Duty: Stories of Care in Our Times. Columbia University
Press, 2025.
Ahmed, Sara. The Cultural Politics of Emotion. Routledge, 2004.
Ahmed, Sara. Queer Phenomenology: Orientations, Objects, Others. Duke University Press, 2006.
Care Collective. The Care Manifesto: The Politics of Interdependence. Verso, 2020.
Collins, Lisa Gail. Stitching Love and Loss: A Gee’s Bend Quilt. University of Washington Press, 2023.
Evans, Catherine A. “Tender(ness): The Feminist Anthology as Carework.”
ASAP/Journal, Volume 10, Number 3 (September 2025): 431-452.
Ferrell, Elizabeth. About the Rose: Creation and Community in Jay DeFeo’s Circle. Yale
University Press, 2022.
Fink, Marty. Forget Burial: HIV Kinship, Disability, and Queer/Trans Narratives of Care.
Rutgers University Press, 2020.
German, Vanessa and Deesha Philyaw, eds. TENDER: a literary anthology and book
of spells: evidence. 1HOOD Media, 2019.
Gould, Deborah B. Moving Politics: Emotion and ACT Up’s Fight Against AIDS.
The University of Chicago Press, 2009.
Hobart, Hi‘ilei Julia Kawehipuaakahaopulani and Tamara Kneese. “Radical Care: Survival Strategies for Uncertain Times.” Social Text 38, no. 1 (2020): 1-16.
hooks, bell. Soul Sister: Women, Friendship, and Fulfillment. South End Press, 2007.
Huberman, Anthony. “Take Care.” In Circular Facts, edited by Mai Abu ElDahab, Binna
Choi, Emily Pethick. Sternberg Press, 2011.
Lonetree, Amy. “A Heritage of Resilience: Ho-Chunk Family Photographs in the Visual Archive.” The Public Historian, vol. 41, no. 1 (February 2019): 34-50.
Lorde, Audre. Sister Outsider: Essays and Speeches by Audre Lorde. Crossing Press, 1984, 2007.
Lugones, Maria C. in collaboration with Pat Alake Rosezelle. “Sisterhood and
Friendship as Feminist Models.” In Feminism and Community, edited by Penny
A. Weiss and Marilyn Friedman. Temple University Press, 1995.
Ochoa, María. Creative Collectives: Chicana Painters Working in Community. University of New Mexico Press, 2003.
Sedgwick, Eve Kosofsky. “Paranoid Reading and Reparative Reading, Or, You’re
So Paranoid, You Probably Think This Essay Is About You.” In Touching Feeling:
Affect, Pedagogy, Performativity. Duke University Press, 2003.
Tepper, Allie. “She Said.” In Las Vegas Ikebana: Maren Hassinger and Senga
Nengundi, edited by Allie Tepper. Pacific and the Cooley Gallery, 2024.
Tobin, Amy. Women Artists Together: Art in the Age of Women’s Liberation. Yale University Press, 2023.
Tsinhnahjinnie, Hulleah J. “When Is a Photograph Worth a Thousand Words?” In Photography’s Other Histories, edited by Christopher Pinney and Nicolas Peterson, 40–52. Duke University Press, 2003.
Ukeles, Mierle Laderman. “Manifesto for Maintenance Art 1969! Proposal for an exhibition: ‘CARE,’ 1969.” October 1969. https://queensmuseum.org/wp-content/uploads/2016/04/Ukeles-Manifesto-for-Maintenance-Art-1969.pdf
Vesely-Flad, Rima. The Fire Inside: The Dharma of James Baldwin & Audre Lorde. North Atlantic Press, 2026.
Contact Information
Co-managing editors: Graham Feyl (UC Santa Barbara), Karla Mendez (UC Berkley), and Kristin Yinger (UC Santa Barbara(
Contact Email
reactreviewjournal@gmail.com
URL
To view the full call click here>>
https://www.intellectbooks.com/ijds#call-for-papers
Call for Papers – Special Issue for The International Journal of Disney Studies, which examines the Walt Disney Company, an international media conglomerate that impacts our global culture. This international, peer-reviewed journal draws from a variety of academic and industrial lenses, perspectives, methods and fields, while providing a space for scholars to present new research, review current research and comment on wider Disney commodities.
On 27 October 1954, Walt Disney opened the inaugural episode of Disneyland with this iconic quote: ‘I only hope we never lose sight of one thing: it all started with a mouse’. While the Disney Studio did not begin precisely with Mickey (the Alice Comedies and Oswald the Lucky Rabbit predate him), it was the mouse pair that reflected a crucial starting point for the Disney brand; Mickey and Minnie debuted together in 1928, co-starring in the landmark shorts Steamboat Willie and Plane Crazy and coincided with the arrival of sound and color in films, the rise of comic books in print media, and all manner of merchandising that kept the studio afloat during the worst of the Depression and war years. Together they became the most enduring and widely recognised animated characters in global popular culture.
On the other hand, Mickey Mouse has often been used derisively. For some, the character is safe, dull, even boring – emblematic of Disney playing it safe. Though mischievous in the early shorts (particularly in one his most famous roles as the ‘Sorcerer’s Apprentice’), Mickey’s ascendance as the corporate mascot of the Walt Disney Company (particularly after Walt’s death in 1966) has lent him both an instant recognizability but also a vested interest in keeping his image ‘clean’. Mickey has also been invoked pejoratively in the phrase ‘Mickey Mouse degrees’, demeaning the importance of degrees in fields such as media studies, despite the ongoing importance of the humanities writ large.
This special issue–which will be released in 2028, marking the centenary of Mickey and Minnie Mouse’s official debut–invites scholarly work on Mickey and Minnie Mouse across Disney texts, visual arts, and theme-park environments—canonical or lesser-known, produced by Disney Studios, its subsidiaries, or fans and artists wholly unconnected to the company. Primary sources may include an array of mediums, including comics, television, radio, animation, theme parks, video games and other forms of media. We encourage contributors to critically engage with Mickey and Minnie as cultural icons, commercial phenomena, artistic achievements and symbols of Disney’s evolving brand from interdisciplinary perspectives, including (but not limited to):
We especially encourage submissions that move beyond canonical US American/Global North perspectives and explore Mickey and Minnie in global, comparative, or marginalised contexts.
Submission Guidelines
Full paper submissions will be expected by 1 May 2027 and should be submitted to the IJDSwebsite’s Pubkit system. When you submit, you will have the opportunity to specify that your piece is for the special issue ‘Mickey and Minnie at 100’. Please note that we are open to accepting Articles (6,000-8,000 words), Fresh Perspectives (1,000-3,000 words) and Reviews (1,000 words). The journal uses Harvard referencing and all images should follow copyright and/or fair use laws (as explained in the journal’s Notes for Contributors),
For queries or to discuss potential topics, please contact:
● Joel Gray – joel.gray@shu.ac.uk
● Dr. Peter Cullen Bryan – petercullenbryan@gmail.com
● Dr. Eva Van de Wiele – Eva.VandeWiele@ugent.be
Contact Information
Joel Gray – joel.gray@shu.ac.uk
Dr. Peter Cullen Bryan – petercullenbryan@gmail.com
Dr. Eva Van de Wiele – Eva.VandeWiele@ugent.be
URL
I am currently working on a book related to donor relations and gift-in-kind contributions as it relates to Galleries, Libraries, Archives, and Museums (GLAM). I’m looking for case studies to provide real world examples of what I’m discussing in the book. Case studies should be between 1500-2500 words and can include names of institutions and/or donors or be completely anonymous depending on the situation. I’m currently looking for case studies on the following topics:
If you would like to contribute your case study, please fill out this GoogleForm and I will contact you if your case study is chosen.
Thank you in advance for your consideration!
——————————
Christina Zamon
Assistant University Librarian for Special Collections
East Carolina University
Greenville NC
Creating, Narrating, Documenting, and Archiving Violence from Exile
Contemporary forms of violence affecting Southwest Asia (often referred to by the colonial designation “Middle East”), Africa, and Latin America raise fundamental questions about how asymmetrical violence produced by wars, genocides, political massacres, and conflicts linked to the extraction of natural resources can be documented, narrated, and archived (de Swaan, 2016). These situations are frequently characterized by the impossibility, or great difficulty, of accessing research sites, as well as by the destruction, confiscation, or absence of archives and testimonies, whether written, visual, or oral. At the same time, there is an urgent need to narrate, show, interpret, and render these forms of violence intelligible within Western institutional, media, and cultural spaces. This responsibility is often borne by diasporic communities, exiled people, or generations born in exile, who become privileged mediators of these narratives. As they enter these frameworks, such subjects may sometimes find themselves in the position of “bodies out of place” (“space invaders”), having to negotiate their legitimacy within Western institutions that may tend to fetishize or constrain their voices (Puwar, 2004).
Faced with these constraints, exiled and diasporic communities develop practices of creation, documentation, and archiving from within spaces of exile. Today, these practices increasingly take place through social media, using smartphone images or born-digital archives. Yet these intrinsically volatile materials confront genuine “algorithms of oppression” (Noble, 2018), shaped by the logics of commercial surveillance and the invisible censorship of platforms that tend to erase traces of the violence endured. While these initiatives seek to counter such invisibilization by making exile a space of refuge and of alternative knowledge production, this dynamic nevertheless calls for a crucial conceptual distinction between the subjects who carry it forward.
As Edward Said points out in Reflections on Exile (2000), whereas the diaspora often takes shape over the long term as a political and transnational collective endowed with a public voice, exile remains a raw, solitary, and incurable rupture linked to the immediate loss of one’s place of origin. Diasporic space must therefore be understood as a complex and heterogeneous cartography (Brah, 2005), traversed by relations of power and generational asymmetries. The emergence of forms of “postmemory” (Hirsch, 2012) among second generations raises profound ethical questions: it is necessary to examine the risk of a certain discursive hegemony or an idealization of narratives by Western diasporic spaces, to the detriment of the voices of recently exiled people or of those who remain within the actual geography of violence.
In response to these issues, this study day approaches research-creation not as a mere mode of dissemination but, following Erin Manning and Brian Massumi (Thought in the Act, 2018), as a genuine methodology for producing situated forms of knowledge and “thought in the act.” In contexts where the field is confiscated or destroyed, artistic and speculative practices do not simply illustrate history: they actively contribute to bringing it into being by creating new concepts and new ways of documenting the sensible. This study day therefore proposes to examine the methodological, ethical, epistemological, and theoretical dimensions of these practices from the perspective of exile.
Themes for Reflection
Theme 1 — Documenting and Archiving Violence from Exile and Diasporas
● How is it possible to produce, from exile or within diasporas, shareable forms of knowledge that are sensitive and capable of documenting ongoing violence?
● To what extent do these practices of inquiry, creation, and documentation contribute to writing a history of the present from exile?
● What tools, methods, and research-creation frameworks make it possible to document and archive violence through sensitive forms, particularly in the face of the volatility of digital archives?
● What ethical and epistemological questions, linked to situated thinking in Donna Haraway’s sense (Situated Knowledges, 1988), emerge when research or creation is carried out from exile? What tensions or asymmetries of visibility arise between the direct biographical memory of exiled people and the “postmemory” of generations born in the diaspora? How can Western institutional structures be prevented from appropriating the voices of those working on the ground?
Theme 2 — Creating and Narrating from Exile
● How are deterritorialized experiences and memories of violence, shaped by exile, constructed and transmitted through artistic practices and research?
● To what extent do artistic practices developed from within spaces of exile and diaspora displace, decolonize, or renew perspectives on contemporary forms of violence?
● What relationships do creative works produced from exile or within diasporas maintain with situated narratives of violence? How do creative practices and forms of knowledge production emerging from these spaces interact, nourish one another, and contribute to narrating lived experiences and memories?
● What connections can be established between creative works and knowledge production devoted to the colonial pasts of these three regions and the contemporary forms of violence that affect them?
These avenues for reflection are not intended to be exhaustive, but rather to open up dialogue. We welcome original proposals exploring other questions related to the themes of this study day.
Profiles and Disciplines Sought
We welcome proposals from artists (visual arts, live arts, music, literature, etc.) whose work privileges investigative or research-creation approaches, as well as from researchers in the humanities and social sciences who work with artists or draw on practices from the field of art. We also encourage proposals from art historians, exhibition curators, anthropologists, sociologists, and other researchers analyzing artistic productions in relation to contemporary forms of violence in the three regions concerned. Proposals from master’s and doctoral students are warmly welcomed.
Proposals situated within cultural and visual studies, memory studies, studies of mass violence, decolonial and postcolonial approaches, as well as any other theoretical perspective resonating with the issues addressed by this study day, are welcome.
The proposed formats are deliberately hybrid and may take the form of an academic presentation, a performative lecture, a workshop (particularly one devoted to sharing tools or methodologies), an urban walk, or a research-creation project presentation.
Timeline
● Call for papers issued: September 1, 2026
● Submission deadline: November 15, 2026, at midnight (Montreal time)
● Notification of decisions: no later than December 15, 2026
● Study day: February 23, 2027, in Montreal (UQAM)
Submission Guidelines
Proposals must include:
● A title;
● An abstract of no more than 300 words;
● Three to five keywords;
● A short biography of no more than 150 words.
Proposals must be sent by November 15, 2026, to the following address: labard.axe1@gmail.com. Please indicate in your proposal the format envisaged for presenting your work.Artists working in visual and media arts, live arts, or music may, where relevant, include up to three images, a video link, or an audio link in addition to their proposal.
Proposals may be submitted in French or English. The study day will be bilingual and will take place in a hybrid format (in person and online).
A selection of contributions will be published in a peer-reviewed edited volume. Unfortunately, travel, transportation, and accommodation expenses cannot be covered. Lunch and coffee breaks will be provided to participants.
Scientific Direction and Organization
● Scientific direction: Professor Bahar Majdzadeh, as part of the 2027 exhibition-conference
entitled “Know-How and Being: Strategies and Practices of Decolonial Research-Creation,”
within the Decolonial Art and Research Laboratory (LabARD).
● Organization: Clara Tabra Osorio and Ivette Doizi Cofre
Selected Bibliography
● BRAH, Avtar (2005). Cartographies of Diaspora: Contesting Identities. London, Routledge.
● DE SWAAN, Abram (2015). The Killing Compartments: The Mentality of Mass Murder. New Haven: Yale University Press.
● FIGUEROA-VÁSQUEZ, Yomaira C. (2020). Decolonizing Diasporas: Radical Mappings of Afro-Atlantic Literature. Chicago, Northwestern University Press.
● HARAWAY, Donna (1988). “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective,” Feminist Studies, vol. 14, no. 3, pp. 575–599.
● HIRSCH, Marianne (2012). The Generation of Postmemory: Writing and Visual Culture After the Holocaust. New York, Columbia University Press.
● MANNING, Erin and MASSUMI, Brian (2014). Thought in the Act: Passages in the Ecology of Experience. Minneapolis: University of Minnesota Press.
● PUWAR, Nirmal (2004). Space Invaders: Race, Gender and Bodies Out of Place. New York, Berg.
● SAID, Edward W. (2000). Reflections on Exile and Other Essays. Cambridge, MA: Harvard University Press.
● SPIVAK, Gayatri Chakravorty (1988). “Can the Subaltern Speak?” In Cary Nelson and Lawrence Grossberg (eds.), Marxism and the Interpretation of Culture. Urbana: University of Illinois Press, pp. 271–313.
● NOBLE, Safiya Umoja (2018). Algorithms of Oppression: How Search Engines Reinforce
Racism. New York, New York University Press.
Contact Information
LabARD
Contact Email
labard.axe1@gmail.com
URL
The SHARP News Features section is currently seeking proposals for written pieces in an array of categories that take a wide and creative approach to topics in book history, book studies, print culture, authorship and publishing studies, and media studies. These pieces can include articles, interviews, and reviews of games, books, or video media relating to the above topics.
Please submit your proposal via this Google form, or by emailing the Features editor Allie Alvis at news-features@sharpweb.org.
For more information about the Features section and submitting a proposal, check out this handy dandy PDF.