Holocaust Studies has given the editors permission to include creative work for the first time in the journal. 

In this special issue, we aim to further examine the ‘material turn’ of Holocaust studies through the lens of creative practices, which remains an understudied area of this movement. As Marianne Hirsch (2019) notes: “Commemorative artistic practices can themselves function as the connective tissue between divergent but related histories of violence and their transmission across generations. The arts offer a fruitful platform to practise the openness and responsiveness that allow such connections to emerge for the postgenerations”. Our scope includes contemporaneous and non-contemporaneous artistic, cultural, and literary works, established by those with and without a direct connection to this history. We are particularly keen to include contributions from creative writers and artists experimenting with and reflecting critically on their own creative processes, working, for instance, with line, genre, textiles, objects, images, or sound as an ephemeral artefact; and from critics showing how survivors or their descendants have represented the Holocaust through these materialities. One theme might be re-purposing, repackaging or even ‘recycling’ of materials: a material intended for one purpose which has been used or examined for other ends. Another concern might be the role of creativity in the phenomenology of viewing and interpreting historical materialities, or of creativity in the  effort to recover, or reconstruct, lost or stolen objects. A perennial concern is the researcher-artist’s role in relation to the archive.

Abstracts should be no more than 300 words, with a short biography (150 words max). Please send your proposals (or any questions) via email to: holocaustmaterialities@gmail.com by 1st September 2024 (extended submission date). We expect final submission of the journal issue to be in 2025.

If you are submitting creative work, please specify in your abstract how many images and approximate word count for any creative writing you expect to include as part of your final submission .

Normal word count for the journal’s critical essay submissions is 8-12k. For creative work, your final submission should include at least 2K words of critical reflection on your creative practice/contextual information. For the creative element, there is no minimum word count; however, the 12k word limit remains. 

The following approximate guidelines might be useful: 1 image = 250-500 words. 50 lines of poetry = 1,000 words.

Contact Information

Hannah Wilson and Jay Prosser

Contact Email

holocaustmaterialities@gmail.com

Information Technology and Libraries Journal (ITAL) is seeking authors for a new column titled “ITAL &”.

The “ITAL &” column is a non-peer-reviewed, featured column that focuses on ways in which the library’s role continues to expand and develop in the information technology landscape. The emphasis will be on emerging ideas and issues, with a particular aim to recruit new-to-the-profession columnists.

Some examples of possible topics include:

AI: How will the rise of artificial intelligence and machine learning change various aspects of librarianship and different types of libraries? How are library professionals working with or fighting against artificial intelligence? Are libraries using generative AI in marketing materials or using large language models to streamline workflows? What cybersecurity implications arise?

General technology review: Looking back at the ten-year range, what are the major changes or improvements in library technologies that have occurred since 2014? What are the current and emerging technologies that enable telecommuting, cloud computing, and hybrid learning in libraries? What are the potential scenarios and implications of library technologies in the next five and ten years, and what are the best practices and strategies to prepare for them? This column could provide a platform to discuss and envision prospective library technologies.

Other topics of interest could include, but are not limited to: disability and accessibility, cybersecurity and privacy, the open movement / open pedagogy, linked data and metadata, digital humanities / digital praxis, digitization efforts, programming and workshops, the overlap between library technology and other library departments (acquisitions, readers advisory, information literacy and instruction, scholarly communications), or other emerging technologies and their implications for library work.

This column is intended to be practitioner-focused, and we will happily entertain submissions from folks who have expertise in libraries and technology but who may not work in a traditional “library” environment or role. We are also happy to work with first-time authors and folks based outside of North America, though columns need to be submitted in English.

Since this is a non-peer-reviewed column, there is also an opportunity to engage in new ways or different formats, so creative submissions will also be considered. (Examples: comics, zines, videos, autoethnography, case studies, white papers, policy documents, interviews, reports, or other things commonly referred to as “grey literature.”) If you would like your column to be in a format that differs from a standard editorial essay, please explain in your proposal.

Those who are interested in being an author for this column should submit a brief proposal / abstract that outlines the topic to be covered. Proposals should be no more than 250 words. Please submit your proposals to this Google Form no later than June 30, 2024.

Authors of accepted proposals will be notified by July 8, 2024, with the submission deadline for our quarterly issues on the first of February, May, August, and November. Completed column submissions should be roughly 1500-2000 words.

Please contact column editor Shanna Hollich (shollich@gmail.com) with any questions.