Participate

emisférica welcomes submissions of essays, artist presentations, and reviews. Please consult the guidelines in the right menu for more information. Submissions are understood to be original, unpublished, and should not be under consideration for publication elsewhere. The journal issues calls for papers two times per year that outline themes and deadlines.

Review Guidelines
Style Sheet

Review Guidelines

emisférica, the online journal of the Hemispheric Institute of Performance and Politics, welcomes performance, book, and film and video reviews written in English, Spanish, or Portuguese. Through our reviews, we aim to share recent critical thinking across different scholarly communities and to bring visibility to texts and performances that might not otherwise circulate across North/South borders.

If you are interested in contributing to emisférica's Reviews section, comprising reviews of books, performances, films, videos, and/or other materials related to performance in the Americas, please send your proposal to Este endereço de email está protegido contra piratas. Necessita ativar o JavaScript para o visualizar.. Proposals should include a brief description of the work and the author's approach to it (150 words); a short author bio (100 words); and a link to a previously published writing sample, or an unpublished writing sample as an attachment. Reviews are 800 words (up to 1500 for pieces covering more than one book, performance, or film). Please note that the review section is scholarly in nature and does not accept proposals from artists to write about their own work. Contributions that do not follow the editorial guidelines of the journal will not be considered for publication. Check the right column of this page for our guidelines, style sheet, and a selection of books open for review for the forthcoming issue of emisférica. We welcome additional suggestions as well as advanced queries.

Content and Approach

Book Reviews Reviews

Reviews should place the book in the context of existing scholarship, analyzing its theoretical and/or historical implications. How does the book advance our knowledge of the subject? How does it alter or extend ongoing lines of critical inquiry? Do address the scope, structure, and methodology of the work. If you find any of these limited, note those limitations while also noting where the book is valuable. Where relevant, note the use and quality of images, charts, or other illustrative material. Comment on the quality of the index and bibliography. Refer to yourself in the first person, not as “the reviewer” or “this writer.” Keep quotations of the reviewed book brief; list the page number in parentheses following the quotation.

Performance, Film, and Video Reviews

Keeping a broad international audience in mind, reviews should introduce the artists, venues, genre/style of the performance, and place these in a relevant aesthetic and/or social context. Address the significance of the performance, in relation to political issues, social or cultural setting, artistic trends, the artistic development of the artists involved, and/or its audience, as appropriate. Do respect the specificity of the work, noting the details in production, delivery, or realization that characterize the work. Refer to yourself in the first person, not as “the reviewer” or “this writer.”

Editing Process

The Journal does not provide authors with final proofs prior to publication. The editors will edit for spelling, punctuations, and clarity. However, the editor will contact the reviewer when substantive changes are considered.

Submitting the Review

Send the review in word format to Este endereço de email está protegido contra piratas. Necessita ativar o JavaScript para o visualizar., along with a brief bio and images, as per the specifications below.

Bio

Please include a 100-word bio detailing your artistic and/or scholarly career.

Images

We welcome up to three images to accompany any one review. Photos should have a minimum of 300 dpi and should be formatted as jpg or tiff.

Fully caption and credit all images in a separate page (in word format) including the name of the files with the corresponding information. Captions should include title, date, and venue name; names of performers, directors, authors; and photographer or photo credit. They may also include a brief description or comment. Example:

Style Sheet

Quotations

Use double quotation marks for quoted material within the text; single quotation marks should only be used for quotes within quotes.
For ellipsis within a quotation use three leader dots for a mid-sentence break, four if the break is followed by a new sentence.
Quotations of over 40 words should be extracted and indented without quotation marks, single-spaced, and not italicized.
Periods and commas go inside quotation marks in English, and outside in Spanish and Portuguese.

Spacing

Double-space all text, including endnotes, extracts, and reference lists.
Type only one letter space after periods and colons

Newspapers

May be cited in body of text
Must be cited in body of text if no author is listed (as in an editorial)
The place of publication (if not obvious from title of paper) should be made clear from the body of text or footnote and need not be noted in each separate reference from the same paper.
Please see the following page for examples of proper citationReference examples by type:
Please consult http://www.chicagomanualofstyle.org/tools_citationguide.htmlAnthology
Derrida, Jacques. 1982. “Signature, Event, Context.” In Margins of Philosophy. Translated by Alan Bass, 307–30. Chicago: University of Chicago Press.
Book
McKenzie, Jon. 2001. Perform or Else: From Discipline to Performance. London: Routledge.
Journal
Prieto-Stambaugh, Antonio. 1996. “La actuación de la identidad a través del performance chicano gay.” Debate Feminista 7, no. 13: 285–315.
--------. 1998. “Performance art transfronterizo: hacia la desconstrucción de las identidades.” Gestos 13, no. 25:143–62.
Newspaper (Include newspaper references in text if possible)
Gómez, Raul. 1997. “Violento inicio del semestre.” El Nacional, October 1: A1.
Online sources
Critical Art Ensemble. 1994. Autonomedia/semiotext(e). The Electronic Disturbance. Accessed 22 November 2002. http://www.critical-art.net.Stelarc. 2002. Hexapod.
Stelarc. Accessed 12 February 2008. http://www.stelarc.va.com.au
Original date
Du Bois, W.E.B. 1903. The Souls of Black Folk: Essays and Sketches . Reprinted in Three Negro Classics with an introduction by John Hope Franklin. New York: Avon Books, 1965. Page references are to the 1965 edition.
Same Year/Same Author; Interview; Personal correspondence
Stoklos, Denise. 2001a. Interview by author. Paris, 21 May.--------. 2001b. Personal correspondence. 2 October.
Sound (Best mentioned in running text and grouped under a subhead in reference list)
Public Enemy. 1990. Fear of a Black Planet. Fear of a Black Planet. Def Jam

Contact

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