Journal Guide

How will technology change the arts world? Who owns what in the information age? How will museums survive in the future? The Journal of Arts Management, Law, and Society has supplied answers to these kinds of questions for more than twenty-five years, becoming the authoritative resource for arts policymakers and analysts, sociologists, arts and cultural administrators, educators, trustees, artists, lawyers, and citizens concerned with the performing, visual, and media arts, as well as cultural affairs. Articles, commentaries, and reviews of publications address marketing, intellectual property, arts policy, arts law, governance, and cultural production and dissemination, always from a variety of philosophical, disciplinary, and national and international perspectives. The Journal of Arts Management, Law, and Society is an authoritative resource for the field of performing, visual, and media arts in particular and cultural affairs more generally. Articles, commentary, and book reviews address current and ongoing issues in arts policy, management, law, and governance from a range of philosophical and national perspectives. The journal seeks to increase communication and foster understanding among artists, public and private policymakers, cultural administrators, trustees, patrons, scholars, educators, and lawyers. Diverse disciplinary viewpoints are represented, encompassing aesthetics, economics, history, law, organizational management, political science, and sociology. A broad range of issues are addressed within the journal. Management topics might involve finance, labor relations, fundraising, marketing, or technological impacts; legal topics might include copyright, censorship, or trustee obligations; and cultural topics might involve education, historical preservation, or cultural diversity. The editors encourage writers to submit manuscripts or queries on subjects that fall within the scope outlined above to the managing editor. Articles should address a specific management or legal problem or need. They should be clear, well written, interesting, and free of jargon. Controversial topics are welcomed, but alternative viewpoints should be acknowledged and treated in a responsible manner. The length of an article depends on the subject. Articles should run on the average 258211;30 typewritten pages, including notes and references. Peer Review Policy: All research articles in this journal have undergone rigorous peer review, based on initial editor screening and anonymous refereeing by two anonymous referees. Publication office: Taylor & Francis, Inc., 325 Chestnut Street, Suite 800, Philadelphia, PA 19106.

The Journal of Modern Craft is the first peer-reviewed academic journal to provide an interdisciplinary and international forum in its subject area. It addresses all forms of making that self-consciously set themselves apart from mass production—whether in the making of designed objects, artworks, buildings, or other artefacts. The journal covers craft in all its historical and contemporary manifestations. It starts in the mid-nineteenth-century, when handwork was first consciously framed in opposition to industrialization, through to the present time, when ideas once confined to the ‘applied arts’ have come to seem vital across a huge range of cultural activities. Special emphasis is placed on studio practice, and on the transformations of indigenous forms of craft activity throughout the world. The journal also reviews and analyses the relevance of craft within new media, folk art, architecture, design, contemporary art, and other fields.The Journal of Modern Craft is the main scholarly voice on the subject of craft, conceived both as an idea and as a field of practice in its own right.

The Year’s Work in Critical and Cultural Theory is a companion volume to The Year’s Work in English Studies. It provides a narrative bibliography of published work, recording significant debates and issues of interest across a broad range of research in the humanities and social sciences. As the fields of critical and cultural studies shift, so the range and scope of the journal alters, and current volumes include chapters on Digital Media, Science and Medicine, and Popular Culture. The Year’s Work in Critical and Cultural Theory functions as a bibliographical tool of practical use to scholars and students alike, as well as a lively collaboration with contemporary debates.

For more than thirty years Theater has been the most informative, serious, and imaginative American journal available to readers interested in contemporary theater. It has been the first publisher of pathbreaking plays from writers as diverse as Athol Fugard, Sarah Kane, W. David Hancock, David Greenspan, Richard Foreman, Rinde Eckert, and Adrienne Kennedy. It has printed writings on theater by dramatists including Heiner Müller, Dario Fo, Mac Wellman, and Suzan-Lori Parks. Its special issues have covered many topics: theater and social change, children's theater, Soviet theater, theater and photography, paratheater, theater and revolution, and theater and the apocalypse.

For over five decades, Theatre Journal's broad array of scholarly articles and reviews has earned it an international reputation as one of the most authoritative and useful publications of theatre studies available today. Drawing contributions from noted practitioners and scholars, Theatre Journal features social and historical studies, production reviews, and theoretical inquiries that analyze dramatic texts and production.

Theatre, Dance and Performance Training (TDPT) is a twice-yearly, peer-reviewed journal which acts as a research forum for practitioners, academics, creative artists and pedagogues interested in training in all its complexity and across cultures. The journal is dedicated to revealing the vital and diverse processes of training and their relationship to performance making, including those from the past, from the present, and into the future. This diversity is reflected in the journal's international scope and interdisciplinary form and focus. TDPT acts as an outlet for documenting and analysing primary materials relating to regimes of performer training as well as encouraging discursive contributions in a range of critical and creative formats. It provides a valuable meeting-point for practitioner-researchers wanting to know more about training before, beneath, beyond and within performance.Some key areas of interest for all three sections of the journal include:Training purposes: why train, who trains and what is trained?Training histories: the currency of historic training approaches in the C21stTraining futures: emerging trends and methodologiesInterdisciplinary training/Training interdisciplinarity Derivations, lineages and (false) traditionsDocumentation and training Training places: laboratories, conservatoires, universities, schools, ensemblesTraining the untrainable: intuition, creativity, presence, talentIntercultural trainingThe languages of training and the problems of translationEmbodied knowledge and its disseminationThe politics and ethics of trainingTraining for and with new mediaTraining pedagogies and pedagoguesLifelong or continuing training The editors are currently inviting submissions for three distinct areas of the journal:Articles For the largest section of the journal, submissions are sought in the form of articles, critiques and extended analyses. SourcesMaterials relating to regimes of performer training 8211; workshop transcripts, interviews, new translations or publications of key training documents, practitioner logbooks, academy or laboratory curricula, training methodologies or manifestoes, framed by the author and contextualized for the reader.Training GroundsContributions in a range of shorter, more immediate forms capturing a sudden realization or discovery in training; considered reflections of performance work encountered, reviews of training texts or workshops experienced. For further details on these sections see 'Instructions for Authors'. Disclaimer:Taylor & Francis makes every effort to ensure the accuracy of all the information (the "Content") contained in its publications. However, Taylor & Francis and its agents and licensors make no representations or warranties whatsoever as to the accuracy, completeness or suitability for any purpose of the Content and disclaim all such representations and warranties whether express or implied to the maximum extent permitted by law. Any views expressed in this publication are the views of the authors and are not the views of Taylor & Francis.

Included in the Thomson Reuters Arts & Humanaities Citation IndexThird Text is an international scholarly journal dedicated to providing critical perspectives on art and visual culture. The journal examines the theoretical and historical ground by which the West legitimises its position as the ultimate arbiter of what is significant within this field. Established in 1987, the journal provides a forum for the discussion and (re)appraisal of theory and practice of art, art history and criticism, and the work of artists hitherto marginalised through racial, gender, religious and cultural differences. Dealing with diversity of art practices - visual arts, sculpture, installation, performance, photography, video and film - Third Text addresses the complex cultural realities that emerge when different worldviews meet, and the challenge this poses to Eurocentrism and ethnocentric aesthetic criteria. The journal aims to develop new discourses and radical interdisciplinary scholarships that go beyond the confines of eurocentricity.Peer Review Policy:All research articles published in this journal have undergone peer review based on initial editorial screening.Disclaimer for scientific, technical and social science publications:Taylor & Francis and Third Text makes every effort to ensure the accuracy of all the information (the 8220;Content8221;) contained in its publications. However, Taylor & Francis and Third Text and its agents and licensors make no representations or warranties whatsoever as to the accuracy, completeness or suitability for any purpose of the Content and disclaim all such representations and warranties whether express or implied to the maximum extent permitted by law. Any views expressed in this publication are the views of the authors and are not the views of Taylor & Francis and Third Text.