Calls for Papers from across the U.S. and beyond

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Added 7/28/14


CALL FOR SUBMISSIONS: make/shift no. 16

Make/shift—a magazine creating, documenting, and engaging with contemporary feminist culture and activism—is seeking submissions for its sixteenth issue (winter 2014).


We are seeking

--original reporting


--critical essays

--profiles of feminist activists, artists, projects, and thinkers

--personal essays

--fiction and poetry

--art and photography

--book, maga/zine, film, art, and event reviews

--hybrid pieces


We are also seeking content for the following regular make/shift features:

--Everyday Actions: first-person accounts of feminist action in everyday life (100 to 900 words)

--Make/Plans: listings for our international calendar of upcoming events (submit info for events occurring between January and June 2015)

--Participate: listings for our community bulletin board (calls for submissions, invitations to participate in community projects, and the like; deadlines should be ongoing or between January and June 2015)


Make/shift pays $.02/word plus two copies for prose, or a flat fee plus two copies for visual art and poetry.

Send pitches or full-draft submissions to info@makeshiftmag.comPlease submit no more than three poems or two pieces of prose at a time, and note that we do not publish reprints. Feel free to pitch multiple ideas at once. We accept pitches and submissions on a rolling basis, but priority for Issue 16 will be given to those received by August 1, 2014.


*Feminist Spaces*, a publication sponsored by The University of West

Florida’s Women’s Studies Collective, has issued their first call for works, titled Manifestas: Supporting Women’s Studies In Academia. *Feminist Spaces* invites undergraduate and graduate students from universities nationwide to submit academic essays, creative writing, or multimodal/artistic pieces that investigate why Women’s Studies is important to them individually, as well as to America’s educational institutions. For this inaugural issue we are also soliciting 1-2 page statements that are interested in the same inquiry. These statements will be published in the Fall 2014 issue of our online journal. Please ensure all written submissions adhere to the guidelines and conventions set forth by the *Chicago Manual of Style* 16th Edition. All artistic submissions must be submitted electronically as a JPEG or PDF file. Deadline for submission is Friday, August 15th, 2014, with a tentative release date scheduled for early September. Please send all works to


Call for Papers

Special Issue of the Journal of Lesbian Studies

Lesbian Organizations and Organizing

Proposals Due August 15, 2014


The Journal of Lesbian Studies , a peer-reviewed academic journal published by Taylor and Francis, invites proposals for a special issue on Lesbian Organizations and Organizing, guest-edited by Elizabeth Currans.

For this volume, the Journal of Lesbian Studies seeks articles documenting and analyzing the work of lesbian organizations, especially those that engage the following questions:

What makes an organization a lesbian organization? Is the focus on membership, target community, or the kind of work an organization does? In organizational contexts, how does the term lesbian interact with related terms such as dyke, queer, feminist, bisexual, and transgender? How do race, class, disability, and national location affect how lesbians organize? How do lesbian organizers resist oppression? How are they complicit with racist, classist, and ablest ideologies? How organized do groups need to be to be understood as organizations? How do longstanding lesbian organizations interact with newer ways of understanding lesbian, feminist, queer, bisexual, and transgender organizing? How do lesbian organizations work with other organizations with similar and divergent agendas? How successful are coalitional campaigns? What role do the arts play in lesbian organizing?

Interdisciplinary contributions are particularly encouraged.

Please submit a one-page proposal of your proposed contribution along with a one-page CV to Elizabeth Currans ( ) by August 15, 2014. Complete manuscripts of approximately 5,000-7,500 words will be due December 20, 2014.


This call was sent out earlier, but we have extended to deadline to Aug 31, 2014.

*Food, Masculinities & Home* 

Edited Volume in Bloomsbury Publishers, "Home" Series

Editors: Michelle Szabo, SSHRC Postdoctoral Fellow, Sociology, University of Toronto, & Shelley Koch, Assistant Professor, Sociology, Emory & Henry College, Virginia


*Volume Overview*

The traditional relationship between women/femininity and the domestic kitchen is changing. Both gay and straight men are cooking more at home and have more responsibility for food provisioning as dual-earners, single men and single fathers. Gay, female and trans masculinities are opening up new ways of ordering domestic food work, and new ideas of fatherhood are redefining roles within the household. Food media and popular culture increasingly feature men in domestic culinary roles, while masculine-identified women and trans men are using new media to “masculinize” traditionally feminine food tasks such as baking. All of these trends are occurring in a highly politicized foodscape where issues like public health (re. e.g. obesity rates), food system sustainability, and gender, race and class inequality are at stake.

While these trends are evident, there is a gap in the social scientific and humanities literature on masculinities, food and home. Given the long-held associations between femininity and domestic work, the focus has been primarily on the co-construction of femininity*, *motherhood and home through (straight/cis-) women’s cooking and feeding practices. A small number of works on “masculine domesticity” and “domestic masculinity” (Gorman-Murray 2008) is slowly emerging in response to this gender-traditional focus. However, these works give only tangential attention (if any) to the role of food. This interdisciplinary, edited volume will fill the gap by exploring how food practices shape and are shaped by masculinities and notions of “home” -- dwelling, place and space –- at both the domestic and beyond-domestic scales. 

We are aiming for a variety of approaches –- empirical, theoretical, literary –- that interrogate or reveal the intersection of masculinities, food and the home. Some general categories that might be covered include, but are certainly not limited to:

*Studies that reveal changes or continuities in masculine domesticity *Cooking, cleaning up or disposing of food, shopping (food provisioning), eating *Images of masculinity, food and home in pop culture and/or the extent to which these images are reproduced empirically *Gender inequalities and heteronormativities in relation to home and

to food *Masculine domesticity as “leisure” (versus female domesticity as “work”) *Home food as national, local, or individual identity *Food as nostalgia, reminder or creator of home, including in cross-cultural or migratory contexts *Food and masculinity in other types of “homes” – institutional or virtual places (e.g. retirement homes, group homes, community spaces, intentional communities) *Food, care-work and masculinities *Market-based food work that connects to the household *Food preparation for home consumption as it relates to masculinities

***N.B.* We already have a strong list of international contributors, especially on the topic of men’s cooking in food media and especially in relation to masculinities as performed by straight, able-bodied, men. At this stage, we are interested in proposals of all kinds, but are especially eager to include investigations of non-hegemonic masculinities, including racialized, classed and/or female, trans, queer, gay and differently-abled and –identified bodies.


*Proposed Chapters*

Chapters will be a maximum of 7000 words (not including tables, charts, pictures, etc). Manuscripts should avoid footnotes, endnotes and the use of Appendices. As this book is intended to appeal to students and scholars from a variety of disciplines, chapters should be clearly and accessibly written without excessive jargon.


Please provide a short prospectus for your proposed chapter (500-750 words). In addition, attach a short bio/CV (two pages maximum), and email these documents to: and no later than Aug 31, 2014.



Added 7/14/14


 Gendered Perspectives on International Development (GPID) Working Papers

Michigan State University invites the submission of article-length manuscripts (6,000 - 9,000 words) for peer review and publication in our Gendered Perspectives on International Development (GPID) Working Papers series. We seek materials at a late stage of formulation that contribute new understandings of women and men’s roles and relations amidst social, economic, and political change in the developing world. The goals of GPID are: (1) to promote research that contributes to gendered analysis of social change; (2) to highlight the effects of international development policy and globalization on gender roles and gender relations; and (3) to encourage new approaches to international development policy and programming.

GPID cross-cuts disciplines, bringing together research, critical analyses, and proposals for change. Individual papers in the series address a range of topics, such as gender, violence, and human rights; gender and agriculture; reproductive health and healthcare; gender and social movements; masculinities and development; and the gendered division of labor. We particularly encourage manuscripts that bridge the gap between research, policy, and practice. Accepted papers are individually printed for distribution as well as published online. We are an open access publication, and previously published papers can be viewed at:

If you are interested in submitting a manuscript to the series, please send a 150 word abstract summarizing the paper’s essential points and findings to Dr. Anne Ferguson, Editor, or Rowenn Kalman, Managing Editor, at If the abstract suggests your paper is suitable for the GPID Working Papers, the full paper will be invited for peer review and publication consideration.


Publishing Feminisms Symposium

Banff Center for the Arts, Alberta, Canada May 17-20, 2015

What can print culture tell us about feminism’s past(s), its present articulations, and its future aspirations? What role does feminist print culture – a category that includes zines, periodicals, feminist presses, scholarly periodicals, popular periodicals, textbooks, blogs – play in the expansion of feminist politics, perspectives, and communities?

Publishing Feminisms seeks to expand feminist print culture studies, and specifically feminist periodical studies, by emphasizing analyses of contemporary texts and communities in the west and beyond. The goal of this symposium is to explore the relationships between feminist print culture – feminist presses, periodicals, glossies, zines, independent and the production and distribution mechanisms through which they are supported – and post 1960 feminisms.

Participants are encouraged to propose comparative, historical, and case studies on feminist forms of print culture, feminist analysis of print culture in any form and, on a broader level, to consider how the study of feminist print culture in all its possible formations is useful to contemporary feminist intellectual and activist projects. Papers on a wide variety of topics related to feminist print culture, periodical studies, and publishing are encouraged. Topics might include:

* zine culture * Case studies of periodicals: off our backs, Heresies, Spare Rib, Shrew, Chrysalis * Feminisms on-line: fourth wave feminism and cyberfeminism * Popular women’s magazines and feminist glossies * The role of academic journals in the professionalization of feminism * Feminist independent publishing, independent printshops * Minority women’s publishing and periodicals * Publishing feminism in (and for) a global community * Lesbian, queer, trans* periodical print culture * Mimeographs, pamphlets, and manifestoes * Feminist publishing collectives * The rise and fall of feminist bookstores

The symposium will be held at Banff Centre for the Arts, Alberta, Canada May 17-20, 2015.

Paper proposals should be sent to Michelle Meagher ( by September 15th, 2014.

Proposals ought to include a title, 300-word abstract and a brief CV.


 How do we care for women with histories of mental illness and, particularly, trauma? Do we have feminist approaches to women’s mental health issues? 

You are invited to collaborate with us in writing a book on women and mental health care in Canada. This is a sequel to Women Who Care: Women’s Stories of Health Care and Caring, co-edited by Dr Nili Kaplan-Myrth, Lori Hanson and Patricia Thille (2010).

We invite women with histories of trauma to submit personal stories about their experiences within the mental health system. Where did you turn to seek help? What barriers did you encounter? What care did you receive? Who or what made the greatest difference?

Women who work in the mental health field — as clinicians, allied health care providers, community advocates, others — are invited to submit their personal and professional stories about providing mental health care.

We are also interested in the broad network of women — family, friends, neighbours, community members — who care for women. Who are you? What do you do? How do you fit into the picture of mental health care?

We are actively seeking stories from women who are marginalized. Whose voices haven’t been heard? Who are we failing to care for? Why?

Finally, we invite contributions from academics/researchers, written in plain language: Consider feminist, social science, psychology, psychiatric and other lenses through which to analyze mainstream and alternative approaches to women and mental health. Original research studies and literature reviews are welcome. What have we done in the past two decades to uniquely address women’s mental health care issues? How do the issues or approaches to the treatment of women’s mental health in psychiatry, social work, psychology and other allied health fields differ? How/where do we address complex trauma and sexual abuse in our health care system? Do changes in the DSM-5 bear any specific significance for women? Where in psychiatry or medical training do we offer an understanding of mental illness through a feminist lens? How does our public/private divide of mental health services affect the quality of care available to the average Canadian woman?

This call for submissions is intentionally broad. Our vision, with Women Who Care 2, is to include diverse perspectives from recipients as well as providers of mental health care. We want to juxtapose personal stories with academic/clinical studies. Our goal is to create a book that will spark conversations around dinner tables, in media coverage of women’s mental health issues, in seminars and bedside teaching, and in the boardrooms of those who are responsible for women’s mental health policy and programs.

Deadline for submissions: October 2014

Maximum length: 2000 words

Please send all submissions and questions to

We will review all pieces but may not be able to respond to everyone.

Please respect privacy and do not send anything of a personal nature that may be harmful to yourself or others. Note that we are not able to provide mental health crisis support.



Added 7/9/14


The application deadline of August 1st for the 2015-2016 Fulbright U.S. Scholar Program core competition is quickly approaching.

The Fulbright Scholar Program offers teaching, research or combination teaching/research awards in more than 125 countries for the 2015-2016 academic year. Opportunities are available for college and university faculty and administrators as well as for professionals, artists, journalists, scientists, lawyers, independent scholars and many others.

Of the 584 awards being offered this year, there are a number of awards available in the field of Gender Studies. Of these, there are 25 that, even though they may be All Discipline awards, ask specifically for applicants in the field of Gender Studies. Awards are offered in various regions around the world and welcome teaching and/or research proposals in any area of study, including interdisciplinary projects.

In order to meet the changing needs of academia and develop new options to accommodate better the interests and commitments of today's scholars, the program has introduced several innovations to the 2015-2016 program, including: Fulbright Flex Awards<>, Fulbright Postdoctoral/Early Career Awards<>, Salary Stipend Supplements<>, and Teaching English as a Foreign Language<> Awards.

Interested faculty and professionals are encouraged to learn more about these opportunities, and hundreds of others, by visiting the Catalog of Awards<>.

The application deadline for most awards is August 1st.  U.S. citizenship is required.  For other eligibility requirements and detailed award descriptions, visit our website at  or contact us at<>.


UMInDS presents: Disability/Culture: New Grounds. A Practice-Based Research Symposium.

February 3 rd to 6 th 2015, University of Michigan, Ann Arbor

Deadline for applications: August 1st 2014 , notification: September 15 th 2014.

In our seventh practice-based research symposium at the University of Michigan, and as the Initiative on Disability Studies’ Spring Conference, we’ll investigate cultural practices around cognitive, emotional, sensory, and embodied differences that trouble an assumption of similarity of time, space, and communication practice.

From crip time to neurodiversity, from pain space to Deaf gain, from access intimacy to decolonial crip methods, what are new(er) ways of thinking about disability and the arts (of living)? How can we think about the ethics of reciprocity, about new ways of being audience, being performer, being in shared (academic/art/life) space? How can art/life practices trouble older ways of thinking about artistic and academic disciplinarities?

We invite up to five fellows (grad students, faculty, artists) to come together for four days, to workshop, use performances and presentations as provocations, and explore methods of merging art practice, conviviality, and critical encounter. The specific topics we will explore are open, and will be determined by applicants’ interests. We will be in research practice together: this is not a conference to share the results of previous research or practice. Thus, we are not looking for papers, we are looking for participants in this experiment. Come and share the excitement of your creative and/or critical research, present a workshop based on your inquiry, and find out what happens. The experiment lies in finding a path toward accessible artful community together.

Before the symposium, a small collection of material from all participants will be made available to prepare us for our time together. During the symposium, each fellow will have (up to) two hours to engage others in a seminar. We will be in residence at the Duderstadt Video Performance Studio on the University of Michigan's North Campus, home to multiple performance technologies, with innovative tech wizards at the ready.

Each invitee will have transport and accommodation costs reimbursed up to $500 dollars. The conference hotel offers rooms for about sixty dollars a night, and we will assist people who want to be hosted by graduate students and locals.

Application Process : please email us a short CV, a sample of your work, and a brief statement about why you would like to participate. Direct all materials to the symposium director, Petra Kuppers,

Conference Organizing Team :

Bree Hadley, Queensland University of Technology, President of the Australasian Association for Theatre, Drama and Performance Studies; Beth Currans, Women's and Gender Studies, Eastern Michigan University; Ai Binh Ho, Crystal Lin Yie, Shannon Walton, Jina Kim, Katherine Kidd, Dawn Kaczmar, graduate students, University of Michigan; Director: Petra Kuppers, University of Michigan


*CFP: Society for Cinema and Media Studies 2015*

Montreal | March 25-29, 2015 

*Panel Title: The Aesthetics of Postefeminist Failure in Popular Media *

From reality TV makeover shows, lifestyle blogs, Pinterest boards, and Instagram feeds, postfeminist media culture is saturated with representations of feminine perfection. These normative aesthetics are shored up through the constant barrage of images displaying a careful mix of well-manicured slender, white young women (styled with high-end garments, beautifully manicured nails, and flawless makeup), who manage to balance careers with romance, friends, and travel with grace and style. While these aesthetics communicate the effortlessness of femininity “done right,” postfeminist ideologies mask the labor that goes into producing this type of femininity. Yet, there are spaces where postfeminist perfection is disrupted through the sharing of personal of images of feminine “failure”—from messy homes on mommy blogs to messy hair on Instagram to filed DIY projects on sites like Pinterest Fail.

This panel seeks papers that use media texts from a variety of genres to explore how an aesthetic of postfeminist failure visually operates. Authors may turn to traditional media texts like film and television or examine new media like lifestyle blogs, Instagram images, Facebook news feeds, and Pinterest boards, which are just some of the sites women use to visually craft and/or disrupt feminine fantasy worlds and the work that goes into building them.

Papers should consider one or more of the following theoretical questions: How is “failure” defined in and through postfeminist terms? What does an aesthetic of postfeminist failure look like—across lines of race, class, gender, and sexuality—and what do these aesthetic practices have to say about the construction of contemporary femininity within the logic of postfeminism? What role does failure play in a postfeminist media aesthetic? How is failure visualized/made visible within a spectrum of contemporary media culture? What purpose do these ruptures play in the larger understandings about the production of femininity and *who* is doing the rupturing?

Please submit the following information to panel chair *Amanda Rossie (*: 250-word abstract with paper title; a works cited list of up to 5 sources; and a brief author bio (3-4 sentences).

*Deadline for submission: August 3, 2014. Panelists will be notified by August 10.*


Atlantis: Critical Studies in Gender, Culture & Social Justice/Études critiques sur le genre, la culture, et la justice sociale

Call for Papers, Issue 37.2

Deadline: August 15, 2014


Author Instructions

Manuscripts must be submitted to the Atlantis on-line system at

Manuscripts should not exceed 7,000 words, including references.

Use of Chicago Style (author, date) is required (see ( ) and click on the ‘author-date’ button).

Manuscripts must be anonymized with no references to the author in the manuscript; if submissions are not properly anonymized, they will be returned to the authors.

For further instructions, see the Author Guidelines at



This Call for Papers asks for submissions for one thematic cluster and one open topic cluster.


Cluster #1: Belaboured Introductions: Inspired Reflections on the Introductory Course in Women’s, Gender and Sexuality Studies

Editors: Melissa Autumn White and Jennifer Musial

In addition to submitting your manuscript to the Altantis on-line system, a duplicate copy of your submission should be e-mailed to the co-editors at

“This course changed my life!”  Transformative, beloved, dreaded, neglected, unruly, inspiring:  at its best, the introductory course in Women’s, Gender and Sexuality Studies is a feminist, antiracist, queer, trans* laboratory in action. Aiming to open space for inspired reflections on the introductory course, this special cluster invites considerations of the psychic and political aspirations, economies, and pedagogies of ‘WGSS 101.’  How do those of us who teach – or avoid teaching – the introductory course imagine the performative and affective labour of WGSS 101 in relation to broader debates shaping the field? As a vital institutional object, how might the introductory course influence the stories we tell ourselves about the interdisciplinary and critical field of Women’s, Gender and Sexuality Studies (cf. Wiegman 2012, Hemmings 2011)?  The introductory course undoubtedly plays an important role in the lives of our departments and programs by drawing students to continue on as majors or minors. In making the familiar strange, WGSS 101 can lead to the intense pleasures of coming alive to new attachments and approaches to knowledge at the same time that it opens fraught discussions of power that can be experienced as anxiety producing and destabilizing. The unrepeatable affective ecologies that emerge in each class take shape against the backdrop of the neoliberal university, which increasingly relies on precarious and/or ‘entrepreneurial’ sessional faculty to teach ballooning introductory classes that, nevertheless, promise to deliver on the branded ‘social value’ mandates of the institution.  In the context of the academic industrial complex and its entrenchment in geopolitical economies and agendas, what are some of our best visions for the work the introductory course might do in the world and in the lives of our students? What role do political and psychic desires play in the pleasures, risks, and seductions of teaching and learning in the introductory course as it circulates in and re-creates the field of Women’s, Gender and Sexuality Studies more broadly?

Papers might find inspiration in (but are not limited to) the following thematics and questions:

Affective Ecologies: How do political and psychic investments and imaginaries shape the affective atmosphere of the introductory course? What is the role of pleasure, anxiety, anger, suspicion, joy, sadness, depression, comfort and so on in the work of critical pedagogy?  How do the affective ecologies of the classroom influence the capacities (and/or debilities) of the introductory course instructor?

Stories: What stories do we tell ourselves, our curriculum committees, our university administration, and our students about the role of the introductory course in and beyond the university?  How do we get stuck in the stories we stick by about WGSS, and with what effect?

Archives, Epistemologies: What archives of knowledge emerge, become entrenched in, or are transformed through the labour of the introductory course? How have queer, trans*, decolonizing, transnationalizing and indigenizing feminist epistemologies opened space for new analytic objects, categories, and tendencies in the introductory course?

Seduction: What is the role of seduction and pleasure in critical pedagogy, especially in programs whose survival depends on cultivating majors and minors? How do critical programs such as Women’s, Gender and Sexuality Studies risk and/or work against competing with other pedagogies of “minority difference” (Ferguson 2012) as they are institutionally situated (e.g. Ethnic Studies, Africana Studies, Asian American Studies, Indigenous Studies, Latin@ Studies, Chican@ Studies, Cultural Studies, Sexuality Studies, American Studies, etc.)?

Austerity: How are austerity discourses and university budget cuts impacting the introductory WGSS course as a particular mode of social/intellectual labor?  How is value ascribed to the introductory course by positioning it as meeting ‘social justice,’ ‘sustainability,’ ‘global citizenship,’ ‘civic engagement,’ and ‘diversity learning’ outcomes, and with what implications? How or to what extent does university branding become part of the story we tell ourselves about the work that we do?

Labour and Embodiment: What are the labour politics—racialized, sexualized, gendered, material, affective—of the introductory course?  Who teaches/who avoids the introductory course, and under what conditions? How is the labour of the introductory course experienced in/by the (socially marked) body? What is the role of embodiment in critical WGSS pedagogy?


Cluster #2: Open Topic

Editors: Ann Braithwaite and Annalee Lepp

Atlantis: Critical Studies in Gender, Culture & Social Justice/Études critiques sur le genre, la culture, et la justice sociale also welcomes submissions on topics and themes other than those identified in the above thematic clusters that fit with the journal’s mission statement (see

Issue Publication Date: Winter 2014-2015



Added 6/27/14


*Call for Papers, Poetry, and Prose*

*WSQ Special Issue Fall 2015: The 1970s*

*Guest Editors: Shelly Eversley and Michelle Habell-Pallán*

The 1970s was a revolutionary moment for women. It transformed the very notion of female power regarding their bodies, their pleasure, and their work. In addition, women’s activisms in the decade shaped new paradigms for thinking about race, sexuality, reproductive rights, labor, colonialism, technology and the environment. Inaugural moments in film, music, television, sports, visual arts, and computing remain crucial landmarks in debates and interventions concerning pornography, sex work, sound studies, digital feminism, legal theory, and religion.

The decade witnessed congressional passage of the Equal Rights Amendment (1972), with ratification by 35 states by 1977—just 3 states shy of a formal change to the US Constitution. The rise of oral contraception, the landmark Supreme Court decision, *Roe v. Wade* (1973), and the publications of books such as *The Joy of Sex* (1972) and *Our Bodies, Ourselves* (1973), as well as activisms around domestic violence and rape offered new, practical and theoretical models of female empowerment. Activists, writers, and scholars such as Bella Abzug, Angela Davis, Nawal El-Saadawi, Audre Lorde, Robin Morgan, Kate Millet, Gayle Rubin, Gloria Steinem, and Michele Wallace created new epistemologies of gender, sex, race, class, and politics.

Popular culture changed as well: Billie Jean King defeated Bobby Riggs in the “battle of the sexes;” Donna Summer helped launch disco music; television saw new female characters such as *Wonder Woman* (1975-79) and *The Bionic Woman* (1976-78), both imagining women in relation to new technologies of science and communications; new film production code inspired innovation and controversy (e.g., *Deep Throat (*1972) and *Cleopatra Jones* (1973)); and Spanish language commercial media in the U.S. also began to take hold.

Feminist grassroots culture blossomed, taking cues from activists, writers, and scholars. Women took the reigns of emerging technologies and developed projects that provided platforms for feminist and queer voices in the form of Olivia Records and the development of community radio networks. Independent feminist journals such as Third Woman Press emerged to publish Chicana and Latina feminist writings. Art collectives like Mujeres Muralistas pushed the flourishing of public murals in the Mission District, throughout the Bay Area, and nationally.  Changes in immigration policy prompted Teatro Chicana to bring immigration and gender issues to the foreground. In major cities, women—including women of color—played key roles in the development of punk and hip hop, as these scenes responded to the material realities of global economic restructuring. The conservative response to this era of transition and change also inspired the “New Right,” which left lingering effects.

The social and cultural agendas developed in 1970s continue to haunt and inspire. This special issue of WSQ invites scholars, artists, and activists to reflect on the decade’s broad ranging accomplishments, its unfinished agendas, and its influence on the contemporary moment.

Topics we are interested in exploring include, but are not limited to:

*reproductive politics, and/or activisms around ERA *feminist avant-gardes, including visual and performance art *sex, sexuality (e.g., female orgasm, *The Joy of Sex*, *Our Bodies,

Ourselves*) *oppositional music scenes such as punk, fandango, hip hop, and salsa *global feminisms *lesbian and gay activisms *feminist development of community radio networks, music labels, and music

engineers *ecofeminism *feminist presses *Women of color/Chicana/Latina/Native/Asian women’s collectives *popular culture, television, and film *Wonder Woman, The Bionic Woman as cyborg *biopolitics of gender and race *women, race, and computer and scientific technologies *pornography (e.g., *Deep Throat*, *Lialiah*) *feminism and the law, legal theory *pre-histories of digital feminism *Black Power, Black Aesthetics *Spanish language popular culture and film

Please send abstracts, inquiries, and essays to Shelly Eversley and Michelle Habell-Pallán at We will give priority consideration to abstracts submitted by August 1, 2014. Final essays and essay submissions are due on October 2, 2014. Final submissions should not exceed 6,360 words (including un-embedded notes and works cited) and should comply with the formatting guidelines at

Poetry submissions should be sent to WSQ's poetry editor, Kathleen Ossip, at by October 2, 2014. Please review previous issues of WSQ to see what type of submissions we prefer before submitting poems. Please note that poetry submissions may be held for six months or longer. Simultaneous submissions are acceptable if the poetry editor is notified immediately of acceptance elsewhere. We do not accept work that has been previously published. Please paste poetry submissions into the body of the e-mail along with all contact information.

Fiction, essay, and memoir submissions should be sent to WSQ's fiction/nonfiction editor, Asali Solomon, at by October 2, 2014. Please review previous issues of WSQ to see what type of submissions we prefer before submitting prose. Please note that prose submissions may be held for six months or longer. Simultaneous submissions are acceptable if the prose editor is notified immediately of acceptance elsewhere. We do not accept work that has been previously published. Please provide all contact information in the body of the e-mail.


*How can I explain what is happening to me? What can I do about my desire for transformation? What can I do about all the years I defined myself as a feminist? What kind of feminist am I today: a feminist hooked on testosterone, or a transgender body hooked on feminism? I have no other alternative than to revise my classics, to subject those theories to the shock that was provoked in me by the practice of taking testosterone. To accept the fact that the change happening in me is the metamorphosis of an era. (Beatriz Preciado, Testo Junkie, p.22)*

The forthcoming issue of ...ment ( *Displacement*,  is dedicated to transfeminism, as an emergent thinking of radical, gendered alterity. Responses to Beatriz Preciado’s game-changing book *Testo Junkie *are especially welcome.

Here we are using the term transfeminism as follows:  In Preciado’s own words, transfeminism ‘marks the displacement of the site of enunciation from a universal “female” subject to a multiplicity of situated subjects. It involves a conceptual overturning of the debates concerning equality/difference, justice/recognition, and essentialism/constructivism in favor of debates concerning the transversal production of differences.’ [1] <>

“Borrowing” the term from Preciado, Antonella Corsani defines transfeminism as ‘a feminism that is a thinking of and a political experimenting with multiplicity’, and which, crucially, has reconfigured itself as such in response to its ‘confrontations’ with queer and postcolonial theories. [2] <> Thus, binary oppositions and their dialectics make way for intersectionality.

We could hardly announce a call for contributions to a trans/gender themed issue and fail to notice the surge of popular media interest in transgender. Laverne Cox on the cover of *TIME* magazine; it hardly gets more mainstream. However, as Preciado observes in Testo Junkie, while embarking on a sovereign,  self-experimental course of testosterone;  the medicalised gender reassignment programs which many trans people enter into in order to access hormones and “corrective” surgeries serve to enforce and reinforce the naturalized, normative construct of the gender binary.

Meanwhile, perhaps most visibly in America, where Men’s Rights groups state their wish to eradicate (what they call) feminism for bringing down the old order, the old Western masculinities are in crisis; entrenched in a fearful state of ‘aggrieved entitlement’[3] <>, it’s manifesting as misogyny and violence. That some of their accusations of feminisms’ role in wreaking certain socio-economic changes are borne out by e.g. Antonella Corsani’s own transfeminist, post-marxist analysis is—well, kind of powerful.

But we prefer lines of flight to fight-or-flight, and we’d like to think transfeminism can help with this deterritorialization. If ‘multitudes are rhizomatic connections in the process[es] of their becoming[s]’; if, with Edouard Glissant, ‘We clamor for the right to opacity for everyone’[4] <> (where opacity is taken to mean a ‘kind of unclassifiable poetics, or aesthetics that doesn’t attempt to reduce the alterity of another person’[5] <>) then this *has* to include men as well, privileges notwithstanding: even the archetypal classifying, objectifying, universal white cis-male subject. Otherwise, as long as we effectively conspire to reproduce the construction whereby (white cis-) males occupy the universal subject position of the One against which all others *are *Othered; as long as we, too have them backed into a corner, ‘flatten[ed] into the enemy’,[6] <> it’s an impasse: it’s *also* a fiction.

Here too, Preciado’s gender-hacking *Testo Junkie *provides a resource for the making-strange of masculinities: e.g., the account of what it feels like to take testosterone, the performance of sexual roles and pleasures and the drag king workshop.  But here as elsewhere, feel free to surprise us with other sources.

*We invite contributions that consider the emergence and potentialities of transfeminism as a feminism; in context of the history of feminisms, and those that investigate the feminist theory at the core of Preciado’s thinking.*

*We invite further responses to Testo Junkie, and Preciado’s post-Foucauldian articulation of the pharmacopornographic regime: its somato-politics, its techno-sexuality, its toxic-pornographic subjectivities. *

*We invite contributions that engage more broadly with postbinary gender thinking*; *including the case for the cis- genders and the gender binary as naturalized constructs. *

*Lastly, with Elliot Rodger (and germinal others) in mind, we also urgently invite contributions which move toward a thinking of masculinities as also other: also alterior, multiple, intersectional. *

*We accept essays, poetry, fiction, text and images for publication.  *

As a way in to thinking this call for proposals, we offer the following preliminary resources:

Beatriz Preciado’s “Pharmaco-pornographic Politics: Towards a New Gender Ecology” which introduces several main themes of *Testo Junkie*, can be found here: 

Antonella Corsani’s “The Becoming Transfeminist of (Post-)Marxism” can be found here:

*Please send proposals/contributions by September 10, 2014 to: 


Call for Presenters: The Transecting Society Conference

The Fourth Annual Transecting Society Conference: Affirming Trans* Lives, Advancing Trans* Politics will be held at the University of New Hampshire, Durham, April 8-10, 2015.

The Transecting Society Conference is dedicated to exploring controversial political issues that impact trans* lives locally and globally.

The term "trans*," like all terms, is limited in its capacity to name our differences. However, with the phrase "trans* lives," we intend to be inclusive of the lives of all cross-dressing, transsexual, genderqueer, gender-fluid, gender variant, and gender-nonconforming people. Moreover, we endeavor to recognize the particularity of each trans* life as it is shaped by the intersections of sex at birth, gender assignment at birth, gender identity, gender expression, medical history, race, ethnicity, nationality, language, religion, spirituality, geography, economic class, educational attainment, sexuality, dis/ability, weight, height, and age.

At this conference, we are committed to the core values of trans*feminism and social justice. We seek to cultivate a supportive and egalitarian space where we can build community, educate each other, mobilize activism, and create change. We welcome activists, artists, faculty members, lawyers, performers, policy makers, social workers, scholars, students, writers, and all others who are interested in affirming trans* lives and advancing trans* civil rights, human rights, and liberation.


Presentation topics could include (but are not limited to) the following:

--Coalitions between trans* political movements and other movements for justice, liberation, peace, rights, and sustainability

--How trans* lives are shaped by the intersections of sex at birth, gender assignment at birth, gender identity, gender expression, medical history, race, ethnicity, nationality, language, religion, spirituality, geography, economic class, educational attainment, sexuality, dis/ability, weight, height, and age

--Representations of trans* people in literature, film, television, and new media

--Past and present controversies involving trans* bodies, identities, expressions, and lives

--Trans* lives in education

--Trans* lives in STEM (science, technology, engineering, and math)


Presentation formats may include (but are not limited to) the following:

--Paper (Estimated Time Allotment of 15 Minutes): The presenter addresses a research question and advances an argument or shares findings.

--Activist Report (Estimated Time Allotment of 15 Minutes): The presenter summarizes their activism and how attendees can learn from, or support, that activism.

--Workshop (Estimated Time Allotment of One Hour): The presenter facilitates an interactive session. Workshops with practical goals, such as the development of strategies and tactics for social change, are encouraged.

--Performance (Time Allotment Varies): The presenter delivers a monologue or other artistic work.

--Film Screening (Time Allotment Varies): The presenter screens a film that they produced.

--Roundtable (Estimated Time Allotment of One Hour): Multiple presenters discuss a topic.

--Author-Meets-Respondent Session (Time Allotment TBD): A presenter shares their work, and one or more additional presenters respond to it.

--Question-and-Answer Session (Time Allotment TBD): One or more presenters answer questions about a topic.


To become a presenter, please email a proposal (proposals [at] transectingsociety [dot] com) by October 1, 2014. Proposals should include your name, a 100-word bio, your presentation title, your presentation format, and a description (100-300 words) of what you will present and and how it will relate to conference themes.

For more information, please visit For inquiries about this call for presenters, please email Peter Cava (peter [at] transectingsociety [dot] com).


  • Center for Feminist Research
  • University of Southern California
  • Mark Taper Hall of Humanities
  • Room 422
  • 3501 Trousdale Parkway
  • Los Angeles, California
  • 90089-4352 USA