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Submission Preparation Checklist

As part of the submission process, authors are required to check off their submission's compliance with all of the following items, and submissions may be returned to authors that do not adhere to these guidelines.
  • The submission has not been previously published, nor is it before another journal for consideration (or an explanation has been provided in Comments to the Editor).
    The submission is anonymous.
    Please read how to Ensure a blind submission for further details.
  • The submission file is in OpenOffice, Microsoft Word, or RTF document file format.
  • Where available, URLs for the references have been provided.
  • The submission file includes an English abstract, keywords and contact person working languages.
  • The text is single-spaced; uses a 12-point font; employs italics, rather than underlining (except with URL addresses); and all illustrations, figures, and tables are placed within the text at the appropriate points, rather than at the end.
  • The text adheres to the stylistic and bibliographic requirements outlined in the Author Guidelines OR I commit to adapting it once it's accepted for publication following copyediting instructions.
  • Copyright notice

    The content is published under the CC 4.0 license (Creative commons 4.0, by, non commercial) as presented at
    Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
    Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
    Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.

Author Guidelines

Submission components

— Title.

— Contact person working languages (other than English). It is assumed that “Contact person“ is the one submitting the proposal.

— Abstract: max 180 words.

— Keywords: three to five recommended.

Use semicolon to separate different keywords and comma for specifications/subsets. E.g.: Philosophy, political; Ethics; Aristotle’s Ethics; Linguistics, semantics. You can refer to BISAC subject headings for subjects (broadly), then add content-specific or method-related keywords.

— Article body.

— Signature(s), i.e. full name, affiliation, email, will be included upon publication.

— References.

Author(s) and *Contact person (or principal author) shall not be included in the article text, but only provided during the submission process.


Layout guidelines

Do not bother with layout. Layout and text formatting are not something authors should fight with. Do what’s easier for and clearer to yourself. Simpler is better. A few hints:

    • blockquotes should stand out clearly;
    • paragraphs should be numbered. Up to three sub-levels are supported;
    • if you are going to use images, be sure you can cover for rights or images are under a CreativeCommon license. You will be requested to provide high resolution files. You will also be asked to provide us with captions in a separate file;
    • references should include original edition, when applicable;
    • avoid bold.

Citation style

A variation of Harvard author-year citation style is adopted.

Substantive notes are numbered, references are parenthetical (in-text, in round brackets), bibliographical references are required. Compared to Harvard style, we use a simplified punctuation and a “European” style with regard to Publisher-City order.

Quotations and punctuation

Quotation marks: double inverted commas. Use single inverted commas in nested quotations only or when emphasizing a word/phrase and italics does not / can not apply.

Terminal punctuation and superscripts ought to be outside quotation marks.

Superscripts ought to be outside quotation marks and inside terminal punctuation.

In-text references ought to follow quotation marks.

Quoted question marks are of course considered part of the quotation.


  • “quoted text”.[superscript]
  • “quoted text” (reference).
  • “quoted text”[superscript, if applicable] (reference).
  • “Is this a question?” (reference).

Usage of capital letters

Essay title: Very first letter only.

References / book title: current English rules apply.

References / article title: Very first letter only.

References / translations: Very first letter only; keep capital letter in language abbreviation (e.g. “Eng. tr.”).

In-text references

Books, essays, published/unpublished conference papers, etc... are all referred to through Author and year.

Commas are used to separate different (multiple) authors. Colons are used instead of “p.” or “pp.”. Semicolons are used to distinguish different works as well as the original edition from a translation in use (if applicable). Letters are used to distinguish different works written by the same author in the same year.

  • Single author:
    • Sophisticated searching techniques are important in finding information (Rossi 1994).
    • Rossi (1994) claimed that sophisticated searching...
    • Rossi states that “sophisticated searching techniques are important in finding information” (1994: 33).
  • Multiple authors: add et al. (always italicised)

Sophisticated searching techniques are important in finding information (Rossi et al. 1994).

  • Translation:

Rossi states that “sophisticated searching techniques are important in finding information” (1994: 33; Eng. tr. 1998: 28).

abridged form

Rossi states that “sophisticated searching techniques are important in finding information” (1994: Eng. tr. 28).

  • Multiple works:
    • Sophisticated searching techniques are important in finding information (Rossi 1994; 1996).
    • Sophisticated searching techniques are important in finding information (Rossi 1994; Bianchi 1999).
    • Sophisticated searching techniques are important in finding information (Rossi 1994a; 1994b).

Avoid redundancies:

    • Rossi has been working on this subject for almost a decade. In his essay on searching techniques (1994), he states that they are “extremely important in finding information” (33).
    • Rossi has been working on this subject for almost a decade. In his essay on searching techniques (1994), he states that they are “extremely important in finding information” (Eng. tr.: 28).
  • Omonimies: use initial(s)

Sophisticated searching techniques are important in finding information (Rossi G. 1994).

  • Edited books

In their work on searching techniques (Rossi 1994), the Italian team on Information Engineering...


References are ordered alphabetically by last name. First personal names ought to be in short form (i.e. name initial(s)). Multiple works from the same author will be ordered by year, most recent to oldest.

Elements of the citation


Author of book – last name first name abridged, Year of publication, ed(s). if applicable, Title of book – italicised, Translator if applicable, Edition if applicable, Publisher, Place of publication.


Rossi G., 1994, ed., Information Engineering, ETS, Pisa.

Note: US state abbreviation should always be part of the city name:

e.g.: Cambridge MA (no comma!).

  • Multiple authors (up to three)

First Author of the book – last name, first name abridged, Other Author(s), Year of publication, ed(s). if applicable, Title of book – italicised, Edition if applicable, Publisher, Place of publication.


Ross G., Bianchi F., Verde G., 1994, Information Engineering, ETS, Pisa.

  • Multiple authors (more than three): you can use et al.

Rossi G., Bianchi F., Verde G. et al., 1994, Information Engineering, ETS, Pisa.

Please note: et al. is always italicized.

  • Translations (when quoted)

Ricœur P., 1983, Temps et récit, Seuil, Paris; Eng. tr. by D. Pellauer 1990, Time and Narrative, University of Chicago Press, Chicago IL.

Please note that abbreviations for languages keep their capital letter (Eng., Fr., Ger., It., etc...).

Chapter(s) in a book

Author(s) of chapter – last name name initial(s), Year of publication, “Title of chapter – in double quotation marks”, in Editor(s) – family name, first name ed(s)., Title of book – italicised, Edition, Publisher, Place of publication: Page numbers.

Note: when multiple chapters from an edited book are quoted, reference style should reflect non-redundant criteria, thus including a separate reference for the edited book and abridging chapter reference as follows:

Rossi G., Bianchi F., 2013, “Information Engineering”, in Rossi 2013: 9-24.

[i.e.: Author(s) of chapter – last name, first name, Year of publication, “Title of chapter – in double quotation marks”, in Editor(s) Last name Year of publication if not redundant: Page numbers.]

Journal article or newspaper article

Author(s) – last name name initial(s), Year of publication, “Title of chapter – in double quotation marks”, in Title of journal – italicised, Volume, Issue or number: Page number(s).


Bhabha H.K., 1985, “Signs Taken for Wonders: Questions of Ambivalence and Authority under a Tree Outside Delhi, May 1817”, in Critical Inquiry, 12, 1: 144-165.

Note: With regard to journals, the wide variety of choices and practices may pose several dilemmas. Few possibilities are hereby listed:

    • Yearly journals: use volume number only.
    • Double issues: use hyphen between each number.
    • Special issues: cite extended special issue title if applicable, either add “s” before page numbers, either follow what is written in the front page or cover of the journal:
  • Harper P.B., McClintock A., Muñoz J.E., Rosen T., 1997, eds., Social Text, 52-53, Queer Transexions of Race, Nation, and Gender.
  • ...Critical Inquiry, 12: s1-s18.
  • ...Critical Inquiry, 12, 1 bis: 1-18.
  • ...Critical Inquiry, 12, 1, Spanish edition: 1-18.

Web page

Author(s) of page – {last name first name,} OR organisation name Year (page created or revised), Title of page - italicised, Publisher (if applicable), Place of publication (if applicable), viewed date, URL.

Conference paper

· Published

“Chapter in a book” criteria apply. Title of proceedings – italicised – may include place and date.

· Unpublished

Author(s) – last name, name initial(s), Year of publication, “Title of paper – in double quotation marks”, paper presented to Title of congress meeting should include place and date.

Grey literature

Reference has to include archive/source information, in order to let anyone else find the cited work.

Invited papers

Invited papers are occasionally selected by the members of the Editorial board and subject to open peer-review.

Any unsolicited submission to this section will be moved to the ‘Articles’ section.


The general section will welcome papers dealing with any and all aspects of queer theories and studies, and of any of their possible intersections with other disciplines and theories: if you believe that the theoretical productivity, intellectual relevance, and political thrust of queer can be extended and expanded, if you are working at the crossroads between queer and other methods and issues, we want to hear from you!

Contributions are accepted in English, French, German, Italian and Spanish. Papers should be up to 80.000 characters in length; authors wishing to submit longer works are invited to contact us first explaining their reasons; please write to the managing editor, Giovanni Campolo: . Authors are welcome to include a variety of media, such as images, sound files, and audiovisuals.

Papers should be submitted anonymously through the journal website following a guided five-step submission process. Submission checklist and guidelines are available at: A detailed submission guide is found at the end of this document.

There are two deadlines for all submissions for issue 4: submissions that are received before March 31st 2020 will be reviewed starting July 2020. Submissions that are received from April 1st to September 30th will be reviewed starting October 2020.

Publication of Issue 3 is expected in June 2020.

Publication Issue 4 is expected in June 2021.

Whatever is double-blind peer-reviewed, online, open-access.

Workflow description

The journal manager anonymizes the submission. The editorial board collectively chooses one anonymous reviewer for a first assessment: the submission may be desk-rejected or assigned to (at least) two anonymous reviewers. Articles may be accepted, rejected, require major adjustments (a second review round starts), require minor adjustments (the editorial staff will check adjustments). Once an article is accepted for publication, it is included in the working issue ToC. Article order is decided exclusively by the editorial board.

Submission and publication timeline

March - Early submitters. The review process starts after the yearly issue is published, usually lasting from July to September.

From April to September - Ordinary submission. The review process starts in October, usually lasting until December.

The whole review process usually takes 16 weeks. The editorial board chooses the first reviewer in 3 weeks. The first assessment takes up to two weeks. If an article is accepted for peer review, then reviewers have 3 to 6 weeks to send their evaluation. Once each reviewer's advise is in, the board may require up to 2 weeks to make a decision.

After that, one month is given to authors for minor adjustments (“Revisions required”) or copyediting adjustments (“Accepted for publication”). Two months are granted if a “Resubmit for review” decision is made; this decision leads to a second and shorter review round.

Each author will receive the first draft of their articles within the first week of April. They are required to send their corrections in two weeks. A second draft of the issue is produced on May 22nd. Authors are required to send their corrections no later than May 25th. The editorial staff and the editorial board will run one last check. Eventually, the issue is published (usually on June 20th-22nd).

Performance, subversion, relation: tracing queer in BDSM

Recurring themed section. All articles are double-blind peer-reviewed. General guidelines for submissions apply.

This thematic section seeks contributions investigating the hermeneutic potential of this complex and diverse universe of sexual practices, all sharing specific attention to performance, and to the transformation of power relationships into consensual play. At the same time, it intends to explore, through a comparative approach, representations of sadomasochism, fetishism, and other anti-normative sexual behaviours in literature, arts, and the media, in order to map how BDSM may contribute to identifying sexual and affective practices subverting the heteropatriarchal norm.

BDSM is here considered as a methodological framework staging and subverting the dynamics of power in heteronormative relationships, and as a thematic core which can be traced in very different narratives, from martyrdom in Catholic culture to romantic love as the founding mythology of the heterosexual couple. Therefore, we intend to solicit contributions that explore BDSM through multiple textualities, focusing on interdisciplinary lines of research such as, for example:

  • Representation of BDSM practices in literature and the arts
  • Ecstasy, martyrdom, and the aestheticization of suffering
  • Anti-normative relationalities: BDSM and the ethics of care
  • BDSM, feminism and bodily politics
  • Subversion and parody of heteronormativity


Bauer R., 2014, Queer BDSM Intimacies. Critical Consent and Pushing Boundaries, Palgrave MacMillan, London-New York.

Cruz, A., 2016, The Color of Kink: Black Women, BDSM, and Pornography, NYU Press, NY.Freeman, E., 2010, “Turn the Beat Around. Sadomasochism, Temporality, History”, in Time Binds. Queer Temporalities, Queer Histories, Duke University Press, Durham-London.

Fusillo, M., 2012, Feticci. Letteratura, cinema, arti visive, Il Mulino, Bologna, engl. Transl The Fetish. Literature, Cinema, Visual Art, Bloomsbury, New York 2017.

Holmes D., Murray S. J., Knack N., Mercier M., Fedoroff P., 2018, “Degenitalizing the Sexual: BDSM practices and the deterritorialization of bodies and pleasures”, in Holmes D., Murray S.J., Foth T. eds., Radical Sex Between Men. Assembling Desire-Machines, Routledge, London-New York: 117‑141.

Jenkins H., Gibson P.C., 2003, eds., More Dirty Looks. Gender, Pornography and Power, Palgrave BFI, London.

Kien, G., 2011, BDSM and Transgression 2.0. The Case of, in Transgression 2.0: Media, Culture, and the Politics of a Digital Age, ed. by T. Gournelos, D. J. Gunkel, Continuum, NY.

Langdridge D., Barker M., eds., 2007, Safe, Sane and Consensual, Palgrave MacMillan, New York.

Levi, C., 2019 [1979], New kamasutra: Didattica sadomasochistica, intr. L. Bernini, Asterisco, Milano.

McClintock A., 1993, “Maid to Order: Commercial Fetishism and Gender Power”, in Social Text 37: 87-116.

Ortmann, D., Sprott, R., ed., 2012, Sexual Outsiders: Understanding BDSM Sexualities and Communities, Rowman & Littlefield, Washington DC.

Reti I. ed., Unleashing Feminism. Critiquing Lesbian Sadomasochism in the Gay Nineties, HerBooks, Santa Cruz.

Scott, C., 2015, Thinking Kink. The Collision of BDSM, Feminism and Popular Culture, McFarland, Jefferson.

Weiss, M., 2011, Techniques of Pleasure. BDSM and the Circuits of Sexuality, Duke University Press, Durham and London.

Dossier. What do we talk about when we talk about queer death?

The expression ‘queer death’ could be said to describe two distinct yet deeply interrelated fields of inquiry. The first one is built around the study of the cultural performances related to death, the end of life, grief, and disposal from the perspective of peripheral, non-normative, and anti-normative identities —among which are those identities that fall within the LGBT+ spectrum. The second field of inquiry is devoted to the theoretical deconstruction of the polarity life/death itself, considered as one of the most fundamental constructs for the creation of all social entities, no matter how small or simple.

Our themed section seeks to explore both these declinations of queer death, taking into account real-life social constructs and practices as well as the representation of death/dying/grieving/disposal in fiction and the arts. How can queer theories and studies contribute to destabilise the polarity life/death and reshape the endless set of social practices that derive from it? In what sense can life and death be described as performances? How can queer help us deconstruct classical thanatological notions like that, among others, of ‘death denial’ or the Freudian idea of grief as the ‘overcoming’ of death?

Raising such questions implies adopting an extremely open, wide-ranging approach to queer death, spanning from the study of eroticised corpses in Renaissance and Baroque painting to the analysis of grief practices in 21st-century LGBT+ communities.

Possible topics include, but are by no means limited to:

  • Queering the life/death polarity
  • Queering death in fiction (literature, film, comics, theatre, etc.) and the arts
  • Queering death in psychology, medical humanities, and the social sciences
  • Queering the anthropology of death
  • Queer approaches to bereavement and mourning
  • Queer death and the post-/non-/a-human
  • Queering the corpse
  • Death-related forms of desire and aesthetic contemplation

Privacy Statement

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