Submission Preparation ChecklistAs 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.
The content is published under the CC 4.0 license (Creative commons 4.0, by, non commercial) as presented at https://creativecommons.org/licenses/by-nc/4.0/
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.
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: firstname.lastname@example.org . 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: https://whatever.cirque.unipi.it/index.php/journal/about/submissions. 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.
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 Kink.com, 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 , 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.
Languages, Aesthetics, Bodies: The Queer Within Cinema and Audiovisual Media
Guest Editors: Massimo Fusillo, Andrea Inzerillo, Mirko Lino
This section aims to collect contributions investigating and reflecting the ways cinema and other audiovisual texts can be configured through/by a queer perspective.
The term "queer cinema" refers to a heterogeneous series of film texts addressing the deconstruction of the paths of sexuality structured by a dense and lasting cultural rhetoric focused on patriarchal and heteronormative logics. Cinema and audiovisual media seen in their "queerness" offer opportunities for self-representation and cultural self-determination for sexual orientations and non-normative bodies. Tracing a queer perspective means opening the meshes of languages and cinematographic images to bodies conceived in a plurality of genders (transgender, intersex, etc.), and to the transversal routes of fluid sexual orientations (e.g. bisexuality and pansexuality), through an irreverent and unpredictable aesthetics. This suggests that queer cinema cannot be solely reduced to homosexual and lesbian issues (not all gay and lesbian narratives respond to queer aesthetics and logics) but to broaden the field of investigation by including those desire pathways and bodily practices (e.g. transvestism, virtual gendershift, role-playing games, videogame avatars, etc.) which historically and culturally escape reductive gender taxonomies, and which find in the filmic text a cultural space of opposition.
This section aims to seize the overwhelming complexity and expressive richness of queer cinema. For this reason, alongside the attention on the bodies framed in their performative dimension, we want to extend the discursive field to further and converging perspectives. To this end, we would appreciate papers trying to widen the concept of queerness in the cinema and in the media, for example taking into account the following topics:
Aesthetics, Historical Paths, Styles, Rhetorics;
Queer World Cinema;
Interrelations between Queer and Mainstream Cinema;
Queering the Languages and Genres: Appropriations, Experimentantions, and Parodies;
Queering Digital Media: Videogame, Webseries, Digital Storytelling;
Queer and Media Art;
Queer and Tv Series;
Visions, Representations, and Politics
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
Whatever is an open access journal, which means that all articles are available on the Internet to all users immediately upon publication. Our articles are published under the terms of the Creative Commons Licence 4.0 by-nc, which permits use and distribution in any medium, provided the original work is properly cited and the use is non-commercial.
Authors hold copyright without restrictions. Also, authors retain publishing rights on their articles; however, it is recommended to keep track of the CC-BY-NC license and to quote original publication.
The names and email addresses entered in this journal site will be used exclusively for the stated purposes of this journal and will not be made available for any other purpose or to any other party.