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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.
  • 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 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.

Author Guidelines

Submission components

— Title.

— Contact person working languages (other than English).

— Abstract: max 150 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.


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 between 30.000 and 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: giovanni@battitoriliberi.it . 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.

The deadline for all submissions for issue 2 (general and themed sections alike) is October, 31, 2018.
Whatever is peer-reviewed, online, open-access.

Mario Mieli

Guest editors: Silvia De Laude, Dario Accolla, Paolo Frascà.

This themed section of Whatever would like to explore the figure of Mario Mieli (1952-1983), whose thought operates through conceptual (un)categories that go beyond the comfortably manageable labels of “gay,” “lesbian,” or “same-sex” desire, and whose work can be viewed as an initial manifestation of Queer Theory. As Tim Dean notes, “if Mieli were writing today, he would certainly present himself as queer. A significant measure of the power of Elementi di critica omosessuale stems from Mieli’s explicit desire not to be normal, from the pleasure of living like a ‘crazy fag,’ outrageous and scandalous” (2002). Mieli’s Elementi (Einaudi, 1977) begins to uncover the efficacy of queerness as a critical tool and has been identified as a powerful text by the likes of Teresa de Lauretis, Tim Dean, and others, while Mieli’s meditations on gender performativity, hetero/homonormativity, queer futurity, and the universality of desire precede current conversations in Queer Theory. With that said, the figure of Mario Mieli remains largely unexplored, particularly in the Anglocentric universe of Queer Studies.

In an attempt to address the relative lack of critical and academic considerations on Mario Mieli’s life and works, we would like to focus on Mieli’s theoretical contributions to Queer Theory in connection with this figure’s activism and even more unexplored creative production.

Among the concerns contributions might address are the following:

  • To what extent is Mario Mieli, along with others such as Luciano Parinetto (1934-2001), a precursor of what is nowadays known as Queer Theory?
  • What does it mean and why is it important to decentralize Queer Theory from the English-speaking world by focusing on figures such as Mario Mieli?
  • Why does Mario Mieli remain largely unacknowledged by modern Queer Studies, particularly outside the Italian context?
  • How do Mario Mieli’s creative production and personal life narrative reflect –
    and even generate – queerness?
  • Why and how are Mario Mieli’s thought and sense of militancy against oppression relevant today?

The Intersection of Queer Theories-Actions, Performing Arts and Activism

Guest editors: Marco Pustianaz, Sara Azzarelli, Egon Botteghi.

This themed section is dedicated to the relevant spaces that are generated at the intersections between Queer theories and actions, performing arts and activism. Scholars from several academic fields – such as Gender and Queer Studies, Performance Studies, Theatre and Dance Anthropology - have highlighted the relevant role of performing arts as a locus to explore, express and question normative assumptions about sexed bodies and gendered behaviours. Furthermore, performers and activists themselves have shared their peculiar experiences of exploration, identity construction and deconstruction and – implicit or explicit - activist work throughout their performative activity. Aiming to give further relevance to the potential of performing arts both as a space of doing and undoing, and as a tool to create awareness about queer issues, we invite submissions from performers and activists as well as from scholars who would like to reflect on their experiences and/or propose investigations in this domain.

Among the concerns contributions might address are the following:

  • Queer possibilities for performing arts in different cultural contexts – their potential for social change and their social, cultural, economic limits;
  • Doing queer activism through performing arts in cultural contexts where non-normative behaviours are punished by the law;
  • Queer activism in niche circles vs mainstream art circles;
  • Queer activism through performance in private or public spaces;
  • Does being “queer artists” still allow artists to be recognised as “professional artists”?
  • How has queer activism in performing arts changed over the last two decades?

Queering the history of modern and contemporary Italian art (1800-2000)

Guest editors: Sergio Cortesini, Massimo Fusillo.

The history of modern and contemporary Italian art (1800-2000) is rarely addressed from a queer perspective. The field of art history in Italian universities is still largely dominated by nuanced combinations of historicism and formalism, philological and unproblematic archival research and documental archaeology, and has seldom encouraged deconstructionist approaches, including gender and queer theory. As a result, only very recently—and mostly from abroad—scholars venture into new research works that combine serious historical investigation and a focus on historical practices of deconstruction of gender, sexuality, or other social categorizations. Unlike in the United States, where a long-established queer approach to the field has revealed scores of artists who have questioned assumptions of sex and desire, either in coded manners or as activists, one may have the impression that the history of Italian art unveils just a vacuum. Were Italian artists uninterested in challenging social norms, especially as the issue of sexuality arises? Were they just too engaged in stylistic diatribes, or devoted to an idealistic conception of art-making? Or, we would argue, has a queer history of Italian art still to come to surface? This Focus aims at shaking this oblivion, and casting a light to a still untold story. We invite papers that attempt at queering two centuries of Italian art, 1800-2000.

Among the concerns contributions might address are the following:

  • Portraits or self-portraits that questioned the social categorizations of gender, sex, ethnicity, social status;
  • Queer themes in video-art and in performace;
  • Queer activism in art circles;
  • The artistic contribution to the burgeoning LGBT movement in the 1970s and 1980s;
  • Queer themes and iconography in the Ottocento
  • Queer subtexts in Novecento and during Fascism
  • Homosexuality vs homosociality in artistic representations
  • Futurism and queer subversion

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