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1959 |
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quarterly |
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English |
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interdisciplinary |
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0026-3079 |
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Mid-America American Studies Association |
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Thomas Augst, New York University
Michael Cowan, University of California, Santa Cruz
Kate Delaney, Massachusetts Institute of Technology
Dennis Domer, University of Kansas
Jonathan Earle, University of Kansas
Gerald Early, Washington University
James Farrell, St. Olaf College
Daniele Fiorentino, University of Macerata
Iris Smith Fischer, University of Kansas
Doris Friedensohn, New Jersey City University
William Graebner, State University of New York at Fredonia
Mark Hulsether, University of Tennessee, Knoxville
J. Robert Kent, Independent Scholar
Frieda Knobloch, University of Wyoming
Angel Kwolek-Folland, University of Florida
Cheryl Lester, University of Kansas
Sherry Linkon, Youngstown State University
Karal Ann Marling, University of Minnesota
Carol Mason, Oklahoma State University
Jay Mechling, University of California, Davis
Bernard Mergen, George Washington University
Joane Nagel, University of Kansas
Eric Porter, University of California, Santa Cruz
David Roediger, University of Illinois at Urbana-Champaign
Eric Sandeen, University of Wyoming
David Sanjek, University of Salford
Alex Seago, Richmond, The American International University in London
Shirley Wajda, Kent State University
Ryo Yokoyama, Kobe University
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Format and style of submissions: Please include a cover letter, providing your preferred address, telephone number, e-mail, the manuscript title, and any other important information. Manuscripts (including endnotes, tables, and references) should be double-spaced with one-inch margins on all sides. Because American Studies uses a double-blind review process, contributors are asked not to put their names on manuscripts; only the title should appear on the manuscript. Contributors agree upon submission that manuscripts submitted to American Studies will not be submitted for publication elsewhere while under review by American Studies. Manuscripts should be prepared following the Chicago Manual of Style, 14th Edition, and may use either the documentary-note system of documentation frequently used in history or the author-date system more common in literature or the social sciences.
Form of submission: We encourage authors to submit manuscripts (with a 100 word abstract) electronically, either in Microsoft Word (for Mac or IBM file format) or WordPerfect 6.0 or above. If electronic submission is not possible, we require four copies of the manuscript, two copies of a 100-word abstract, and a computer disk (either Mac or IBM file format) containing the manuscript (in either Microsoft Word or WordPerfect). Disks will not be returned.
NOTES ON EDITORIAL POLICIES AND PRACTICES
American Studies' editorial process is designed to encourage dialogue, colleagueship and communication without regard to disciplinary boundaries. Editors and readers attempt to assist contributors by suggesting ways in which manuscripts might be improved, and by prodding them to think of the relationship between what they have done and ideas and hypotheses developed in other sectors of American Studies. Few articles are ever accepted without having gone through at least one round of substantial revisions. Many authors report that they have enjoyed the
interchange with our staff and reviewers and the stimulation of connecting their often specialized work with the interests of scholars in contiguous, or more distant fields. Ideally an article is reviewed by an outside specialist, an editorial board member familiar with the field, and an editorial board member from outside the academic discipline who reads for broad interest. The non-specialist's review is weighed equally with that of the specialist, for the goal of American
Studies is to cross academic disciplines and to expand dialogue beyond narrow fields. We would like to make research accessible to the widest band of scholars. Essays are sometimes sent back with the warm invitation to place the argument within the larger context of American culture, and then resubmit.
Because we use specialist consultants not on our staff, our processing of articles is somewhat slower than some other journals. We expect an article returned from a reviewer within six weeks. Often, the delay in processing is caused by our hunt for a specialist who is willing to review. If an author has not heard from us within four months, we encourage them to write or phone us for an explanation.
We do not accept "multiple submissions." We ask our referees to provide in-depth reviews and offer extensive critique and comments to the author. This is a time consuming process, and we consider multiple submissions exploitive of us and our reviewers. We expect from reviewers not only a detailed and thoughtful response to a manuscript, but also an evaluation of the significance of the piece, its potential, and most importantly, whether or not the author would be capable of revising it for publication in American Studies. It is important to keep in mind however, that publishing in American Studies is only one goal of the journal. We are also committed to helping scholars improve their work, and the readers' reports forwarded to the authors nearly always offer detailed critiques and suggestions for improvement. Even when manuscripts are turned down, we hope that authors will have had a constructive engagement with other scholars through American Studies.
When the editors invite revision and resubmission, they send the revised manuscript to the same readers who read it previously. We always send back the reviewer's comments to the author, and invite the author to respond to criticisms by informally "talking back" to the referees in appended notes or explanations. We like to share the comments of our reviewers directly with our contributors, and we hope that contributors and reviewers are thick-skinned enough to take criticism without bitterness. Our goal is to be helpful and to give a personal and detailed response to each submitted piece. American Studies currently processes about 75 articles a year and prints about 10. Many are finally turned down not because of their quality, but
because they are too narrow. Articles that do not ultimately answer the question "What does this study tell us about society or culture in the United States?" are almost never printed. We strongly advise prospective contributors to read through a few recent issues to familiarize themselves with American Studies and our readers' interests.
American Studies does not use "quotas" and generally has no backlog. Articles are accepted or rejected on their own merit, and not because we have run too many or too few on given subjects. We try when there is a larger than usual number of accepted essays in the shop to find the funds to get all in print within the year. This accounts for the occasional oversized issue.
The editors and editorial board members of American Studies often invite scholars to submit pieces to the journal. Invited manuscripts, however, go through the same review and decision process as unsolicited ones. American Studies uses a double blind-review process, and requires four non-returnable manuscripts without the author's name on them.
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American Studies

American Studies encourages interdisciplinary and transdisciplinary scholarship in U.S. cultures and histories broadly defined. We welcome frameworks of comparative, international, and/or transnational perspectives. With an editorial staff from a number of areas of study, the journal offers provocative perspectives on a variety of issues. Frequent special sections and special issues (such as the Fall 2004 issue on Hawaii and the Fall/Winter 2005 issue, "Indigeneity at the Crossroads of American Studies.") create a space for a broad discussion on a single topic. Articles on pedagogy inform the American Studies classroom. The book review section aims at keeping readers conversant with contemporary scholarship.
American Studies first appeared in 1959, and is sponsored by the Mid-America American Studies Association and the University of Kansas. It has 1,400 current subscribers. In 2005 it merged with American Studies International, and welcomes submissions with an international perspective.
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Winter 2007, Vol. 48, No. 4
By John Lennon
By Mary Caroline Simpson
By 1956, Alfred Barr and the Museum of Modern Art (MoMA), which then owned the American Pavilion, had recognized the cold war utility of the Venice Biennale. Relying on Clement Greenberg's formalism, it promoted Abstract Expressionism as the culmination of a European-inspired, American-produced aesthetic embodying universal values with the hope of winning over the moderate European left. American Artists Paint the City, an exhibition for the 1956 Venice Biennale momentarily complicated this agenda. Guest curator Katharine Kuh of the Art Institute of Chicago organized an innovative exhibition thematically uniting 20th century American modernist painters. Her presentation of Jackson Pollock and Willem de Kooning as the inheritors of a New World modernist heritage elicited powerful opposition from American art authorities supporting lineage ties to international modernism as well as upset observers abroad who saw it as a chauvinistic and pretentious effort to undermine European ascendancy in the transatlantic art world. An examination of these reactions exposes the importance of institutional politics in shaping canonical aesthetic priorities and sheds light on the intersecting roles of critics, curators, artists, and patrons in the construction of accepted traditions.
By Elizabeth Abele
This essay examines the meanings associated with the figure of Hamlet in American popular culture, particularly as an ideal of American masculinity. Though this association between Prince Hamlet and American masculinity has a long history, this association became particularly strong in films of the 1990s. Though much critical attention has been paid to Hamlet references in big-budget films with middle-aged protagonists, less examined have been smaller-budget films that center on twentysomething protagonists struggling to find their own direction in post-feminist, post-Cold War, post-industrial American society. True Romance, Clueless, Beautiful Girls, Grosse Pointe Blank, Two Girls and a Guy and Best Men treat their references to Hamlet with wit, weaving them into the text in an offhand way, seamlessly mixing Shakespeare's lines with contemporary dialogue-signaling more significant parallels between the two texts, in a dialogic relationship. This essay interrogates the versions of masculinity that Hamlet references are used to mark and to promote in these Gen-X films.
By Kevin Moist
In 1952 Folkways Records released a series of compilations of early 20th century music titled The Anthology of American Folk Music, assembled by artist and record collector Harry Smith. A major influence on the folk revival of the 1950s, the Anthology was also an artwork in itself, one that challenged a range of conventional assumptions about not only music but also broader social and cultural processes. Smith's strategy in constructing the Anthology combined the practice of collecting, collage aesthetics, and the philosophy of alchemy, transmuting seemingly simple materials (recordings of folk music of the 1920s and 1930s) into new and different forms that suggested fresh cultural possibilities grounded in these seemingly "lost" traditions. This article discusses the Anthology in terms of its cultural and aesthetic approaches, with a particular focus on their relevance for and continuing influence on contemporary postmodern culture.
“Congratulations! Hitler will run forever!” The Producers and American Jewish Culture, 1967-2007
By Kirsten Fermaglich
By J. Robert Kent
Other Issues
Fall/Winter 2008, Vol. 49, No. 3/4
Spring/Summer 2009, Vol. 50, No. 1/2
Aaron Douglas and the Harlem Renaissance, Vol. 49, No. 1/2
Fall 2007, Vol. 48, No. 3
"Homosexuals in Unexpected Places?", Vol. 48, No. 2
Spring 2007, Vol. 48, No. 1
Fall/Winter 2006, Vol 47, No 3/4
Summer 2006, Vol 47, No 2
Indigeneity at the Crossroads of American Studies
, Vol. 46, Nos. 3/4
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