Submissions

 

Please read the following information about Submissions before submitting work to Philament. Once your submission has been prepared in accordance with the following guidelines, please email your submission, with a short biography, to philament.usyd@gmail.com.

Submission must be original work

Submissions should be original work, not previously published, and not under consideration elsewhere. Work previously published as an honour’s thesis, or as part of a dissertation (master’s or PhD), will usually be acceptable, provided the submission has been suitably modified or revised for the journal.

Submission must be in a suitable form

Philament publishes three kinds of submission: academic articles, short creative works (called “Excursions”), and book reviews. Information about each of these submissions is as follows:

ACADEMIC ARTICLES

Academic articles for peer review should be of 3,000–8,000 words’ length. Spelling should be in Australian English as prescribed by the Macquarie Dictionary. For guidance on Philament’s endnote and citation styling, please see our note below. For all other textual matters, academic articles should adhere to the style rules prescribed by the latest edition of the Chicago Manual of Style. (The latest is the sixteenth edition, published in 2010.)

EXCURSIONS

Excursions are short creative pieces; they are subject to a process of editorial review, but not academic peer review. In general, Excursions should not be longer than 2,500 words in length. An Excursion may be a poem, a work of prose fiction, a dramatic work, a multimedia or digital work, a work of visual art, a work of fictocriticism, an opinion piece, a comment, a work involving image and text combinations, and so forth. Philament welcomes Excursions that are experimental and challenge the conventional bounds of genre and forms.

REVIEWS

Reviews should be limited to about 2,000 words in length, and may focus on a recently published book of academic work or fiction. Philament also accepts reviews of other literary, artistic, dramatic, or cultural events or works. While reviews are not peer reviewed, they are expected to conform to academic standards. Notes and/or citations should be kept to a minimum.

Submission must be relevant to a theme

All submissions should attempt to respond to the call for papers by addressing the current issue’s theme, even if only obliquely. Authors should contact Philament before submitting their work if they are unsure whether their submission is appropriate or relevant, or if they have an unthemed submission.

Submitter Must be at postgraduate or early-career academic

Philament accepts submissions from those in the early stages of their academic careers, from high-achieving undergraduates, to PhD candidates, postdoctoral researchers, through to newly hired lecturers and academics. As a general rule, Philament does not accept submissions from academics who have been conferred a PhD more than five years prior to the date of submission.

File Must be in Specified Format

The submitted file should be a Microsoft Word file (.doc or .docx). Images may be included in the Microsoft Word file to indicate their place in the work; however, images should be included as separate files at a high resolution, preferably in the TIFF (.tiff) file format.

Copyright

Copyright in any work published by Philament remains with the author of the work. However, we ask that any subsequent publication of a work first published in Philament acknowledge Philament as the venue of first publication. Authors are also asked to advise Philament’s editors in writing if intending to republish a work previously published in Philament.

It is the author’s responsibility to secure copyright permissions in writing for any images, quotations, or other third-party sources reproduced in a submission, and to cover any costs associated with securing such permissions. The author will need to obtain any and all such relevant permissions before Philament publishes the submission; although we are happy to consider submissions while these permissions are pending. Please notify us as soon as possible if you encounter any difficulties in securing these rights.

Endnotes and Grammar Must be Used and be Styled as Prescribed

Subject to the following endnote specifications, all submissions should conform to the grammar rules of the Chicago Manual of Style (17th edition, 2017). Philament uses only endnotes; thus, no bibliography or “Works Cited” addendum is required for academic essays. All citations should be styled as below, or as otherwise prescribed by the Chicago Manual of Style.

For immediately successive citations to the same text, “Ibid.” should be used. If an immediately successive citation refers to a different page number, then authors should write, for example, “Ibid., 22.” (period included). Shortened titles should be used for subsequent but not immediately successive references to the same text. Examples of short titles are given below at footnote 4.

Book

  1. Linda Boren, Eurydice Reclaimed (Ann Arbor: University of Michigan Research Press, 1989), 57.
  2. Ibid.
  3. . . .
  4. Boren, Eurydice Reclaimed, 79.

 

Book Chapter

  1. Richard Siddle, “Ainu: Japan’s Indigenous People,” in Japan’s Minorities: The Illusion of Homogeneity, ed.Michael Weiner (London: Routledge, 1997), 19.
  2. Ibid.
  3.  . . .
  4. Siddle, “Ainu: Japan’s Indigenous People,” 23.

 

Article in a journal

  1. Juniper Ellis, “The Singing Word,” Journal of Commonwealth Literature 34, no. 1 (1999): 181.
  2. Ibid.
  3.  . . .
  4. Ellis, “The Singing Word,” 185.

 

Multiple works by the same author

  1. David Lodge, After Bakhtin: Essays on Fiction and Criticism (London: Routledge, 1990), 103; David Lodge, The British Museum is Falling Down (London: Secker & Warburg, 1981), 25.
  2. Ibid.
  3. . . .
  4. Lodge, After Bakhtin, 103; Lodge, The British Museum, 25.

 

Website

  1. Stephen L. Parker (transcriber), “Otello Libretto: Atto Quarto,” in Opera Libretti and Other Vocal Texts (Stanford University, 1997), http://opera.stanford.edu/Verdi/Otello/libretto.html.
  2. Ibid.
  3. . . .
  4.  Parker, “Otello Libretto,” 1997.

 

Film

  1. Orlando, directed by Sally Potter (Civic Square, ACT: Ronin Films, 1992).
  2. Ibid.
  3. . . .
  4. Orlando (1992).

 

Interview

  1. Wti Ihimaera, interview by author, Auckland, 10 July 2003, tape recording.
  2. Ibid.
  3. . . .
  4. Ihimaera, interview by author.

 

Reprints

  1. George Bernard Shaw, Pygmalion (1916; repr. Harmondsworth, Middlesex, England: Penguin, 1941).
  2. Ibid.
  3. . . .
  4. Shaw, Pygmalion, 23.

 

Editions

  1. William Strunk Jr., and E. B. White, The Elements of Style, 4th ed. (New York: Allyn and Bacon, 2000), 22.
  2. Ibid.
  3. . . .
  4. Strunk and White, The Elements of Style, 118–22.

 

Citation from a Secondary Source

Quoting or citing from secondary sources is to be avoided, and should only be done when the original source is unavailable or not cogent. If this is the case, please cite the secondary source as follows:

  1. Louis Zukofsky, “Sincerity and Objectification,” Poetry 37 (1931): 269, qtd. in Bonnie Costello, Marianne Moore: Imaginary Possessions (Cambridge, MA: Harvard University Press, 1981), 78.
  2. Ibid.
  3. . . .
  4. Zukofsky, “Sincerity and Objectification,” 270.