-----Original Message-----
From: Lopes, Dominic
<[email protected]>
To: news <[email protected]>
Sent:
Mon, Mar 16, 2015 2:36 pm
Subject: [AE] Fwd: CFP: E=iE>ek and Music. Special
issue of the International Journal of E=iE>ek Studies

 
 
 
>
****Forwarded message from Bertola, Mauro Fosco" < 
>
[email protected]>**** 
>  
> Call for Articles
> E=iE>ek and Music 
> Special Issue of the International Journal of
E=iE>ek Studies 
>  
> Deadline: June 1, 2015 
>  
>  
> A
whole range of references to music is scattered throughout the copious 
>
body of Slavoj E=iE>ekbs works, covering a broad array of musical genres,
> styles and epochs stretching from Bach, Mozart and Beethoven to the music
> of such bands as Laibach and Rammstein or a phenomenon like the Gangnam
> style. E=iE>ek has also contributed more substantial works on Schumann
(in 
> The Plague of Fantasies 1997), Wagner (Operabs Second Death 2002,
together 
> with Mladen Dolar) and more recently on SchC6nberg (in
Absolute Recoil 
> 2014). But how have E=iE>ekbs reflections on music
been received within the 
> academic and non-academic world, and by whom?
>  
> The IJZS intends to release a special issue on the topic of
E=iE>ek and 
> music, thus offering a first forum for all those who
working in 
> music-related fields who have adopted E=iE>ekbs theories
for reflecting about 
> music. The goal is to approach the subject from a
broad range of different 
> perspectives, not only by covering the fields
of classical, pop, jazz and 
> experimental music, but also by bringing
together philosophers, 
> musicologists and scholars from the field of
sound studies as well as 
> composers, dramaturges and opera producers.
This special issue is intended 
> to stimulate a truly interdisciplinary
and multi-faceted dialogue, offering 
> a starting point for a fruitful
discussion on music from a fresh 
> perspective. 
>  
> The IJSZ
encourages original contributions on a number of topics that may 
>
include, but are not limited to: 
> - The use of E=iE>ekbs philosophy to
investigate different musical phenomena 
> from classic to jazz, from pop
to rock, heavy metal and experimental in 
> aesthetic and/or historical
terms. 
> - Contextualization of E=iE>ekbs music-related reflections
within current 
> aesthetic and theoretical debates (also in the form of a
book review or 
> review essay) 
> - Reception of E=iE>ekbs work
within the concrete artistic musical field 
> (composers, songwriters,
dramaturges, etc.) 
>  
>  
> Submission Requirements 
> The
language of this special issue is English. 
> - Articles: Prospective
articles should be in the range of 6,000 to 8,000 
> words, accompanied by
an abstract of no more than 200 words. 
> - Book Reviews and Review
Essays: Prospective book reviews should be in the 
> range of 1,000 to
2,000 words. Review essays should be in the range of 
> 2,000 to 3,000
words. 
>  
> All submissions (including book reviews and review
essays) should be 
> prepared for blind review, therefore please attach an
additional document 
> with the following information: 
> - Your name,
email address, institutional affiliation and discipline of 
>
study/research. 
> - The type of submission (article, book review, review
essay). 
> - Your submissionbs title. 
> - A short CV (max. 180
words). 
> Please be careful not to include this information in the body
of your 
> submission. 
>  
>  
> Submission format and style
> Please send each document (submission + personal information) as a
separate 
> file and in both .pdf and .doc formats. 
> As for the
style, please consult the author guidelines of the IJZS under: 
>
http://zizekstudies.org/index.php/ijzs/about/submissions#authorGuidelines
>  
>  
> Deadline and contact 
> The special issue will be
edited by Rex Butler (University of Queensland) 
> and Mauro Fosco Bertola
(Heidelberg University). The deadline for 
> submissions is June 1, 2015.
Intending authors are strongly encouraged to 
> contact the editors before
this date with a short outline of the proposed 
> piece. 
> The e-mail
address for your submissions, and for any questions or 
> correspondence,
is [email protected]. 
>  
>  
> ****End of
forwarded message**** 
 
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