Call for papers for Issue 2 of “Whatever. A Transdisciplinary Journal of Queer Theories and Studies”

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Call for Proposals for Issue 2 of Whatever. A Transdisciplinary Journal of Queer Theories and Studies.

Deadline for submissions: October 31, 2018.

The purpose of Whatever online journal is to offer scholars working in queer studies, in and out of academia, a place to share their work, to reach like-minded readers, to initiate collaborations, to make things happen. We aim to foster a diverse and mutually respectful community among scholars of different backgrounds, research interests, methodological allegiances and disciplinary affiliations.

The first issue of Whatever, which will soon be online at, will include a selection of papers from the first CIRQUE conference, which took place in L’Aquila (Italy) in the spring of 2017.

We are now inviting submission for the second issue.

Papers should be submitted anonymously through the journal website following a guided five-step submission process. Submission checklist and guidelines are available at: 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.

General 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 between 30.000 and 80.000 characters in length. 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: 

Themed Sections

There will be 3 themed sections, one of which specifically dedicated to performance studies:

  • Mario Mieli (the well-known ’70’s Italian gay/queer thinker, activist and performer)

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

  • 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 performance 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?

To read the full CFP, please go to:



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