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Concentrating on the period extending roughly from 1860 to the present, Modernism/Modernity focuses on the methodological, archival, and theoretical exigencies particular to modernist studies. It encourages an interdisciplinary approach linking music, architecture, the visual arts, literature, and social and intellectual history. The journal's broad scope fosters dialogue between social scientists and humanists about the history of modernism and its relations tomodernization. Each issue features a section of thematic essays as well as book reviews and a list of books received. Modernism/Modernity is now the official journal of the Modernist Studies Association.

Narrative Inquiry is devoted to providing a forum for theoretical, empirical, and methodological work on narrative. Articles appearing in Narrative Inquiry draw upon a variety of approaches and methodologies in the study of narrative as a way to give contour to experience, tradition, and values to next generations. Particular emphasis is placed on theoretical approaches to narrative and the analysis of narratives in human interaction, including those practiced by researchers in psychology, linguistics and related disciplines.

Neophilologus is an international journal peer-reviewed devoted to the study of modern and mediaeval language and literature, including general linguistics, literary theory and comparative literature. The normal languages of publication are English, French, German, Italian and Spanish, but articles in other languages may also be submitted for consideration by the Editorial Board.

New Literary History focuses on questions of theory, method, interpretation, and literary history. Rather than espousing a single ideology or intellectual framework, it canvasses a wide range of scholarly concerns. By examining the bases of criticism, the journal provokes debate on the relations between literary and cultural texts and present needs. A major international forum for scholarly exchange, New Literary History has received six awards from the Council of Editors of Learned Journals.

The first independent journal of its kind in the world, New Writing publishes both critical and creative work - offering a forum for debate, as well as an avenue for the publication of the best stories, poems, works of creative non-fiction or works for the stage or for the screen, in all its contemporary varieties. New Writing investigates the nature of Creative Writing practice and practice-led research in Creative Writing. It publishes key articles about Creative Writing, specifically relating to Creative Writing activities in universities and colleges, articles on the processes of creative writers, and about the "footprints" left by Creative Writing practice throughout history, and in various cultures. And it bridges the gap between Creative Writing in the university and Creative Writing in the wider world. It links Creative Writing pedagogy with key investigations in Creative Writing knowledge. Since its launch, the journal has attracted great support from a wide range of those involved in Creative Writing throughout the world, and has already included contributions from leading experts and prominent creative writers, including Robert Pinsky and Anthony Minghella. In 2006, the journal warmly welcomed the Poet Laureate of Great Britain, Andrew Motion, to its Board. New Writing offers an international forum for Creative Writing of the highest quality and a platform for debates about Creative Writing teaching and practice in universities and colleges.The Editor and Editorial/Peer Review Boards invite submissions of critical articles and creative work in any of the areas mentioned above, and in all genres. Articles should be between 2,000 and 5,000 words in length; creative work should be not be more than 5,000 words in length. Refereeing proceduresAll submissions to New Writing are subject to peer review.DisclaimerTaylor & Francis makes every effort to ensure the accuracy of all the information (the 8220;Content8221;) contained in its publications. However, Taylor & Francis and its agents and licensors make no representations or warranties whatsoever as to the accuracy, completeness or suitability for any purpose of the Content and disclaim all such representations and warranties whether express or implied to the maximum extent permitted by law. Any views expressed in this publication are the views of the authors and are not the views of Taylor & Francis.

Nineteenth-Century Contexts is committed to interdisciplinary recuperations of 8220;new8221; nineteenth centuries and their relation to contemporary geopolitical developments. The journal challenges traditional modes of categorizing the nineteenth century by forging innovative contextualizations across a wide spectrum of nineteenth century experience and the critical disciplines that examine it. Articles not only integrate theories and methods of various fields of inquiry 8212; art, history, musicology, anthropology, literary criticism, religious studies, social history, economics, popular culture studies, and the history of science, among others 8212; but also test and open up the very limits of disciplinary boundaries. Scope of interest is not confined to any single regional or cultural area, and the relevance of the nineteenth centuries we read about to contemporary political flashpoints around the world remains a top priority. Interdisciplinary, international and innovative, Nineteenth-Century Contexts is leading debate about where the next nineteenth centuries will occur.DisclaimerTaylor & Francis makes every effort to ensure the accuracy of all the information (the 8220;Content8221;) contained in its publications. However, Taylor & Francis and its agents and licensors make no representations or warranties whatsoever as to the accuracy, completeness or suitability for any purpose of the Content and disclaim all such representations and warranties whether express or implied to the maximum extent permitted by law. Any views expressed in this publication are the views of the authors and are not the views of Taylor & Francis.