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The Year’s Work in Critical and Cultural Theory is a companion volume to The Year’s Work in English Studies. It provides a narrative bibliography of published work, recording significant debates and issues of interest across a broad range of research in the humanities and social sciences. As the fields of critical and cultural studies shift, so the range and scope of the journal alters, and current volumes include chapters on Digital Media, Science and Medicine, and Popular Culture. The Year’s Work in Critical and Cultural Theory functions as a bibliographical tool of practical use to scholars and students alike, as well as a lively collaboration with contemporary debates.

For more than thirty years Theater has been the most informative, serious, and imaginative American journal available to readers interested in contemporary theater. It has been the first publisher of pathbreaking plays from writers as diverse as Athol Fugard, Sarah Kane, W. David Hancock, David Greenspan, Richard Foreman, Rinde Eckert, and Adrienne Kennedy. It has printed writings on theater by dramatists including Heiner Müller, Dario Fo, Mac Wellman, and Suzan-Lori Parks. Its special issues have covered many topics: theater and social change, children's theater, Soviet theater, theater and photography, paratheater, theater and revolution, and theater and the apocalypse.

For over five decades, Theatre Journal's broad array of scholarly articles and reviews has earned it an international reputation as one of the most authoritative and useful publications of theatre studies available today. Drawing contributions from noted practitioners and scholars, Theatre Journal features social and historical studies, production reviews, and theoretical inquiries that analyze dramatic texts and production.

Theatre, Dance and Performance Training (TDPT) is a twice-yearly, peer-reviewed journal which acts as a research forum for practitioners, academics, creative artists and pedagogues interested in training in all its complexity and across cultures. The journal is dedicated to revealing the vital and diverse processes of training and their relationship to performance making, including those from the past, from the present, and into the future. This diversity is reflected in the journal's international scope and interdisciplinary form and focus. TDPT acts as an outlet for documenting and analysing primary materials relating to regimes of performer training as well as encouraging discursive contributions in a range of critical and creative formats. It provides a valuable meeting-point for practitioner-researchers wanting to know more about training before, beneath, beyond and within performance.Some key areas of interest for all three sections of the journal include:Training purposes: why train, who trains and what is trained?Training histories: the currency of historic training approaches in the C21stTraining futures: emerging trends and methodologiesInterdisciplinary training/Training interdisciplinarity Derivations, lineages and (false) traditionsDocumentation and training Training places: laboratories, conservatoires, universities, schools, ensemblesTraining the untrainable: intuition, creativity, presence, talentIntercultural trainingThe languages of training and the problems of translationEmbodied knowledge and its disseminationThe politics and ethics of trainingTraining for and with new mediaTraining pedagogies and pedagoguesLifelong or continuing training The editors are currently inviting submissions for three distinct areas of the journal:Articles For the largest section of the journal, submissions are sought in the form of articles, critiques and extended analyses. SourcesMaterials relating to regimes of performer training 8211; workshop transcripts, interviews, new translations or publications of key training documents, practitioner logbooks, academy or laboratory curricula, training methodologies or manifestoes, framed by the author and contextualized for the reader.Training GroundsContributions in a range of shorter, more immediate forms capturing a sudden realization or discovery in training; considered reflections of performance work encountered, reviews of training texts or workshops experienced. For further details on these sections see 'Instructions for Authors'. Disclaimer:Taylor & Francis makes every effort to ensure the accuracy of all the information (the "Content") 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.

Included in the Thomson Reuters Arts & Humanaities Citation IndexThird Text is an international scholarly journal dedicated to providing critical perspectives on art and visual culture. The journal examines the theoretical and historical ground by which the West legitimises its position as the ultimate arbiter of what is significant within this field. Established in 1987, the journal provides a forum for the discussion and (re)appraisal of theory and practice of art, art history and criticism, and the work of artists hitherto marginalised through racial, gender, religious and cultural differences. Dealing with diversity of art practices - visual arts, sculpture, installation, performance, photography, video and film - Third Text addresses the complex cultural realities that emerge when different worldviews meet, and the challenge this poses to Eurocentrism and ethnocentric aesthetic criteria. The journal aims to develop new discourses and radical interdisciplinary scholarships that go beyond the confines of eurocentricity.Peer Review Policy:All research articles published in this journal have undergone peer review based on initial editorial screening.Disclaimer for scientific, technical and social science publications:Taylor & Francis and Third Text makes every effort to ensure the accuracy of all the information (the 8220;Content8221;) contained in its publications. However, Taylor & Francis and Third Text 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 and Third Text.

Visual Communication is a quarterly, peer-reviewed academic journal publishing top research in visual studies. It welcomes contributions from scholars in anthropology, sociology, history and scientific research. Articles cover still and moving images; graphic design and typography; visual phenomena such as fashion, professional vision, posture and interaction; the built and landscaped environment; and the role of the visual in relation to language, music, sound and action.

Special Issue - A Tribute to Helene E. Roberts 'Second Hand Images': On Art's Surrogate Means and Media - Part I: The Art Press and Photography Visual Resources: An International Journal of Documentation is devoted to the study of images and their uses. While images of architecture and works of art constitute its main focus, it also includes other subjects and contexts in a wide range of formats. Its scope delves into the past and looks toward the future, revealing how images have influenced the perception of art and how the interpretation of images conditions and enhances academic disciplines such as archaeology, history, and particularly art and architectural history. Visual Resources explores how visual language is structured and visual meaning communicated and also illustrates how picture collections are acquired, organized, indexed, and preserved. VR examines early attempts to document the visual, reports on the state of visual resources, assesses the effect of electronic technology on current and future uses, and provides a platform for reporting innovative ways to organize and access visual information - while aiming to increase the recognition and appreciation of visual documentation. Over the years, VR has published articles about verbal descriptions of art and architecture; copies, casts, and facsimiles; drawings, paintings, and prints; photography; library, archive, and museum collections; iconography; and computers and electronic imagery - and how these have functioned as documents of art and culture. Disclaimer: Taylor & Francis makes every effort to ensure the accuracy of all the information (the 'Content') 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.

Visual Studies is a major international peer-reviewed journal published on behalf of the International Visual Sociology Association. The journal publishes visually-oriented articles across a range of disciplines, and represents a long-standing commitment to empirical visual research, studies of visual and material culture, the development of visual research methods and the exploration of visual means of communication about social and cultural worlds. Visual Studies is a key resource for all disciplines that engage with images, society and culture, and sets the standard for the scholarly use of visual material.The multidisciplinary character of the journal is reflected in its attention to visually-based research in sociology, anthropology, cultural and media studies, documentary film and photography, information technology, education, communication studies as well as other fields concerned with image-based study.The aims of Visual Studies are to: Provide an international forum for the development of visual research.Promote acceptance and understanding of a wide range of methods, approaches and paradigms that constitute image-based research.Reduce the disparity in emphasis between visual and written studies in the social sciences.Promote an interest in developing visual research methodology in all its various forms.Encourage research that employs a mixture of visual methods and analytical approaches within one study.Critically reflect and contribute to the dialogue surrounding 8216;the visual' across the social sciences and humanities.Provide an arena for in-depth exploration of various approaches, particular methods, themes and visual phenomena. Most articles published in the journal are accompanied by appropriate visual material, and the journal encourages visually-led submissions.An article indexTo access discussion on topics covered in Visual Studies please join the IVSA Mailing List.This service aims to create a forum for the discussion of visual meaning, in which scholars and practitioners in any field might feel welcome. In particular we invite, sociologists, anthropologists, communications scholars, education practitioners and researchers, historians, photographers, photo-journalists, and psychologists to participate.To subscribe to IVSA, mail listserv@pdomain.uwindsor.cawith no subject, and the line:subscribe ivsa 'your name'in the body of the e-mail. You will receive instructions on mailing to the list, as well as some basic mail list commands.Members of the IVSA are eligible for a reduced rate subscription to Visual Anthropology. The rate is $40 for 5 issues. Please click here for further information about the journal www.tandf.co.uk/journals/titles/08949468.aspPeer Review Policy:Research articles published in Visual Studies have undergone peer review. After initial screening by the editor for quality and fit with the journal' objectives, papers are reviewed by at least two anonymous referees with appropriate specialist knowledge.Disclaimer for scientific, technical and social science publications:Taylor & Francis and International Visual Sociology Association makes every effort to ensure the accuracy of all the information (the 8220;Content8221;) contained in its publications. However, Taylor & Francis and International Visual Sociology Association 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, the Editor or International Visual Sociology Association.