Call for papers [New Deadline November 1st 2017]
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On the Je suis féministe web platform, Marie-Claude Garneau recently argued that feminist criticism of women's theatre, a critique that challenges “figures, representations, imagined bodies and voices, and the discourses and issues that affect women,” should be brought forward even more. This critique is very much alive, carried along by a vibrant community of artists, researchers, and journalists, and it has been the driving force behind the true renewal in several literary genres, including theatre and poetry.
What about feminist musical criticism?
Feminist and gender-based music research and analysis have been around for several decades (Susan McClary, Lori Burns, Lucy Green). In addition, digital technology has facilitated access to musical production tools for artists who were previously largely excluded from recording studios, women in particular. Finally, representatives of various contemporary feminist approaches (intersectional, queer, and radical in particular) have taken a close look at popular culture, in particular representations of women and non-gender-conforming people, as well as gender-based discourses that popular music celebrities reactivate for the general public.
Through the establishment of a new approach towards research, unprecedented access for marginalized people to the tools of production, and the interest of women activists and theoreticians in understanding the popular arts, in the literary world these three phenomena converged towards the establishment of a vibrant feminist critique aimed at the general public. In music, or at least in the French-speaking world, there does not seem to be an equivalent phenomenon.
L'Écouteur will therefore devote a thematic issue entitled “Women/Feminisms” directed by Catherine Lefrançois (magazine Françoise Stéréo).
The contributions, between 800 and 4000 words, can take the form of:
Please send your proposed contributions to [email protected] by November 1st 2017.
What about feminist musical criticism?
Feminist and gender-based music research and analysis have been around for several decades (Susan McClary, Lori Burns, Lucy Green). In addition, digital technology has facilitated access to musical production tools for artists who were previously largely excluded from recording studios, women in particular. Finally, representatives of various contemporary feminist approaches (intersectional, queer, and radical in particular) have taken a close look at popular culture, in particular representations of women and non-gender-conforming people, as well as gender-based discourses that popular music celebrities reactivate for the general public.
Through the establishment of a new approach towards research, unprecedented access for marginalized people to the tools of production, and the interest of women activists and theoreticians in understanding the popular arts, in the literary world these three phenomena converged towards the establishment of a vibrant feminist critique aimed at the general public. In music, or at least in the French-speaking world, there does not seem to be an equivalent phenomenon.
L'Écouteur will therefore devote a thematic issue entitled “Women/Feminisms” directed by Catherine Lefrançois (magazine Françoise Stéréo).
The contributions, between 800 and 4000 words, can take the form of:
- Criticism of albums and books, contemporary or historical, by women and non-gender-conforming artists in music;
- Reviews of albums and books of all kinds written from a feminist point of view;
- Portraits of musicians, composers, directors, women DJs;
- Presentation of works, communities, or musical initiatives that are feminist or made by women and non-gender-conforming people;
- Analytical papers on contemporary or historical musical phenomena, from a gender perspective.
Please send your proposed contributions to [email protected] by November 1st 2017.
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Regular issue
L'Écouteur welcome your text proposals at all times. We look forward to read your proposals for critical reviews or analysis of albums, books, films or other documents of your choice, whose subject matter is musical. Please, refer to the Protocole de rédaction and send everything to [email protected] All texts will be submitted to the peer review committee and the response (accepted, rejected, with or without modification) will be communicated to authors between one and two months after their submission. |