Founded In    1959
Published   quarterly
Language(s)   English
     

Fields of Interest

 

interdisciplinary

     
ISSN   0026-3079
     
Affiliated Organization   Mid-America American Studies Association
     
Editorial Board

Anderson, Crystal
Augst, Thomas
Baldwin, Davarian
Delaney, Kate
Domer, Dennis
Earle, Jonathan
Enstad, Nan
Early, Gerald
Fiorentino, Daniele
Fischer, Iris Smith
Friedensohn, Doris
Graebner, William
Habell-Pallan, Michelle
Hebel, Udo
Hulsether, Mark
Kent, J. Robert
Knobloch, Frieda
Kwolek-Folland, Angel
Lester, Cheryl
Linkon, Sherry
Mason, Carol
Nagel, Joane
Porter, Eric
Roediger, David
Sandeen, Eric
Seago, Alex
Van Arragon, Elizabeth
Wajda, Shirley Teresa
Whaley, Deborah
Yokoyama, Ryo

Submission Guidelines and Editorial Policies

Format and style of submissions: Manuscripts need to be in a Word file.  Manuscripts (including endnotes, tables, and references) should be double-spaced with one-inch margins on all sides. All manuscripts should be between 20 and 30 pages, not including endnotes. All footnotes/endnotes should use Arabic numerals, not Roman numerals. All figures should be places at the end of the manuscript. All manuscripts not meeting these standards will be returned to the author for reformatting. Because American Studies uses a double-blind review process, contributors are asked not to put their names on manuscripts; only the title should appear on the manuscript. Contributors agree upon submission that manuscripts submitted to American Studies will not be submitted for publication elsewhere while under review by American Studies. Manuscripts should be prepared following the Chicago Manual of Style, 16th Edition, or MLA.
We strongly encourage authors to submit their work using the journal’s online submission system. We encourage authors to submit manuscripts (with a 300 word abstract) electronically. For questions regarding submissions or the online submission system, please contact Chris Robinson at asjo@ku.edu
Photographs and other imagery often enhance the text and the journal considerably; the Editors encourage authors to provide illustrations with their submissions. We do, however, require the following: Electronic images are preferred. Our printer has specified they prefer halftone and color images be at minimum 300 pixels per inch (ppi), while line art should be scanned at 1200 ppi. If possible, images in .PNG or .TIFF are preferred. As nearly all images downloaded from the Internet are in .JPEG or .GIF format and will be 72 dpi, they are rarely acceptable to be printed. Sizing these images to fit the page can cause pixelation, rendering them unrecognizable or warped. If you have trouble finding an image of acceptable quality, please feel free to check online sources such as Flickr. Many images on Flickr are available to the public under a Creative Commons license. If sending physical photographs, please send us good quality, glossy prints or camera-ready line art, ready for press. We will not be able to use images/figures inserted in Word documents. If your submission is accepted, please send us original copies of all images included, along with captions, as well as notes indicating an estimated location for page layout. If we need to edit captions, we will of course check back with you during the proofing process. *Please note that authors are responsible for obtaining permission for any images they wish to use. If permission to reproduce the image is needed, we require the appropriate documentation granting that permission. Where necessary, the appropriate wording granting permission, which will be placed under the photograph or at the end of the article (“Reproduced by permission of . . . .,” etc.) should also be included. Please mail physical images to:
Chris Robinson, Assistant Editor
American Studies
The University of Kansas 1440 Jayhawk Blvd., Room 213
Lawrence, Kansas 66045-7590
e-mail: asjo@ku.edu



BOOKREVIEW GUIDELINES
American Studies publishes reviews of books, films, or exhibits that deal broadly with American culture and that blur traditional disciplinary lines. We also hope to bring attention to discipline-specific texts with topics or themes that may interest scholars in a variety of fields.
Reviewers are professors, independent scholars, and professionals who hold a PhD or terminal degree in their field.  We assign some books to reviewers as they come in to our office, if we suspect the scholar would offer an insightful review of a particular book.  We also recruit reviewers by publishing a list of new books available for review on our blog, in our e-newsletter, and on social media sites.
Reviews should indicate the nature of the book’s themes and the quality of its scholarship. The review may mention other texts in order to situate the work being reviewed into the debates and conversations in which it takes part; however, we expect that the review focus on the particular book itself.  Reviews are generally 500 words in length, unless otherwise requested by the editors.
In addition to book reviews, we also publish book review essays that frame texts within the context of scholarly patterns and directions.  These are often assigned to specific reviewers by the journal’s editorial team, though individual scholars may propose review essays as well.  We publish review essays in most of our quarterly issues and in our summer reading issue.
At the top of the review, please cite the book as follows: TITLE: Subtitle. By Author Name. City: Press. Year. If you quote from the book, please include a page citation in parenthesis immediately following the quote. Try not to use footnotes. Instead, embed the information in the text. At the end of your review, state your name and institutional affiliation. If the institution is outside the United States, please include the country. If the institution has several campuses, include yours after the institution name.
Reviews should be submitted by e-mail to Justine Greve at amerstud@ku.edu.

     

American Studies

ALTTEXT

American Studies is a quarterly interdisciplinary journal sponsored by the Mid-America American Studies Association, the University of Kansas College of Liberal Arts and Sciences, the Department of American Studies, and KU Libraries. With an editorial staff from a number of areas of study, the journal offers provocative perspectives on a variety of issues. Frequent special sections and special issues create a space for a broad discussion on a single topic. Articles on pedagogy inform the American Studies classroom. The book review section aims at keeping readers conversant with contemporary scholarship. American Studies first appeared in 1959, and has 1,000 current subscribers. In 2005 it merged with American Studies International, and welcomes submissions with an international perspective. This electronic edition provides free access to the back issues of the journal. The most recent three years are available via print subscription only.
Blog link: http://amsjournal.wordpress.com/

 

» Visit Journal Web Site

Winter 2007, Vol. 48, No. 4

Can a Hobo Share a Box-Car?  Jack London, the Industrial Army, and the Politics of (In)visibility


American Artists Paint the City: Katharine Kuh, the 1956 Venice Biennale, and New York's Place in the Cold War Art World


By 1956, Alfred Barr and the Museum of Modern Art (MoMA), which then owned the American Pavilion, had recognized the cold war utility of the Venice Biennale. Relying on Clement Greenberg's formalism, it promoted Abstract Expressionism as the culmination of a European-inspired, American-produced aesthetic embodying universal values with the hope of winning over the moderate European left. American Artists Paint the City, an exhibition for the 1956 Venice Biennale momentarily complicated this agenda. Guest curator Katharine Kuh of the Art Institute of Chicago organized an innovative exhibition thematically uniting 20th century American modernist painters. Her presentation of Jackson Pollock and Willem de Kooning as the inheritors of a New World modernist heritage elicited powerful opposition from American art authorities supporting lineage ties to international modernism as well as upset observers abroad who saw it as a chauvinistic and pretentious effort to undermine European ascendancy in the transatlantic art world. An examination of these reactions exposes the importance of institutional politics in shaping canonical aesthetic priorities and sheds light on the intersecting roles of critics, curators, artists, and patrons in the construction of accepted traditions.

Gen-X Hamlets: Imitating the Dane to Find a Personal American Masculinity


This essay examines the meanings associated with the figure of Hamlet in American popular culture, particularly as an ideal of American masculinity. Though this association between Prince Hamlet and American masculinity has a long history, this association became particularly strong in films of the 1990s. Though much critical attention has been paid to Hamlet references in big-budget films with middle-aged protagonists, less examined have been smaller-budget films that center on twentysomething protagonists struggling to find their own direction in post-feminist, post-Cold War, post-industrial American society. True Romance, Clueless, Beautiful Girls, Grosse Pointe Blank, Two Girls and a Guy and Best Men treat their references to Hamlet with wit, weaving them into the text in an offhand way, seamlessly mixing Shakespeare's lines with contemporary dialogue-signaling more significant parallels between the two texts, in a dialogic relationship. This essay interrogates the versions of masculinity that Hamlet references are used to mark and to promote in these Gen-X films.

Collecting, Collage, and Alchemy: The Harry Smith Anthology of American Folk Music as Art and Cultural Intervention


In 1952 Folkways Records released a series of compilations of early 20th century music titled The Anthology of American Folk Music, assembled by artist and record collector Harry Smith. A major influence on the folk revival of the 1950s, the Anthology was also an artwork in itself, one that challenged a range of conventional assumptions about not only music but also broader social and cultural processes. Smith's strategy in constructing the Anthology combined the practice of collecting, collage aesthetics, and the philosophy of alchemy, transmuting seemingly simple materials (recordings of folk music of the 1920s and 1930s) into new and different forms that suggested fresh cultural possibilities grounded in these seemingly "lost" traditions. This article discusses the Anthology in terms of its cultural and aesthetic approaches, with a particular focus on their relevance for and continuing influence on contemporary postmodern culture.

“Congratulations! Hitler will run forever!” The Producers and American Jewish Culture, 1967-2007


“Is American Liberalism Singular or Plural?”


Other Issues

Fall/Winter 2008, Vol. 49, No. 3/4
Spring/Summer 2009, Vol. 50, No. 1/2
Aaron Douglas and the Harlem Renaissance, Vol. 49, No. 1/2
Fall 2007, Vol. 48, No. 3
"Homosexuals in Unexpected Places?", Vol. 48, No. 2
Spring 2007, Vol. 48, No. 1
Fall/Winter 2006, Vol 47, No 3/4
Summer 2006, Vol 47, No 2
Indigeneity at the Crossroads of American Studies , Vol. 46, Nos. 3/4
, Volume 52, Number 2