for essays, poems, and cover artwork
note: The Humanities Education and Research Association, Interdisciplinary
Humanities’ parent organization, requires that authors become members
of HERA if their essays are accepted for publication. Information on membership
may be found at http://www.h-e-r-a.org/hera_join.htm.
Nov. 15, 2017
2018 - Organic Machines/Engineered Humans: (Re)Defining Humanity
Guest Editor: Doré
E.T.A Hoffmann's Tales of Hoffmann and Philip K. Dick's Do Androids
Dream of Electric Sheep? to Isaac Asimov's I, Robot, Vernor
Vinge's Rainbows End and Warren Ellis' Transmetropolitan authors
have been exploring the human/machine interface since before the computer
age. Today we stand on the threshold to the lab as the government contemplates
microchipping all U.S. military personnel and Swedish office workers are
already implanting themselves for convenience ala M.T. Anderson's Feed.
A 2014 study
conducted by Cisco Systems found approximately one-quarter of the white-collar
professionals surveyed "would leap at the chance to get a surgical brain
implant that allowed them to instantly link their thoughts to the Internet".
We are already experimenting with gene therapy, cybernetics via cochlear
implants and many other technical organic enhancements, autonomous self-replicating
robots, nanotechnology, mind uploading, and artificial intelligence.
edition of Interdisciplinary Humanities will consider topics focused
on the arrival of the bio-engineered human/machine interface and what
it means for the humanities. Should STEM be geared towards STEAM (Science,
Technology, Engineering, Arts, Mathematics) in order to incorporate rhetoric
and critical thinking into the scientific method in order to encourage
the study of consequences, instead of just outcomes. Disciplines of study
include art, philosophy and religion, literature, music and dance, play,
visual arts, architecture, performing mediums, as well as ethnic and women's
studies as we redefine identity and the diversity of our species through
the dynamic interplay between humanity and the acceleration of technology.
inquiries and submissions to: Doré Ripley at (email@example.com).
Jan. 15 2018
2018: 2017 HERA conference issue - Local Voices to Global Visions: Exploring
Identity in the Humanities
span of the Humanities provides the finest range of approaches and methodologies
to explore the multiplicity of voices and visions throughout the world.
HERA seeks your contributions concerning the explorations of identity
within any aspect of the Humanities. The 2017 HERA Conference theme is
intentionally seeking disciplinary, interdisciplinary and multidisciplinary
scholarship exploring voice and vision from the local to the global.
May 1, 2018
Fall 2018: The Language of music
Guest Editor: Dr. Erin R. McCoy
have soundtracks; music has long served as a backdrop to the theater of
humanity. Music is also something we can generally all agree on; we might
listen to different types of music, but we generally all listen. Also,
music often acts as a bridge between languages and cultures. Recording
legend Stevie Wonder once remarked: “Music is a world within itself, it
is a language we all understand.” So if we all can understand the language
of music, what do we think it is saying? What are we singing along to?
This issue of Interdisciplinary Humanities aims to act as a broad discussion
regarding the role music – lyrics, performances, albums, etc. – plays
beyond that of “background noise”; how does music teach us about ourselves?
for this issue might examine how music – lyrics, performances, albums,
etc. – contribute to a greater interdisciplinary understanding of issues
such as culture, history, politics, cultural historiography, social movements,
protest movements, cultural identity, national identity, etc. Please send
inquiries and submissions to: Guest Editor Dr. Erin R. McCoy, McCoy5@uscb.edu.
Jan. 1, 2019
Spring 2019: Bridging the Gap? Digital Media
in the Literature Classroom
Guest Editors: Kristin Lucas and Cameron McFarlane (Nipissing University)
been written about pedagogy in the wired classroom, and recent studies
suggest that the humanities are revitalized when media is incorporated
into undergraduate teaching (e.g. Allen, Brackman, Kirwin, Kunze, Laflen,
Wanko). This work is often anchored in the belief that “digital natives”
learn differently from the previous generation of students (e.g. Gaston;
Levin and Arafeh; Oblinger, Oblinger and Lippincott; Prensky), and tends
to follow one of two divergent narratives about student dis/engagement.
On one hand, 21st-century students are self-motivated multi-taskers used
to knowledge communities in which learning is actively produced rather
than passively consumed; on the other hand, 21st-century students are
passive consumers trained by the prevailing digital culture to seek instant
gratification and turn off when it is not forthcoming. The conclusion
to both of these narratives is the same: get media into your class if
you want to engage students. The scholarly focus on media and technology
maps efforts to create a dynamic classroom that at its best enriches university
teaching and learning. But the long-standing interest in media as a means
to reach students and enhance delivery also points to an absence in current
scholarship, which has not been attentive to that same media as content
in the literature classroom.
this absence, we seek to bring together a series of essays that merge
pedagogical practice with a critical consideration of the question: What
is the role of media other than the printed text in the humanities classroom?
When we have students take a virtual tour of The Globe Theatre, watch
a clip from The Tudors, or Dangerous Liaisons, make a fan vid based, listen
to a podcast, or blog, what is the goal? One of the most common analogies,
even when it is not used expressly, suggests that such media serves as
a kind of bridge that helps students to connect with a text, idea, or
historical period. It is a compelling analogy, to be sure, and one that
speaks to the topic we are proposing. For if the bridge analogy is common
and compelling, it is also potentially misleading. What is the nature
of a bridge (film, video game, television series, digital environment)
that turns us, at least temporarily, away from our first destination,
the topic of study? To what extent does the bridge not simply enable engagement
but delimit and determine the terms of that engagement? Does the bridge
cease to be a bridge once we acknowledge its status as content?
of the earliest lessons of Media Studies, which insisted that form is
neither neutral nor secondorder in the creation of meaning, this special
issue will provide a practical and critical consideration of the role
of media in humanities courses and classrooms. The chosen essays will
consider not only address how media is incorporated but also assess why
it is included and what is achieved by doing so. We aim to include essays
that address the role of media in teaching a wide range of humanities
disciplines, including (but not limited to) literature, history, art,
music and classical studies.
Jan. 15, 2019
Summer 2019: 2018 HERA Conference Issue
program committee’s theme is designed to incorporate any and all possible
connotations: the history and development of the humanities, the changes in
the humanities over time, the triumphs of and threats to the humanities, the
importance of the humanities, the challenges to the humanities.
within the theme is the idea of humanities and humanities education being
enriched and enlivened by commitment and dedication from all age levels, spanning
the lives of individuals as well as history.
span of the Humanities provides the finest range of approaches and methodologies
to explore the vast array of concepts and themes within the humanities throughout
the world. HERA seeks your contributions concerning the explorations of identity,
image, and voice within any aspect of the Humanities.
The 2018 HERA
Conference theme is intentionally seeking disciplinary, interdisciplinary
and multidisciplinary scholarship exploring voice and vision from the local
to the global.
May 1, 2019
Fall 2019: Art, Activism, and the Pursuit
of a Better Life
Guest Editor: Wendy Chase
there has been a surge in art of dissent as creators and performers respond
to the uptick of injustice, inequality, and authoritarianism around the
world. In the wake of the Gezi Taksim protests, public performance and
graffiti art exploded throughout Instanbul; Syrian artists have been documenting
their pain and satirizing Assad’s brutal regime through digital art, posters,
and graffiti since 2011; in Russia, Pussy Riot staged unsanctioned guerrilla
concerts against the authoritarian practices of the Vladimir Putin; in
China, Ai Weiwei and Jacob Applebaum stuffed panda bears with shredded
NSA documents and embedded micro chips containing sensitive information,
distributing some to institutions where they could be safely guarded as
art objects. Adding urgency to this trend, the Trump administration’s
recent travel ban prompted MOMA to rehang part of its permanent collection
with work by artists from the seven targeted nations. Following a fractious
election year and in the face of an uncertain political/social future,
it seems protest has again been mobilized, and with it the art of activism,
as gestures of aesthetic resistance are endowed with a renewed sense of
energy and purpose.
of Interdisciplinary Humanities will explore the complex terrain
of artistic dissent and activism as both a contemporary practice and a
tradition. How is artistic dissent visualized, enacted, performed, disseminated?
In what ways have artists responded--in various cultural contexts and
from various subject positions--to authoritarianism, income inequality,
environmental, racial and sexual injustice? How do artists, curators,
and academics situate themselves within broader movements of dissent,
activism and culture at large? How do modern strategies of dissent replicate,
or diverge from, earlier approaches to artistic resistance? And ultimately,
how effective is artistic dissent? We invite scholars, artists and activists
to contribute papers that relate to these or related questions in the
areas of art, activism and dissent. Inquiries and submissions should be
sent to Wendy Chase at firstname.lastname@example.org
and Elijah Pritchett at email@example.com.
editors are looking for well written book reviews of new publications
that educators might use in interdisciplinary classrooms or scholarship.
These can be scholarly works as well as textbooks that examine themes
and ideas across disciplines. This is an excellent opportunity for young
scholars and graduate students to publish! Please submit your reviews
to Ed Cueva (firstname.lastname@example.org).
here for a complete list of >Books
Available for Review
a copy of the book or to send book reviews, contact Ed
Cueva at email@example.com.
* * *
General essays: We ask that all essays be interdisciplinary in nature
and that they do not exceed 6,000 words. Moreover, essays should be in Microsoft
Word format. Submit your essays for consideration to Stephen
Husarik at firstname.lastname@example.org
and Lee Ann Westman at email@example.com.
Detailed submissions guidelines can be found on the >Journal
Humanities defines "interdisciplinary humanities education" as any
learning activities with content that draws upon the human cultural heritage,
methods that derive from the humanistic disciplines, and a purpose that is
concerned with human values. Academic courses don't have to be labeled "humanities"
to be interdisciplinary. Integrated courses and units are often disguised
under such names as World History, Freshman English, Music Appreciation, Beginning
Spanish, Introduction to Religion, Senior Honors, etc. Integration can range
from the use of a novel in a history course to team teaching to comprehensive
thematic extravaganzas that combine the arts, literature, philosophy, and
HERA welcomes manuscripts
from university colleagues, but also ones that examine interdisciplinary scholarship
and education in elementary grades, teacher education, adult public programs,
graduate seminars, educational radio and television, museums, and historic
Artists wishing to have their
works published on the cover of IH should submit works that are representative
of the theme(s) of a particular issue.
*Please note: The Humanities
Education and Research Association, Interdisciplinary Humanities’ parent
organization, requires that authors become members of HERA if their essays
are accepted for publication. Information on membership may be found at http://www.h-e-r-a.org/hera_join.htm.