Call for Papers

Forthcoming Issues of  The Apollonian | 2016-17

  • Vol. 3 Issue 3 (September 2016) OPEN ISSUE
  • Vol. 3 Issue 4 (December 2016) Special Issue on The Nation & Its Discontents

  • Vol. 4 Issue 1 (March, 2017) Special Issue on Inter-faith Dialogue in India: Theological Revisioning
  • Vol. 4 Issue 2 (June 2017) Special Issue on Reviving History: Contemporary Representations of “The Past” on Page, Stage, and Screen
  • Vol. 4 Issue 3 (September, 2017) Special Issue on Troubled Identity and the Continuing Relevance of Cultural Studies
  • Studies Vol. 4 Issue 4 (December 2017) Special Issue on Philosophizing performance, performing philosophy

The Apollonian Vol. 3, Issue 3 (September 2016) OPEN ISSUE

Deadline: 31 July 2016

We seek essays that are interdisciplinary in nature. Papers should not be merely descriptive but involve a philosophical/theoretical exploration of the issues. Any papers that merely describe the events journalistically will be rejected outright. Please see our submission guidelines for further details.

We also seek book reviews within 1200 words and conforming to the MLA style. For works academic and non-fiction works, the books to be reviewed should have been published between 2014 and the present. For works of fiction, the reviews are to be restricted to books published from 2015 to the present.

We are also interested in essays that examine the status of history, culture, politics, education and pedagogy, institutionalism, religion, society, globalism, migration and immigration, terrorism, climate and climate change and gender issues and in the 21st century from a philosophical vantage point. The issue will also contain book reviews along the above guidelines.
Please visit the Submission page of the journal for submission details.

The Apollonian Vol. 3, Issue 4 (December 2016) Special Issue on The Nation & Its Discontents


Deadline: June 30, 2016

Guest-edited by Avishek Ray, Assistant Professor, Department of Humanities and Social Sciences, NIT Silchar

The ‘nation-state’, as has often been argued, is an overtly restrictive projection of a model derived from western European experience onto the non-West where it may not apply. While acknowledging that the idea of the ‘nation’ renders disjunctive temporalities, and multiple vernacular iterations, this special issue of The Apollonian seeks to understand the politico-cultural stakes in exportation and reception of the ‘foreign’ model, and the voices silenced thereby. Taking cues from Spivak’s (1990: 39) point that there is no one India(n-ness): the Sanskritic past is too Indic, the name ‘India’ mistakenly given by Alexander, Hindustan by Islamic conquerors, Bharat (as it appears on the Indian passports) is reminiscent of a mythic king, the issue aims to scrutinize specific cultural texts to register the voices of difference and discontent that resist the modalities of nationalist, homogenizing (mis)conceptualization of the ‘imagined community’: India(n). In sum, the primary objective of this issue is to examine how ‘Indian’ cultural texts endorse or dissent from nationalist agendas. This issue (re)visits the domain of ‘culture’ and ‘practices of everyday life’, (re)complicates the objects of cultural inquiry and (re)contextualizes the cartography of cultural space with respect to Indian nationalism, and more pertinently, the pervasive tendency to conflate ‘Indian’ nationalism with ‘Hindu’ nationalism.

The Apollonian invites papers that are theoretical-analytical (rather than descriptive) and of relevance to the above theme for its Vol. 3 Issue 3. Please submit the paper using the online submission interface on the submission page. The Word file must be named Submission-Dec 16-Author Name, e.g. Submission-Dec 16-John Smith to avoid confusion. Deadline for completed essays of 5000-6000 words in length is August 31, 2016. The issue will be published in December, 2016.

The Apollonian Vol. 4, Issue 1 (March 2017) Special Issue on Inter-faith Dialogue in India: Theological Revisioning


Deadline: 1 November 2016

Guest edited by Namrata Chaturvedi, Zakir Husain Delhi College

Indian Christian theology, as pointed out by Felix Wilfred, has a distinctive character of its own in being in constant conversation with other theologies, notably Vedantic. In the context of India, it is not possible to distinguish between theology and philosophy as the term darsana encompasses both a theos and non-theos (Flood). When theologies and lived practices are so intrinsically linked to each other and when political theology becomes a dominant discourse easily, it is most important to revisit the darsanas themselves and look for points of communication, dialogue and enrichment between various religious philosophies that find themselves in unique positions in India from time to time.

Raimon Panikkar is remembered for his famous quote that talked of him coming to India as a Catholic, realizing his Hindu-ness and leaving as a Buddhist without ceasing to be a Christian at any point. This statement opens up the possibilities for locating theologies in their respective contexts while allowing for participative and pluralistic experience at first hand. Panikkar may have been truly pluralistic, Ramakrishna Paramhansa’s mystic longing took him through various faiths, Swami Vivekananda was truly inspired by The Imitation of Christ, Amir Khusrao sang in rapture for the love of Krishna, while Goethe saw in Islam the apotheosis of purity of the human soul. In the thoughts of mystics, philosophers, poets and artists, we have seen the possibility and promise of accepting other religious philosophies through individualised experience.

This issue seeks to locate that point of internalisation-the beginning of pluralism, dialogue and interpenetration, or to use Arvind Sharma’s words “reciprocal illumination”.  While religious movements have been known to be sectarian and exclusive, there exists a “leap of love” (Christina Maria Cervone) that brings differing semiotic systems together in ascribing a universal meaning to signs. In Indian academia, there is an immediate need to study theology, especially in humanities and social sciences. Only when theology is understood in its original contexts, secularism will cease to appear as an antithesis of faith but a refinement and expansion of faith leading to assimilation, inclusion and pluralism. For any individual who knows the theology of Ram will remember the compassionate self (karuna nidaan) of Ram and will be able to better appreciate Tulsidas’s statement that Ram will appear in innumerable forms across ages and so will the individual be able to read Ramanujan’s “one thousand Ramayanas” with obvious ease. Hindu theology is in need, perhaps more than any other time, of re-visiting to understand its formation and discourse, its exclusionary practices and its pluralistic promises. When political theology through majoritarianism is threatening the foundations of modern civilisational values, it is time to re-visit the texts, symbols and traditions of the multiple darsanas in India-and find those deeply linked warps and wefts between them that account for India’s diversity and richness.

We invite papers that identify and explore theological dialogue, or papers that recount and critique the traditions of inter faith dialogue in India. Some of the possible areas could be (but not limited to):

  1. Liberation theology-Christianity and Buddhism
  2. Hindu-Christian mysticism
  3. Influence of Islam on medieval Hinduism
  4. Islam and Dayanand Sarawati
  5. Christianity and Hindu Reformers
  6. Muslim-Jewish dialogue
  7. Kabir and Nanak
  8. Sufi thought and syncretism
  9. Sanskrit poetics and Biblical hermeneutics
  10. Vedic and Agamic epistemologies
  11. Saiva and Vaishnava traditions
  12. Tribal theologies

Papers of up to 8000 words using MLA referencing style, accompanied by an abstract within 300 words, must be submitted using the online submission interface on the journal’s Submission page by the 1st November 2016. The Word file must be named “Submission-March 17-Author Name” e.g. Submission-March 17-John Smith to avoid confusion. Before submitting, please prepare your manuscript following the journal’s guidelines which can be found here: Revised submissions should be sent by 1st January 2017 for the March 2017 edition.

Enquiries/ submission proposals should be directed to Dr. Namrata Chaturvedi (Assistant Professor, Department of English, Zakir Husain Delhi College, India) at

The Apollonian Vol. 4, Issue 2 (June 2017) Special Issue on Reviving History: Contemporary Representations of “The Past” on Page, Stage, and Screen


Deadline: 15 December 2016

Guest edited by Michael Kula, University of Washington, Tacoma

As our daily lives have grown more and more dominated by technology and by a corresponding fascination with the “new,” there’s been a counter movement interested in reexamining the ways of “the past.”  Whether it is handmade books, craft-made pickles, vintage automobiles, or handlebar mustaches, indeed the cliché often seems true now: what’s old is new again.

This movement is perhaps nowhere more apparent than in the literary, dramatic, and cinematic arts.  Historical novels like Wolf Hall and All the Light We Cannot See frequently top international awards and best seller lists; television shows like Downton Abby and Boardwalk Empire garner critical acclaim and achieve worldwide popularity; and theatrical productions like Hamilton and Black Angels Over Tuskegee play to seemingly endless sold-out box offices.  While literary and visual representations of historical eras are certainly not a new phenomenon(from Sir Walter Scott’s Waverly novels to Arthur Miller’s The Crucible, writers and producers have long drawn from the past in order to reach their contemporary audiences), the popularity of historically set narratives across genresand media formshas perhaps never been as widely spread as it is today.Thisspecial topicsissue seeks articles that draw from interdisciplinary approaches in examining the ways contemporary writers, directors, and producers “revive” history for modern audiences.  Submissions are particularly sought that explore the perspectives of the writer/maker, as well as the reader/viewer, in the complex relationship that exits when artists use the past to speak to the present.  In the end, this issue seeks to publish a diverse set of articles that advance existing scholarship in new innovative, interdisciplinary ways.

Papers of up to 8000 words using MLA referencing style, accompanied by an abstract within 300 words, must be submitted using the online submission interface on the journal’s Submission page by the 15th December 2016. The Word file should be named “Submission-June 17-Author Name” to avoid confusion. Before submitting, please prepare your manuscript following the journal’s guidelines which can be found here: Revised submissions should be sent by 1st March 2017 for the June 2017 edition.

Enquiries/ submission proposals should be directed to Michael Kula (Assistant Professor of Interdisciplinary Arts and Sciences, University of Washington, Tacoma) at For preliminary consideration, contributors can email an abstract for proposed articles by 30th September 2016. Completed articles are also welcome and can be submitted directly using the online submission interface.

The Apollonian Vol. 4, Issue 3 (September 2017) Special Issue on Troubled Identity and the Continuing Relevance of Cultural Studies


Deadline: 1 June 2017

Guest edited byJonathan Wright and Susan Flynn (London College of Communication, University of the Arts, London)

 Our increased attention with new forms of citizenship, changing social landscapes and emergent sets of social relations suggest that Cultural Studies and its analyses of cultural products must rapidly evolve in order to stay relevant.  Our visions of the future seem to be replete with fears of new social realities; new media technologies call us to question privacy, location, marginality, the ability to relate meaningfully with others, and the unequal distribution of material wealth. Are Cultural Studies equipped to deal with the theorization of these new realities?

Popular culture would have us believe that traditional identity categories are undergoing profound changes; gendered norms are called into question, the structure of the conventional nuclear family is no more and patterns of work and leisure are no longer clearly delineated. In a highly mediated world, it is interesting to return to Hall’s question “who needs identity?” because now more than ever, “the question, and the theorization of identity is a matter of considerable political significance, and is only likely to be advanced when both the necessity and the ‘impossibility’ of identities, and the suturing of the psychic and the discursive in their construction, are fully and unambiguously acknowledged” (2000: 29).

This edition seeks to engage with current media culture and mediated identity, in particular we wish to investigate current troubled identity narratives which reoccur across various media platforms. Characters’ struggles with elements of identity which are currently screened such as LGBT, transsexuality, crisis masculinity, slut-shaming, aggressive femininity, troubled parenting, etc. are of interest. In particular we are interested in television and film instances of troubled or troubling identity and how this relates to our cultural moment vis-à-vis changing social structures.

Interpreting media forms as diverse as reality television, popular film, fiction and advertising, contributors are invited to reveal the cultural weight of narratives that recur across media forms and provide a meaningful critique of the identities therein. We are interested in analyses of the images which various identities incur or eschew and we wish to engage with a diverse range of contemporary perspectives on the formation and maintenance of identity. By acknowledging the contradictions between lived realities and popular culture, this edition wishes to make sense of our particular cultural moment and the continuing relevance of Cultural Studies.

We seek platform papers and original critical articles which address these concerns from a variety of perspectives. Themes may include, but are not limited to:

  • New modulations of ‘the gaze’
  • Performance of identity
  • Financial crisis and identity
  • Social problems and identity
  • Parenting and family roles
  • Different geographical and political contexts of identity
  • LGBT culture on screen and/or in advertising
  • Identity and technicity

Papers of up to 8000 words using MLA referencing style, accompanied by an abstract within 300 words, must be submitted using the online submission interface on the journal’s submission page by the 1st June 2017. Please note that the Word file must be named “Submission-Sept 17-Author Name” e.g. Submission-Sept 17-John Smith to avoid confusion. Before submitting, please prepare your manuscript following the journal’s guidelines which can be found here: Revised submissions should be sent by 1st Aug 2017 for the September 2017 edition.

Enquiries/ submission proposals should be directed to Dr. Jonathan Wright (Course leader; BA Contemporary Media Cultures) and Dr. Susan Flynn (Associate Lecturer; BA Contemporary Media Cultures) at London College of Communication, University of the Arts, London at  and

The Apollonian Vol. 4, Issue 4 (December 2017) Special Issue on Philosophizing Performance, Performing Philosophy


Deadline: 31 August 2017

Performance philosophy has been in development for the past decade as an interdisciplinary approach to performance studies. The contemporary global reality and political-economic situations have called forth performances that operate within new frames of reference and use new technologies. Understanding the complex politics of these new performances requires a fresh theorizing, a specifically contemporary philosophy of performance. The ‘crossover’ of performance and philosophy hybridizes the spaces between and around the two ‘conceptual personae’ (Deleuze and Guattari). The present areas of conceptual interrogation include radical interventionist studies of existing philosophies to place performance into perspective. However, there is a distinct bias towards the re-appropriation of philosophical concepts that already verge on the domain of performance studies or analysis. The politics of performance is multi-layered and multidisciplinary. Baudrillard had distinctly shown us how the Gulf War can itself be construed as an elaborate virtual performance, while Virilio has expanded performance into the hypermodern; social networking has acquainted us with ‘viral’ performances, whereas reality television, conceptual art and deterritorialized performances such as flash mobs have led to further layering of the ‘plasticities’ of performance (Malabou). Manuel DeLanda, commenting on the event of ‘virtual philosophy’, observes that the “simplest non-biological instance of spontaneous correlation between the probabilities of events is the behavior of materials near phase transitions.” Performance philosophy is at a phase transition that situates it broadly within the apex of evental politics of contemporary interdisciplinary studies.

The spaces of interrogation that are developed through the current intersection between philosophy and performance are similarly an interrogation of the event of performance. The performed/performative event intervenes on a plane equivocal to Žižek’s critique of ideology, ontology, and subjectivity, as well as Badiou’s inaesthetics, spanning the intraphilosphical liminality between art and ethics. The contemporary intersections between performance and philosophy may also be viewed as a revival of Actor-Network Theory (ANT), considering the interactivity made possible by technology and philosophy with performance. Agamben states, “The work of art has undergone a process of crisis which has led to its disappearance from the sphere of art with the result that today the performance and living praxis of the artist have tended to replace what we were accustomed to considering as ‘work’.” Which leads to the crucial question: does performance still construe as art? Or is it that the ‘mechanical reproduction’ of performance through technology has led to the superannuation of the performance artist and her/his art? Where does performance stand in the twenty-first century and how has it evolved from the twentieth century? What is the specific topology of contemporary performance philosophy? Does performance afford escalation to philosophy and vice versa? What are the interfaces of interactivity between performance and philosophy? What we seek to explore in the issue is, to borrow from the Prologue of Brecht’s “A Short Organum for the Theatre,” “an aesthetic drawn from a particular kind of … performance which has been worked out in practice over the past few decades,” or rather, in short, a definition for ‘contemporary performance philosophy’.

The issue seeks interactions of performance/s across genres and forms, plasticities, and temporalities. Philosophers and thinkers who have discussed performance and philosophy or expressed interdisciplinary concerns such as Adorno, Foucault, Althusser, Bakhtin, Ranciere, Laruelle, Levinas, Cixous, Derrida, Deleuze, Lyotard, Irigaray, Bruno Latour, Wolfgang Iser, Kristeva, Kant, Butler, Agambern, Jean-Luc Nancy, Horkheimer, Žižek, bell hooks, Eric Lott, C.S. Peirce, Moe Meyer, Shoshana Felman, Patrice Pavis, Susan Sontag and Raymond Williams among others are near canonical as a plethora of publications have assessed performance in the light of concepts developed by these thinkers. Furthermore, the question ‘performativity’ also add its exponents from analytical philosophy including, most prominently, J.L. Austin, Wittgenstein, and Stanley Cavell. We seek essays that critically engage with existing links between performance and philosophy and also forge new connections. Recent publications such as Post-Cinematic Theatre and Performance (2014), Intimacy Across Visceral and Digital Performance (2012), Identity Performance and Technology (2012), Deleuze and Performance (2009) among others tend to look at performance from interdisciplinary perspectives, whereas works such as Performance: A Critical Introduction (1996), Richard Schechner’s Performance Studies: An Introduction (2002), and Performance: Critical Concepts in Literary and Cultural Studies (2003) are early presentations of the theoretical framework of performance studies. The present issue and the consequent volume will act as a continuation of Schechner’s collaboration with Victor Turner, Between Theatre and Anthropology (1985), tuning it more closely towards a paradigm ‘between theatre and philosophy’.

This special issue of The Apollonian seeks original critical papers that explore new intersections between philosophy and performance from a variety of perspectives. While studies of the contemporary or near-contemporary theatre are welcomed, analyses of other forms of performance as detailed below are highly encouraged. We also seek essays that critically assess or offer synoptic views on philosophical discourses of performance. Themes may include, but are not limited to:

  • Philosophy of Performance
  • Non-traditional/non-representational performance
  • Postmodern performance
  • Digital performance
  • Cinema contra performance/Cinema pro performance
  • Phenomenology of performance
  • The Origin of the ‘Technik’ of Performance
  • Dialogue and post-dialogue in/of performance
  • Theatre of ‘nothingness’
  • Performance and Presence/Absence
  • Performance and Difference/Différance
  • Semiotics of performance
  • Rhizomic Performances
  • Queering Performance
  • Performance and Violence
  • Connective Performance/s
  • Transcultural Performance
  • Postcolonial performances/Performing Bollywood
  • Performance and Gender
  • Performance and Sexuality
  • Performance and Language
  • Architectonic/architecture of performance
  • Performing Cartographies

Selected papers from the issue will also be published in an edited volume due to be published by a reputed international academic publisher in 2018. Standalone submissions for the volume will be accepted too. Please direct any queries to the journal’s email address.

Papers of up to 8000 words using MLA referencing style, accompanied by an abstract within 300 words, must be submitted using the online submission interface on the journal’s Submission page by the 31st August 2017. Please note that the Word file must be named “Submission-Dec 17-Author Name” e.g. Submission-Dec 17-John Smith, to avoid confusion. Before submitting, please prepare your manuscript following the journal’s guidelines which can be found here:

Enquiries/ submission proposals should be directed to the Editors at

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