Explorations in Renaissance Culture

Explorations in Renaissance Culture ERC Submissions

Explorations in Renaissance Culture

Explorations in Renaissance Culture is a biannual, multidisciplinary scholarly journal devoted to all disciplines of study in the Early Modern/Renaissance period: literature, history, art and iconography, music, cultural studies, etc. Publishing articles in the English language, our authors hail from around the world. We are fully refereed by a board of established scholars and experts in the field; a double-blind review process is used. In existence as an annual since 1974, Explorations in Renaissance Culture gained steadily in submissions and subscriptions and, in the auspicious year 2000, began to produce two issues per year (Summer and Winter of each calendar year). The publisher Brill took over publication and distribution of the journal in 2015: www.brill.com/erc

ERC is edited by Thomas Herron of the Department of English, Thomas Harriot College of Arts and Sciences, East Carolina University, and is published jointly by the South-Central Renaissance Conference and Brill.

Special Issues

In celebration of the formation of the Queen Elizabeth I Society, Explorations in Renaissance Culture designated Volume 30, Number 1 (Summer 2004) as a Special Issue of articles devoted to Queen Elizabeth I, edited by Guest Editors Donald Stump and Carole Levin. Queen Elizabeth I was again the subject of a special issue guest-edited by Levin (37.1, Summer 2011). Subsequent special issues have been devoted to Art History (32.1, Winter 2006, guest-edited by Norman Land), Andrew Marvell (35.1, Summer 2009, guest-edited by Sean McDowell) and the painter Vasari (39.1, Summer 2013, guest-edited by Liana Cheney and Yael Even). Electronic copies of all issues are available by contacting Brill; for hard-copy, contact the editor, Thomas Herron.

Albert Fields Award Subscriptions

Explorations Submission Guidelines

The journal seeks submissions from any discipline in Early Modern studies: literature, art and iconography, music, history, gender studies, culture. ERC asks that any submission (whether electronic or in hard copy) be accompanied by a statement certifying that the article is not being considered for publication elsewhere and will not be so considered elsewhere unless and until the process of this submission results in a rejection.

There are no submission deadlines; manuscripts are submitted year-round from across the U.S. and abroad. Publication decision is given usually within two to three months after submission. Manuscripts with accompanying illustrations are welcome: please submit photocopies of illustrations with the manuscript for the referees' reading, but please be aware that you will be asked to supply black-and-white photographs (or digital images at the resolution of at least 300 dpi) and letters of permission to reprint from the copyright holders if the article is accepted for publication. ERC follows the current edition of The MLA Style Manual in matters of documentation style.

Click here for detailed instructions and further information on ERC House Style for submitting manuscripts. For a helpful discussion of general guidelines on things to consider when submitting a manuscript for publication, go the Council of Editors of Learned Journals (CELJ) guidelines page.

When submitting manuscripts, please take care to supply English translations for all non-English quotations therein.

Electronic submissions are easiest; we are able to accept most common word-processing programs (such as WordPerfect, MS Word). Please contact the editor at the e-mail address below for any other specific information. Please do not include the author's name in the document (include personal information in the cover e-mail only, please). Or send hard copies of manuscripts (three copies, with author's name on a cover sheet only) to:

Thomas Herron, Editor
Explorations in Renaissance Culture
Department of English
Thomas Harriot College of Arts and Sciences
East Carolina University
Greenville, NC 27858
Email: herront@ecu.edu

ERC does not print book reviews, press releases, or calls for papers.


Albert Fields Award

The editor is pleased to announce the Albert W. Fields Award, an annual cash prize of $100 awarded to each volume's article judged most distinguished by an independent board of judges, beginning with Volume 21 (1995). The award is provided by the South-Central Renaissance Conference in honor of Albert W. Fields, editor of ERC from 1984 to 1994 (Volume 10 through Volume 20).

HONORED RECIPIENTS OF THE ALBERT FIELDS AWARD

Daisy Delogu, "‘Aucuns de ma langue’: Language and Political Identity in Late-Medieval France." EIRC 39.2 (Winter 2013): 97-112.

Larissa Tracy, "'For Our dere Ladyes sake': Bringing the Outlaw in from the Forest — Robin Hood, Marian, and Normative National Identity." EIRC 38.1–2 (Summer & Winter 2012): 35-65.

Timothy Raylor, "Fertility, Mortality, and Anxiety in Waller's 'To my Young Lady Lucy Sidney' and Marvell's 'The Picture of Little T.C. in a Prospect of Flowers'." EIRC 37.1 (Summer 2011): 161-174.

Heather L. Sale Holian, "The Claiming Crown: Politics, Dynasty, and Gender in State Portraits of Medici Women." ERC 36.2 (Winter 2010): 181-213.

Ruben Espinosa, "'Can no prayers pierce thee?': Re-imagining Marian Intercession in The Merchant of Venice." ERC 35.2 (Winter 2009): 172-93.

Elisa Oh, "Refusing to Speak: Silent, Chaste, and Disobedient Female Subjects in King Lear and The Tragedy of Mariam." ERC 34.2 (Winter 2008): 185-216.

Alison V. Scott, "Toward a Reevaluation of the Bower of Bliss: The Taxonomy of Luxury in The Faerie Queene, Book Two." ERC 33.2 (Winter 2007): 220-51.

James S. Baumlin. "Reading Donne's 'Communitie'." ERC 32.1 (Summer 2006): 50-75.

Nancy Mohrlock Bunker, "Feminine and Fashionable: Regendering the Iconologies of Mary Frith's 'Notorious Reputation,' " ERC 31.2 (2005): 211-57.

Mark J. Zucker, "Homeliness and Humor in Renaissance Italy: Tales of Ugly (and Witty) Artists and Other Paragons of Ugliness." ERC 30.2 (Winter 2004): 231-59.

Gerald MacLean, "On Turning Turk, or Trying To: National Identity in Robert Daborne's A Christian Turn'd Turke." ERC 29.2 (2003): 225-52.

Corinne Mandel, "Magic and Melancholy at the Vatican Library." ERC 28.1 (Summer 2002): 31-74.

Zenón Luis-Martínez, "'Maimed Narrations': Shakespeare's Henry VIII and the Task of the Historian." ERC 27.2 (2001): 205-43.

Marina Della Putta Johnston, "The Science of Art and the Art of Science: Leonardo's Authorial Strategy in Codex Madrid I." ERC 26 (2000): 229-55.

Rachel Hostetter Smith, "Providence and Political Innocence: The Ballottino in Venetian Art and Ideals." ERC 25 (1999): 41-65.

Karl Josef Höltgen, "Clever Dogs and Nimble Spaniels: On the Iconography of Logic, Invention, and Imagination." ERC 24 (1998): 1-36.

Peggy M. Simonds, "Husband Beating in English Iconography: The Special Case of the Montacute House Mural." ERC 23 (1997): 37-52.

Michael W. Price, "'offending without witnes': Recusancy, Equivocation, and Face-Painting in John Donne's Early Life and Writing." ERC 22 (1996): 51-81.

Mark Thornton Burnett, "'Fill Gut and Pinch Belly': Writing Famine in the English Renaissance." ERC 21 (1995): 21-44.


Subscription Information

Institutional subscriptions:

are available from Brill

Institutional Subscription (Electronic Only)
€158,00
$208.00

Institutional Subscription (Print Only)
€174,00
$229.00

Institutional Subscription (Electronic + Print)
€190,00
$250.00

 

Individual subscriptions:

Members of SCRC are entitled to an electronic subscription to the journal (printcopy $10 extra). To join SCRC:
Non-member individual subscriptions: are available from Brill

Individual Subscription (Electronic Only) for non-members of SCRC
€51,00
$67.00

Individual Subscription (Print Only) for non-members of SCRC
€51,00
$67.00

Back issues are also available from the Editor at $10.00 per issue, plus S&H on large and international orders.


Explorations in Renaissance Culture House Style

The journal publishes papers on any aspect of Renaissance or Early Modern studies: art history, literature, music history, cultural history, gender studies, theatre history, etc. In general, the papers that seem to fare the best with referees tend to be 20 to 30 pages in length (typed, double-spaced). There is no maximum limit; however, if the paper is accepted for publication, the editor reserves the right to make cuts if the issue in question demands it. If your article will ultimately feature illustrations, please include photocopies of them with your submitted article, indicating the Figure numbers on the photocopies so that referees may follow your document easily. (If the article is accepted for publication, there will be time for photos to be submitted later.) Submissions may be handled through the postal (snail) mail or via e-mail, as you prefer. Details follow:

Submission through snail mail:
Please submit papers in triplicate or submit it on disk (with a note identifying the word processing program used and whether it is DOS or MAC). Be certain that your name is not referenced anywhere in the document except on a title page that may be torn off or deleted from the disk version. If you include a SASE, one copy (or the disk) will be returned to you in the event of a rejection; otherwise, you will receive only a letter from our office, and the other materials will be recycled.

Electronic submission:
If your e-mail system allows attachments, you may send a submission to me via e-mail attachment. Just give in the body of your e-mail message your name and pertinent information and the word processing program you have used (also identify whether it is DOS or MAC). Be certain that your name is not referenced anywhere in the attachment.

Once a paper is accepted for publication:

Although the following aspects do not affect the referees' reviewing of papers in any way (and thus do not need to be followed in simply submitting a paper), it would be most helpful to us if a paper that is accepted for publication complies with these elements:

  1. If the paper is produced on computer, please send us a disk copy along with a printed version of your accepted paper. We work on WordPerfect 8.0, but we can usually accommodate any word processing program with our conversion programs. DOS is most compatible for us, but we can convert MAC files to our use if you cannot. If the paper is eventually accepted for publication and if it was not produced on computer, we can scan a typescript hard copy for publication, but be aware in this event that later, when you receive the camera-ready proofs, you will need to proofread it very carefully, since scanners can often garble the text in extremely subtle ways. Also be aware that, if you send it to us in any format other than WordPerfect 8.0 for DOS and if there are any diacritical marks in your essay, you will need to proofread that aspect carefully when you receive your camera-ready copy, because conversion filters sometimes miss these.
  2. ERC uses the so-called "new" MLA documentation style (MLA Handbook or MLA Style Manual, newest edition): parenthetical in-text citations with a Works Cited list at the end. Textual endnotes are permissible (see next item), but all simple documentation should appear in the text as MLA directs. The Works Cited should contain full bibliographic information for each entry—for example, any article from a journal or a book collection needs to list full, inclusive page numbers for the entire article. The same goes for a play or short work in a longer anthology. If it is not feasible for you to shift your essay into MLA form, we can do it before publication, but please be certain to provide us a separate bibliography containing the full bibliographic information for each work referred to in the essay (i.e., full, inclusive page numbers for articles in journals or anthologies). We realize that this is an unusual style for art historians in particular, but since the majority of disciplines represented in ERC uses MLA style, we feel that it is best if the entire journal conforms. Any bibliographic entry that does not contain the complete information for the work (as MLA defines it) will have to be made complete during your process of proofreading the camera-ready copy.
  3. If you choose to use any textual endnotes, and if you produce the final copy on computer, please do not use any computer "function keys" to embed the endnotes in the text. We realize that this "automatic" endnote system is easier for authors, but it is extremely problematic for typesetting. Instead of an embedded endnote, simply type a superscript number in your text where the superscript will appear (or write it into the hard copy with a pen, if necessary), and then type the text of the endnote at the end of your article, like regular text, with the numeral of the endnote at its front. We can then format the entire article to produce camera-ready copy, and we can work with the text as well as the numbers in changing fonts and size/placement of characters.
  4. If you so choose, sub-titles for sections of the article are permissible. Just type the text of the section-title, centered, before the section.
  5. We are often willing to publish as many illustrations as you wish, if your article needs illustrations. Here are some notes for you if you are planning to use any illustrations:
    1. Contributors are responsible for supplying photographs wherever necessary to the article and for obtaining permissions and paying any permissions fees necessary for the reproductions of photographs. Permissions often take time, so start early with your request to the granting institution.
    2. Material for illustrations should be of good quality. Photographs should be glossy black and white prints; drawings, charts, and tables should be in India ink on white drawing paper or computer-generated (included in the disk copy of the final version of the essay). Clarity and easy readability are most important.
    3. Each photograph or drawing should be clearly marked on the reverse with the figure number--this marking should be done lightly with a soft pencil or felt-tip pen or a piece of paper taped to the back of the photo. Do not type or write heavily, or the marks will show through on the reproduction. If only part of the illustration is required, the area to be reproduced should be outlined on a photocopy of the photo submitted for that purpose.
    4. The caption should appear on a list of illustrations or on the reverse of each photo or drawing (again, in soft pencil, felt-tip pen, or on a piece of paper taped to the back), and should appear as follows: artist, object, medium, date, location, photo credit or permissions information. It is a good idea to place a blank sheet of paper between each photograph, if you have more than one, so that any ink from something on the back of a photo cannot smudge on to the face of the next photo. The granting institution will sometimes supply you with a specific permissions phrase; if so, please use it in the caption (and please also send us that permissions letter, as with all permissions letters). Sample captions:

      Fig. 2. Giorgione. Tempesta. Oil on canvas, c. 1505. Gallerie dell' Accademia, Venice. (Photo: Soprintendenza per i beni artistici e storici di Venezia) Fig. 14.Tellus Mater and a physician in a Landscape and Precatio Terrae. Manuscript illumination, thirteenth century. Biblioteca Laurenziana, Florence. MS Ploteo 73.16, Fol. 13v and 14r. (Photo: Ministreo per i bene e le attivita culturali di Firenze)

    5. Please send a list of caption information as part of the final document when you submit it in hard copy and/or computer disk form. Most photos will be placed upright on the page, but if you have a specific request for a photo to be rotated to its side (in order to keep the detail from being reduced to whatever extent possible), please let the editor know.

If you have questions, please feel free to e-mail the editor, Thomas Herron.