Southern Spaces combines innovative scholarship about real and imagined spaces and places of the US South with the tools of digital media. Authors interested in submitting to Southern Spaces should send all materials to managing editor Madison Elkins at email@example.com who will coordinate submission arrangements for large media files. Southern Spaces does not consider previously-published work or simultaneous submissions. At time of publication, authors may choose to retain copyright of their work or to select a Creative Commons license. All publications, along with their associated media, are securely archived by Emory University's Woodruff Library. The journal also accepts print and media submissions by post.
Southern Spaces publishes six different genres of scholarship: articles, photo and media essays, short videos, presentations, reviews, and blog posts. The best way to determine if your work would be a good fit for our journal is to browse the kind of work we have published by following the links to these categories in the "Browse" section of the side-menu.
Articles are long-form, interpretive or critical pieces that are the result of sustained scholarly engagement with a topic. We prefer that they incorporate multimedia, but they may start out resembling journal articles composed for print-based scholarly periodicals. Our articles analyze and explore real and imagined places in the US South; make connections and comparisons between southern regions or locales and places in the wider world; or use textual, archival, and ethnographic data to challenge conventional ways of understanding the people, places, and cultures found in the South. All of our articles write from the perspective of spatial critique.
Photo and Media Essays
Photo essays curate collections of original photography or other multimedia to perform the same kinds of critical work articles do: to analyze real and imagined places and spaces in the US South, to make connections between the South and other areas of the world, and to challenge conventional representations of the South. While primarily photographic or media-based, these essays include a critical writing component.
Short videos are five to twenty-five minute videos that use visual—as opposed to textual or rhetorical—techniques to advance a critical argument. The three types of videos we generally publish are
- Ethnographic: visual scholarship that is concerned with the analysis of culture, often using interviews and performance of particular human activity;
- Documentary: journalistic video that seeks to explore its content through a preponderance of visual evidence; and
- Lyric: video that engages in sustained critique through affect, refrain, parataxis, and nonlinear sequencing and is primarily neither ethnographic nor documentarian.
We especially favor work that combines ethnographic, documentarian, and lyric techniques to produce evocative and incisive visual arguments. We typically do not publish narrative or fictional film. Short video submissions often include a short critical writing component.
Presentations include the media associated with the public presentations of scholarly work. Such presentations include lectures, conference papers and panels, and other scholarly events of interest to the critical study of space.
Reviews are critical evaluations of recently published books, film, digital projects, music, events, and other art or scholarship that relate to the study of space and place in the US South. Although we appreciate reviews that give synopses of scholarly work, our reviews should address the spatial dimensions of the work's arguments and the place of the work in relation to existing scholarship.
For primarily textual submissions, please submit a Microsoft Word document (.docx, .doc) or, if your piece requires complex formatting, a Portable Document Format (PDF) file. Please send separate image, sound, and video files, even if the media should appear embedded in the text. Here is a chart of acceptable file types. For all media files, use the largest, highest quality version available.
.docx, .doc, .pdf, .rtf
.png, .tiff, .jpg
.wav, .aiff, .mp3
we prefer uncompressed audio (.wav, .aiff)
.mov, .avi, .mp4
For digital projects, please submit in the best file format for the project.
Text documents should include a title, an abstract of less than one hundred words, citations in footnotes, recommended resources (divided into "Text," "Web," "Audio/Video," and "Related Southern Spaces Publications"), and page numbers. Please use a legible font and double-spacing. Avoid including your name or any identifying material in your document.
We recommend the latest edition of The Chicago Manual of Style, but we also have a few house rules. Please consult our style guide.
Southern Spaces is an open access journal which means that all content is freely available without charge to the user or his/her institution. Users are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles in this journal without asking prior permission from the publisher or the author. This is in accordance with the Budapest Open Access Initiative definition of open access.
Southern Spaces checks every article for plagiarism during the review process. By submitting a piece to Southern Spaces, authors affirm that their work is original. Southern Spaces does not publish previously published work or pieces that are under consideration elsewhere. The journal does not publish work that has been falsified or misattributed in any way, including an author’s failure to properly cite her own work.
Copyright for contributions published in Southern Spaces is retained by the authors, with publication rights granted to the journal. Content is free to users. Any reproduction of original content from Southern Spaces not published under a Creative Commons license must a) seek copyright from authors and b) acknowledge Southern Spaces as the site of original publication.
However, Southern Spaces also offers our authors the option of distributing new work published in the journal under a Creative Commons license. Beginning in 2014, in addition to retaining copyright of their work, authors may now elect to license their work under the following Creative Commons licenses.
- Using a CC-BY (attribution) license, authors allow their work to be freely distributed, copied, and performed, as long as users give credit to the original work. A CC-BY license also allows for derivative works. An author might choose this license if she wants to provide the greatest opportunity for reuse.
- Under a CC-BY-ND (attribution, no derivatives) license, users are free to copy, display, distribute, or perform the original work with attribution. Users may not make derivative works, such as those "consisting of editorial revisions, annotations, elaborations, or other modifications which, as a whole, represent an original work of authorship."1 An author might choose this license if she wants to retain the exclusive right to make such modifications.
- A CC-BY-NC (attribution, non-commercial) license allows for copies, distribution, display, or performances of a work by attribution, but only for non-commercial uses. This license also allows for derivative works. Authors might choose this license if they wish to prohibit commercial publishers from republishing their work without obtaining further explicit permission. Authors should be aware that since much academic publishing is commercial, this license may discourage or "slow . . . down [commercial] re-use of content by requiring that people ask . . . permission."2
- The CC-BY-NC-ND (attribution, non-commercial, no derivatives) license is the most restrictive choice offered by Southern Spaces. Users may copy, distribute, display, or perform a work, but only for non-commercial purposes. No derivative works are permitted. Authors might choose this license if they wish to permit greater distribution of their work without permission than would be possible if retaining copyright, but restrict commercial entities from republishing their scholarship, and prohibit all from making modifications to their work without permission.
Peer Review Process
All Southern Spaces essays, photo essays, and short videos pass through a rigorous peer review. Reviews, even when solicited, undergo an internal review process and are held to the same standard of quality as our other publications. Our peer review process is designed to provide assurance to readers that all scholarship published in Southern Spaces has attained a standard of excellence, as judged by researchers who have expert knowledge in the pertinent field.
After an author submits a piece, two members of the Southern Spaces editorial staff review it and determine whether it is an appropriate fit for the journal. At this point, the editorial staff, in consultation with the managing editor and senior editor, may recommend rejection, revision, or proceeding directly to peer review. If an author receives a request for revision and chooses to revise and resubmit the submitted work, editorial staff members will reassess the revised piece to determine whether the author has addressed the reviewers' concerns.
If the editorial staff and senior editor determine that a submission is ready for peer review, the piece then proceeds to double-blind review by two scholars with expertise in fields relevant to the submitted work. Names of reviewers will not be released to authors, nor will reviewers know the identities of authors whose work they review. Reviewers are asked to evaluate the submission critically with respect to conformance to the journal's scope. Other factors considered include an examination of the work's significance, methods, academic rigor, responsiveness to the latest literature and debates, conclusions, references, and overall presentation. If revisions are called for, authors may review shared comments and have the option of resubmitting or withdrawing their submission from consideration. If an author chooses to resubmit, the senior editor and managing editor will reassess the piece in consultation with its peer reviewers to determine whether it has addressed the reviewers' concerns.
After a piece has been accepted for publication the senior editor will line edit it in consultation with the author to reach a layout-ready version of the work. At this stage, the editorial staff will also ask authors to verify the permissions status of any associated media. Authors are responsible for acquiring the rights to use all media. The editorial staff will then lay out and copyedit the article. Authors will have the opportunity to review the final version of the laid-out piece prior to publication.
The managing editor of Southern Spaces will keep all authors informed as to the status of their submissions throughout the process. Published items will not be affiliated with a volume or issue but will be identified by date of publication.
Book and Media Review Process
Southern Spaces publishes reviews of recent books, films, digital projects, photography, recordings, exhibits, events, and other forms of art and scholarship that relate to the study of space and place in the US South. Most Southern Spaces publications foreground spatial analyses and make connections and comparisons between southern regions or locales and places in the wider world. Reviews should critically explicate and evaluate the work’s key arguments and contributions, drawing on the material to challenge conventional ways of understanding the people, places, and cultures throughout the South. Reviews should also assess the work’s significance to space and place, situating the material under consideration within relevant historiographies or artistic/aesthetic traditions.
Southern Spaces reviews are typically 1000–2000 words in length, but we also consider longer review essays. Reviewers should submit a list of recommended resources that include books and articles, web resources, and audio/video material. We also encourage authors to suggest media to illustrate the review (e.g. audio or video clips, photographs, maps, or other figures). Reviews should conform to the Chicago Manual of Style’s notes and bibliography system. All citations of the work reviewed should feature the relevant page number(s) enclosed in parentheses.
Southern Spaces solicits reviews of specific texts, but we also welcome unsolicited submissions. The following list includes suggested material for review. If you are interested in reviewing any of the listed material, please contact the review editor, Eric Solomon, at firstname.lastname@example.org. We also welcome suggestions of innovative scholarship not listed below; please contact the review editor with any suggested or proposed review material. Southern Spaces also seeks unsolicited reviews from new and seasoned scholars with expertise and interest in the following areas of inquiry: geography, southern studies, regional studies, women's, gender, and sexuality studies, public health, African American, Native, and American Studies, spatial theory, and digital scholarship.
The following list changes seasonally. Please check regularly for updated review titles and opportunities.
Monographs and Anthologies
- Luis-Alejandro Dinnella-Borrrego, The Risen Phoenix: Black Politics in the Post-Civil War South (Charlottesville: University of Virginia Press, 2016).
- Alejandra Bronfman, Isles of Noise: Sonic Media in the Caribbean (Chapel Hill: University of North Carolina Press, 2016).
- Gregory W. Bush, White Sand Black Beach: Civil Rights, Public Space, and Miami’s Virginia Key (Gainesville: University Press of Florida, 2016).
- Emily Suzanne Clark, A Luminous Brotherhood: Afro-Creole Spiritualism in Nineteenth-Century New Orleans (Chapel Hill: University of North Carolina Press, 2016).
- David P. Cline, From Reconciliation to Revolution: The Student Interracial Ministry, Liberal Christianity, and the Civil Rights Movement (Chapel Hill: University of North Carolina Press, 2016).
- Raphael Dalleo, American Imperialism’s Undead: The Occupation of Haiti and the Rise of Caribbean Anticolonialism (Charlottesville: University of Virginia Press, 2016).
- Brian J. Daugherity, Keep on Keeping On: The NAACP and the Implementation of Brown v. Board of Education in Virginia (Charlottesville: University of Virginia Press, 2016).
- Greta de Jong, You Can’t Eat Freedom: Southerners and Social Justice After the Civil Rights Movement (Chapel Hill: University of North Carolina Press, 2016).
- Alejandra Dubcovsky, Informed Power: Communication in the Early American South (Cambridge: Harvard University Press, 2016).
- Kristen Epps, Slavery on the Periphery: The Kansas-Missouri Border in the Antebellum and Civil War Eras (Athens: University of Georgia Press, 2016).
- Sharla M. Fett, Recaptured Africans: Surviving Slave Ships, Detention, and Dislocation in the Final Years of the Slave Trade (Chapel Hill: University of North Carolina Press, 2017).
- Lorien Foote, The Yankee Plague: Escaped Union Prisoners and the Collapse of the Confederacy (Chapel Hill: University of North Carolina Press, 2016).
- Claudrena N. Harold, New Negro Politics in the Jim Crow South (Athens: University of Georgia Press, 2016).
- Matthew Harper, The End of Days: African American Religion and Politics in the Age of Emancipation (Chapel Hill: University of North Carolina Press, 2016).
- Julian Maxwell Hayter, The Dream is Lost: Voting Rights and the Politics of Race in Richmond, Virginia (Lexington: University Press of Kentucky, 2017).
- Matthew Christopher Hulbert, The Ghosts of Guerilla Memory: How Civil War Bushwackers Became Gunslingers in the American West (Athens: University of Georgia Press, 2016).
- Andrew W. Kahrl, The Land Was Ours: How Black Beaches Became White Wealth in the Coastal South (Chapel Hill: University of North Carolina Press, 2016).
- Matthew Karp, This Vast Southern Empire Slaveholders at the Helm of American Foreign Policy (Cambridge, MA: Harvard University Press, 2016).
- Daniel S. Lucks, Selma to Saigon: The Civil Rights Movement and the Vietnam War (Lexington: University Press of Kentucky, 2017).
- Leonardo Marques, The United States and the Transatlantic Slave Trade to the Americas, 1776–1867 (New Haven, CT: Yale University Press, 2016).
- Daniel Moran, Creating Flannery O’Connor: Her Critics, Her Publishers, Her Readers (Athens: University of Georgia Press, 2016).
- Joseph R. Millichap, The Language of Vision: Photography and Southern Literature in the 1930s and After (Baton Rouge: Louisiana State University Press, 2016).
- Williamson Murray and Wayne Wei-Siang Hsieh, A Savage War: A Military History of the Civil War (Princeton, NJ: Princeton University Press, 2016).
- Sowande’ M. Mustakeem, Slavery at Sea: Terror, Sex, and Sickness in the Middle Passage (Champaign: University of Illinois Press, 2016).
- Susan Scott Parrish, The Flood Year 1927: A Cultural History (Princeton, NJ: Princeton University Press, 2017).
- Carl Lawrence Paulus, The Slaveholding Crisis: Fear of Insurrection and the Coming of the Civil War (Baton Rouge: Louisiana State University Press, 2016).
- Rebecca Peabody, Consuming Stories: Kara Walker and the Imagining of American Race (Berkeley: University of California Press, 2016).
- Patrick Phillips, Blood at the Root: A Racial Cleansing in America (New York: W.W. Norton, 2016).
- Harriet Pollack, Eudora Welty’s Fiction and Photography: The Body of the Other Woman (Athens: University of Georgia Press, 2016).
- Alexander Smyth, A Rape in the Early Republic: Gender and Legal Culture in an 1806 Virginia Trial (Lexington: University Press of Kentucky, 2017).
- Brent Tarter, A Saga of the New South: Race, Law, and Public Debt in Virginia (Charlottesville: University of Virginia Press, 2016).
- Brook Thomas, The Literature of Reconstruction: Not in Plain Black and White (Baltimore: Johns Hopkins University Press, 2016).
- Bryan Harden Thrift, Conservative Bias: How Jesse Helms Pioneered the Rise of Right-Wing Media and Realigned the Republican Party (Gainesville: University Press of Florida, 2016).
- Maryjean Wall, Madame Belle: Sex, Money, and Influence in a Southern Brothel (Lexington: University Press of Kentucky, 2016).
- Thomas J. Ward Jr. and H. Jack Geiger, Out in the Rural: A Mississippi Health Center and Its War on Poverty (Oxford: Oxford University Press, 2016).
Festivals, Exhibitions, and Multimedia Projects
- Atlanta Film Festival, March 21–April 2, 2017.
- Roger May, Looking at Appalachia.
- ¡NUEVOlution!: Latinos in the New South, Levine Museum of the New South, September 27, 2015–October 30, 2016.
- Southern Accent: Seeking the American South in Contemporary Art, Nasher Museum of Art, Duke University, September 1, 2016–January 8, 2017.
Internal Review Process
Due to our online and open access format, reviews reach a large and diverse audience and remain archived on our website in perpetuity. Reviews undergo a thorough internal evaluation process and are held to the same quality standards as our peer reviewed material. Please note that the solicitation of a review does not guarantee its acceptance for publication.
Book and media review submissions are assessed by staff members as well as managing and senior editors. Upon evaluation, some reviews will be accepted for publication, others will merit opportunities for revision and resubmission, and some will be deemed unsuitable for the journal. Once a review is accepted for publication, authors sign-off on a final layout copy.
For questions or additional information about the journal and peer reviewed submissions, please contact:
Madison Elkins, Managing Editor
Robert W. Woodruff Library
540 Asbury Circle
Atlanta, Georgia 30322-2870
For questions or additional information about book and media reviews, please contact:
Eric Solomon, Review Editor
Robert W. Woodruff Library
540 Asbury Circle
Atlanta, Georgia 30322-2870
- 1. "17 US Code, Chapter 1, Section 101-Definitions," Legal Information Institute, Cornell University Law School, accessed February 10, 2014, http://www.law.cornell.edu/uscode/text/17/101.
- 2. Bethany Nowiskie,"Why, Oh Why, CC-BY?", May 11, 2011, accessed February 10, 2014, http://nowviskie.org/2011/why-oh-why-cc-by/.