EDGE - A Graduate Journal for German and Scandinavian Studies

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<p>Edge was founded in spring 2008 with the intention to provide an opportunity for graduate students to gain professional experience in publication as book or film reviewers, referees, editors and authors. After several discussions with the ScholarWorks team at the W.E.B. DuBois Library at the University of Massachusetts Amherst and faculty and graduate students in the German and Scandinavian Studies program at UMass, Edge was established as an online, open-access journal. The graduate students involved in the creation of Edge include Delene Case White (founding Editor-in-Chief), Maureen Gallagher (founding Managing Editor), Victoria Lenshyn (founding Film and Book Review Editor), Diane Liu, Rachael Salyer, Juliette Brungs, Ute Bettray, Evan Torner, Tim Dail, Kyle Frackman, Laurie Taylor and Allie Merley Hill.</p>
<h3>Aims</h3> <p>Edge is written, edited, managed and reviewed by graduate students. All authors retain ownership of their work published on Edge.</p> <p>Opportunity. Edge was founded to create more opportunities for scholarly publishing and professional development for graduate students engaging in German and Scandinavian Studies.</p> <p>Open Access. Edge strives to make the best scholarly work by graduate students in German and Scandinavian Studies accessible and available to an unlimited audience.</p> <p>On the Cutting Edge. Edge seeks out and publishes research that utilizes the latest methodologies and content in the field of German and Scandinavian Studies. In particular, the journal emphasizes research culled from both the unexplored edges of the discipline, and from the edges where fields such as literature, philology, cultural studies, history, film and media studies overlap.</p> <h3>Scope</h3> <p>Edge welcomes scholarly articles regarding philology, cultural studies, literature, comparative literature, and history of Germany, Austria, Switzerland, Sweden, Norway, Finland, Greenland, Iceland, and Denmark. The journal has no restrictions regarding time periods, unless stated in a particular call for papers.</p>
<h2>Final Manuscript Preparation Guidelines for <em><macro publication.title></em></h2> <div id="styleguide"> <p>This document provides details on typesetting and layout requirements pertaining to final manuscript submission to <em><macro ir_journal.title encode='html'></em>.</p> <h3>Formatting Requirements</h3> <ul> <li>Do not include a title page or abstract. (Begin the document with the introduction; a title page, including the abstract, will be added to your paper by the editors.)</li> <li>Do not include page numbers, headers, or footers. These will be added by the editors.</li> <li>Submit your manuscript, including tables, figures, appendices, etc., as a single file (Word, <magic if test="my.AUTO_CONVERT_WORDPERFECT_FILE">WordPerfect, </magic><acronym title="Rich Text Format">RTF</acronym>, or <acronym title="Portable Document Format">PDF</acronym> files are accepted).</li> <li>Page size should be 8.5 x 11-inches.</li> <li>All margins (left, right, top and bottom) should be 1.5 inches (3.8 cm), including your tables and figures.</li> <li>Single space your text.</li> <li>Use one space after periods.</li> <li>Use a single column layout with both left and right margins justified.</li> <li>Font: <ol><li>Main Body&amp;#8212;12 pt. Times or the closest comparable font available</li> <li>Footnotes&amp;#8212;10 pt. Times or the closest comparable font available</li> </ol> </li> <li>If figures are included, use high-resolution figures, preferably encoded as encapsulated PostScript (eps).</li> <li>Copyedit your manuscript.</li> <li>When possible, there should be no pages where more than a quarter of the page is empty space.</li> </ul> <h3>Additional Recommendations</h3> <h4>Indenting, Line Spacing, and Justification</h4> <p><strong>Indent all paragraphs except those following a section heading.</strong> An indent should be at least 2 em-spaces.</p> <p>Do not insert extra space between paragraphs of text with the exception of long quotations, theorems, propositions, special remarks, etc. These should be set off from the surrounding text by additional space above and below. </p> <p>Don't "widow" or "orphan" text (i.e., ending a page with the first line of a paragraph or beginning a page with the last line of a paragraph).</p> <p>All text should be <strong>left-justified</strong> (i.e., flush with the left margin&amp;#8212;except where indented). Where possible, it should also be right-justified (i.e., flush with the right margin). "Where possible" refers to the quality of the justification. For example, <a href="http://www.latex-project.org" title="LaTeX project: LaTeX &amp;ndash; A document preparation system">LaTeX</a> and <a href="http://www.tug.org/" title="TeX Users Group (TUG) home page">TeX</a> do an excellent job of justifying text. Word does a reasonable job. But some word processors do a lousy job (e.g., they achieve right justification by inserting too much white space within and between words). We prefer flush right margins. However, it is better to have jagged right margins than to have flush right margins with awkward intra- and inter-word spacing. Make your decision on whichever looks best. </p> <h4>Language &amp;amp; Grammar</h4> <p>Submissions are accepted in either English or German. When writing in either language, please use the accepted, standard rules for spelling, punctuation and grammar.</p> <p><em>The Elements of Style</em> by William Strunk, Jr. and E. B. White (now in its fourth edition) is the "standard" guide for English grammer and style, but other excellent guides (e.g., <em>The Chicago Manual of Style</em>, University of Chicago Press) exist as well.</p> <h4>Article Length</h4> <p>Because this journal publishes electronically, page limits are not as relevant as they are in the world of print publications. We are happy, therefore, to let authors take advantage of this greater "bandwidth" to include material that they might otherwise have to cut to get into a print journal. This said, authors should exercise some discretion with respect to length.</p> <h4>Colored text</h4> <p>Set the <strong>font color to black</strong> for the majority of the text. We encourage authors to take advantage of the ability to use color in the production of figures, maps, etc., however, you need to appreciate that this will cause some of your readers problems when they print the document on a black &amp;amp; white printer. For this reason, you are advised to avoid the use of colors in situations where their translation to black and white would render the material illegible or incomprehensible.</p> <p>Please ensure that there are no colored mark-ups or comments in the final version, unless they are meant to be part of the final text. (You may need to "accept all changes" in track changes or set your document to "normal" in final markup.) </p> <h4>Emphasized text</h4> <p>Whenever possible use <em>italics</em> to indicate text you wish to emphasize rather than underlining it. The use of color to emphasize text is discouraged.</p> <h4>Font faces</h4><p>Except, possibly, where special symbols are needed, use Times or the closest comparable font available. If you desire a second font, for instance for headings, use a sans serif font (e.g., Arial or Computer Modern Sans Serif). </p> <h4>Font size</h4> <p>The main body of text should be set in 12pt. Avoid the use of fonts smaller than 6pt.</p> <h4>Foreign terms</h4> <p>Whenever possible, foreign terms should be set in <em>italics</em> rather than underlined.</p> <h4>Headings</h4> <p><strong>Headings</strong> (e.g., start of sections) should be distinguished from the main body text by their fonts or by using small caps. Use the same font face for all headings and indicate the hierarchy by reducing the font size. There should be space above and below headings.</p> <h4>Main text </h4> <p>The font for the <strong>main body</strong> of text must be black and, if at all possible, in Times or closest comparable font available. </p> <h4>Titles</h4> <p>Whenever possible, <strong>titles of books, movies, etc.</strong>, should be set in <em>italics</em> rather than underlined.</p> <h4>Footnotes</h4> <p><strong>Footnotes</strong> should appear at the bottom of the page on which they are referenced rather than at the end of the paper. Footnotes should be in 10 pt. Times or closest comparable font available, they should be single spaced, and there should be a footnote separator rule (line). Footnote numbers or symbols in the text must follow, rather than precede, punctuation. Excessively long footnotes are probably better handled in an appendix. All footnotes should be left and right-justified (i.e., flush with the right margin), unless this creates awkward spacing.</p> <h4>Tables and Figures</h4> <p>To the extent possible, <strong>tables and figures</strong> should appear in the document near where they are referenced in the text. Large tables or figures should be put on pages by themselves. Avoid the use of overly small type in tables. In no case should tables or figures be in a separate document or file. All tables and figures must fit within 1.5" margins on all sides (top, bottom, left and right) in both portrait and landscape view.</p> <h2 id="bibliography">References</h2> <p>It is the author's obligation to provide complete references with the necessary information. <em>Edge</em> uses MLA citation style; Please visit the OWL at Purdue for an excellent introduction to MLA style, including compiling the works cited list, in text citation and formatting quotations: <a href="http://owl.english.purdue.edu/owl/resource/557/02/">http://owl.english.purdue.edu/owl/resource/557/02</a>.</p> <h4>Articles in scholarly journals:</h4> <p>Author(s). "Title of Article." <em>Title of Journal</em> Volume.Issue (Year): pages.</p> <h4>Books:</h4> <p>Lastname, Firstname. <em>Title of Book</em>. Place of Publication: Publisher, Year of Publication.</p> <h4>Chapters in collections or anthologies:</h4> <p>Lastname, First name. "Title of Essay." <em>Title of Collection</em>. Ed. Editor's Name(s). Place of Publication: Publisher, Year. Pages.</p> <h4>Other works:</h4> <p>Please visit the OWL at Purdue for more examples of MLA citation style: <a href="http://owl.english.purdue.edu/owl/resource/557/06/">http://owl.english.purdue.edu/owl/resource/557/06</a>.</p> </div>

Search Results

Now showing 1 - 10 of 24
  • Publication
    „Von Kopf bis Fuß in Erz gerüstet, so unbegriffner Wut voll“: Totale Destruktion als Folge von Erkenntnislosigkeit in Heinrich von Kleists Penthesilea
    (2009-10-01) Lüke, Martina
    Heinrich von Kleists Drama Penthesilea (1808) wird von Gegensätzlichkeiten und Konflikten im inneren und äußeren Bewußtsein der Menschen dominiert: es stehen sich Griechen und Amazonen in unvereinbaren Gesellschaftskonstellationen gegenüber, Gewalt, Krisen und Auseinandersetzungen dominieren das Leben von Gesellschaft und Individuum. Meine Arbeit untersucht mittels eines close readings die Darstellung der Grenzen von Wahrheitserkenntnis und daraus resultierende (fatale) Kommunikationsdefizite vor dem Hintergrund der sogenanten „Kantkrise“, die als Wendepunkt im Leben Kleists gilt. Unwissen, Erkenntnislosigkeit und und Unkenntnis führen demnach bei Heinrich von Kleist zur Entfremdung und Gewalttätigkeit der Menschen untereinander und gipfeln letztlich in ihrer totalen Zerstörung.
  • Publication
    Berlin, Alexanderplatz: Transforming Place in a Unified Germany
    (2014-01-01) Fahey, John E
    Review of Berlin, Alexanderplatz: Transforming Place in a Unified Germany by Gisa Weszkalnys.
  • Publication
    Counter Images: GDR-Underground Films 1983-1989 The Nonconformist Super-8 Scene
    (2009-10-01) Sheffer, Amanda
    This review explores the DVD Counter Images: GDR Underground Films 1983-1989 and the documentary "The Subversive Camera." By exploring the complexities of GDR society, the 1980 punk and new wave movements and the importance of the images, this review suggests the shocking images run counter to mainstream cinema. This has applications to the classrooms studying the political / historical context of the GDR and cinema studies. It raises the larger question if films made in the GDR must always be studied within their political system.
  • Publication
    Picking at a Scabbed Wound
    (2009-10-01) Blankenship, Robert
  • Publication
    The Origins of the "Regime of Goodness:" Remapping the Cultural History of Norway
    (2013-01-01) Hennig, Reinhard
    Review of Nina Witoszek's The Origins of the "Regime of Goodness:" Remapping the Cultural History of Norway (Oslo: Universitetsforlaget, 2011).
  • Publication
    Legal Tender: Love and Legitimacy in the East German Cultural Imagination
    (2013-01-01) Torner, Evan M
    Review of John Griffith Urang's Legal Tender: Love and Legitimacy in the East German Cultural Imagination (Ithaca, NY: Cornell University Press, 2010)
  • Publication
    The Cinematic Defeat of Brecht by Artaud in Peter Brook’s Marat/Sade
    (2009-10-01) Torner, Evan M
    In this work, I analyze Peter Brook's film interpretation of Peter Weiss' modernist drama Die Verfolgung und Ermordung Jean-Paul Marats dargestellt durch die Schauspielgruppe des Hospizes zu Charenton unter Anleitung des Herrn de Sade (Marat/Sade, 1964-5) in terms of the dialectical aesthetic of the latter. Weiss had intended Marat/Sade to be a literal, figurative and aesthetic debate on equal footing between the dramatic theories of Bertolt Brecht and Antonin Artaud, portrayed respectively through the figures of the French revolutionary Jean-Paul Marat and the epicurean cynic Marquis de Sade. Techniques of Brechtian distanciation are also employed within the written play alongside contradictory Artaudian elements of grotesquerie and horror, each grappling with the other in an unresolved dialectic. Yet Brook's filmed version of his stage production unintentionally transgresses against Weiss' play-without-a-resolution, primarily siding with Sade, Artaud and the "theater of cruelty." Though the French and German New Wave movements in cinema, which questioned the artifice of film production using Brechtian alienation techniques, were contemporary with Brook's film in 1966, the film appears not to have taken these movements into account while trying to portray Weiss' dialectic in its cinematography and mise en scène. I contend that the violence portrayed within Brook's Marat/Sade is broadcast as a spectacle to be consumed by an omnipresent viewer, whereas Weiss cogently intertwines such brutality with a concrete understanding of its mechanical function within society. This begs the question of how one can filmically portray cruelty both as spectacle and as socio-political reality.
  • Publication
    Kurz und Gut Macht Schule II: Animation
    (2013-01-01) Olson, Sally
    Review of the educational DVD "Kurz und Gut Macht Schule II: Animation"
  • Publication
    Kafka's Jewish Languages: The Hidden Openness of Tradition.
    (2013-10-01) Hench, Christopher L
    Review of the book Kafka's Jewish Languages: The Hidden Openness of Tradition (2012) by David B. Suchoff.