We’re pleased to announce that Building New Banjos for an Old-Time World by Richard Jones-Bamman has won the Klaus P. Wachsmann Prize for Advanced and Critical Essays in Organology from the Society for Ethnomusicology (SEM). The award was announced at the annual SEM conference, November 15-18, in Albuquerque, New Mexico. The award honors a work that advances the field of organology through the presentation of new data and by using innovative methods in the study of musical instruments.

Utah Historical Quarterly (UHQ), the Press’s newest journal title, seeks papers for its upcoming issues. UHQ is the official journal of Utah history, published on behalf of the Utah State Historical Society since 1928. UHQ’s mission, from its earliest issues to the present, is to publish articles on all aspects of Utah history and to present Utah in the larger context of the West. UHQ’s editorial style emphasizes scholarly credibility, accessible language, and variety. The quarterly is filled with articles, book reviews, and photographs, as well field notes about documents, artifacts, historiography, oral history, and public history. Online supplements—including documents, galleries, and podcasts—accompany each issue.

Submission Guidelines:

From 1928 to the present, Utah Historical Quarterly has published on all aspects of Utah history. Even as UHQ continues its commitment to themes traditionally associated with Utah history, it challenges readers and authors to think across state lines to the forces of history, physiography, and culture that link Utah to a host of people, places, experiences, and trends beyond its geopolitical boundaries.

UHQ’s editorial style emphasizes scholarly credibility and accessible language. Manuscripts dealing with any aspect of Utah history will be considered. Submissions based on allied disciplines—such as archaeology, folklore, historic preservation, or ethnography—are also encouraged, so long as the focus is on the past. We welcome traditional research articles, as well as field notes about documents, artifacts, historiography, oral history, public history, and more.

Manuscript Formats:

  • Manuscripts based on original research, organized around a central thesis. 6,000 to 8,000 words.
  • Field notes and departments:
    • Shorter research manuscripts: 3,000 to 5,000 words
    • Preservation: interpretation of historic buildings, built and natural landscapes, and preservation efforts.
    • Archaeology: field notes and case studies of interest to UHQ
    • Research opportunities: primary document collections that invite research.
    • Primary documents: reproductions of previously unpublished documents, with commentary.
    • Objects: analysis of material objects.
    • Historiography: book review essays; commentary from historians on their craft.
    • Photographic essays: ten to fifteen illustrations, with context and interpretation.

Documentation:

Manuscripts should be properly documented using endnotes that conform to the latest edition of Chicago Manual of Style. Be sure to cite all direct quotes. Place note numbers at the end of a sentence. Several references in the same paragraph may be listed, in order, under one note number at the end of the paragraph.

Illustrations:

Usually several illustrations accompany each article. We encourage authors to identify photographs and secure permission for publication. Images should be at 300 DPI and in a TIFF format. Published maps should be treated as illustrations. If new maps are proposed, please include a sketch.

Publication Schedule:

New manuscripts will be accepted at any time. Utah Historical Quarterly uses the following schedule: Number 1 (Winter), Number 2 (Spring), Number 3 (Summer), and Number 4 (Fall).

Questions and Contact:

Please direct questions regarding submissions and publication in UHQ to Dr. Jedediah Rogers, (801) 245-7209, jedediahrogers@utah.gov or Dr. Holly George, (801) 245-7257, hollygeorge@utah.gov. Our mailing address is

Utah Historical Quarterly
300 S. Rio Grande Street
Salt Lake City UT 84101

Where in the first half of our centennial we focused on events in Champaign-Urbana, this fall has brought opportunities for the Press to shine in Chicago and Springfield through partnerships with Jane Addams Hull-House and the Conference on Illinois History, respectively – underscoring our position as a “System,” or university-wide, unit. These partnerships help raise the profile of both organizations, as well as strengthen our synergies and generate ideas and energy for future initiatives.

With this issue of The Callout, we highlight an exciting cluster of new journals in Mormon studies, reinforcing our commitment to this area of historic strength and to our society partner, the Mormon History Association. We announce a new fund that will provide support for titles across our list with a common emphasis on progressive thought. We share high profile media hits for titles in African American history, music, film studies and women’s history, and our science fiction series. Our fall newsletter also celebrates an important anniversary – forty years of publishing the series The Working Class in American History – which we’ve marked with several events (at the Newberry Library, at the North American Labor History conference in Detroit) that reflect on the series’s past and future.

Most of all, we toast the people who give their energies and resources to make the Press successful. We welcome new and returning student assistants and interns as well as new faculty board members. We bid farewell to two longtime IT staff heading to the greener pastures of retirement. And we are grateful for our friends and donors who share our vision and core commitments and help us in sustaining our mission.

As our centennial year winds down, don’t miss your chance to register (by December 1) for a chance to win our third and final IPad loaded with 100 U of I Press ebooks. And, consider joining us as a Friend of the Press by the end of our centennial year to be designated a “Founding Friend.” We need every one of you!

–Laurie Matheson, Director

 

Check out the rest of the issue here!

In the newly-released Winter 2018 issue of Visual Arts Research, contributors Nadine M. Kalin and Daniel T. Barney offer a critique of the ways the predominant organization potentially limits the field of art education.

Journal editor Jorge Lucero notes “it is difficult for a journal that only comes out every 6 months to publish a commentary that is meant to touch on a prescient moment in the field, and then allow for rebuttals and counter-arguments, but we also recognize that the issue Kalin and Barney bring up in their piece has taken a long time to get where it is and will take a long time to address on the other side of this publication. Visual Arts Research will be providing a public forum—along with this publication—for a more immediate response to the piece and any response to other pieces published by the journal in the future.”

University of Illinois Press has made this article open access, and we invite anyone who wants to participate in the discussion to do so. You can take part in the conversation by accessing the article on JSTOR (https://www.jstor.org/stable/10.5406/visuartsrese.44.2.0067)

and commenting here: http://www.press.uillinois.edu/journals/blog/visual-arts-research-article-discussion

We look forward to your thoughts on this topic.

Honey Meconi is Chair and Professor of Music in the College Music Department and a professor of musicology at the Eastman School of Music at the University of Rochester. Her many books include Pierre de la Rue and Musical Life at the Habsburg-Burgundian Court. She is a cowinner of the Noah Greenberg Award for “distinguished contribution to the study and performance of early music.” She recently answered some questions about her new book Hildegard of Bingen.


Q: Your book serves to rediscover the life and musical accomplishments of Hildegard of Bingen. Who was Hildegard and what inspired you to study her life and music?

Hildegard was a twelfth-century Benedictine nun who had extraordinary visions; she wrote about these in a series of theological books, and she used them as inspiration for an extensive series of equally extraordinary compositions. When I was a graduate student, I was asked to be music director for a performance of her musical play Ordo virtutum, which piqued my interest in learning more.

Q: What makes Hildegard’s music unique?

Hildegard writes in many different styles, depending upon the function of the composition. At her most exuberant, she explores wide ranges, long melismas (single syllables sung to many notes), lots of leaps up and down, and harmonic ambiguity through unexpected pitch choices. She was a poet as well as a composer, so she is setting her own texts to music, and she does an incredible job of matching her texts (which are often very colorful and sensual) to her melodic lines. Very often she will hold a single pitch in reserve, introducing it only towards the very end of a piece.  That note makes a big impact when it finally comes!

Q: Hildegard has one of the largest repertoires among medieval composers. Why is this significant?

Like medieval art, most medieval music (especially sacred music) is anonymous. The composer wasn’t important; it was the work that mattered.  So it’s always noteworthy when we have a composer’s name, and that name is usually attached to just a single piece.  With Hildegard we have 77 individual songs plus a lengthy musical play that consists of 87 different sections.  This is huge!    Incidentally, Hildegard would never have thought of herself as a composer.  She considered all of her music to be the Holy Spirit speaking through her.

Q: Hildegard had a radical view of God and religion compared to her contemporaries. How do they differ?

Probably the most significant difference is her treatment of the Virgin Mary. She organizes her music manuscripts by hierarchy, so that the subject matter appears in diminishing order of importance (this is a big contrast to most music manuscripts, which are ordered by the liturgical year).  In her first big collection, instead of God the Father, Christ, and the Holy Spirit, which is the normal order of things, Hildegard places her many songs for Mary in second place–she is essentially equating Mary, Christ’s mother, with Christ himself!  Now that’s a radical concept, but it does not seem to have bothered modern theologians.  Not only has Hildegard recently been declared a saint, she has also been recognized as a doctor of the church, a very rare honor that says her writings are foundational for understanding church doctrine.

Q: In addition to religion and music, Hildegard also made great strides in science. How did Hildegard reconcile her religion with science and medicine?

One of the most fascinating things about Hildegard is that she connected all of her creations holistically, whether they were theological, musical, or scientific. While her scientific and medical writings were concerned primarily with aspects of health (e.g., this plant can be used to cure this illness), these cures were interspersed with musings on the nature of the world as God created it, and how the world reveals God’s plans.  The Holy Spirit was never far from Hildegard’s thoughts, no matter what she was writing; pretty much everything is imbued with theological insights.  And of course nuns and monks were always involved in healing during the Middle Ages.

Q: Which of Hildegard’s pieces is your favorite and why?

Whatever piece I am performing or studying at the time tends to be my favorite! But certainly one of my top five would be her sequence Columba aspexit.  This is a song about St. Maximin, with beautiful poetic language and many rich images throughout.  The song has nine sections, the first eight of which are in musical pairs–thus, the musical form is A A B B C C D D, with a closing single section E.  I especially love the performance by Gothic Voices, where the first part of each pair is sung by a soloist (the divine Emma Kirkby) and the chorus takes the second part.  When you’re singing this and you get to the final “E” section–well, it’s hard to describe that magic feeling of having traversed this incredible musical landscape and coming to the close of all this wonder.

 

We are pleased to unveil the University of Illinois Press Spring 2019 catalog. We’ve got an excellent selection of books coming out this spring that we can’t wait to get in your hands. This year, we’ve been celebrating the press’s 100th anniversary, so it’s fitting that the first catalog of our next century is a landmark one for the press. The Spring 2019 season will feature our first Spanish language translation, our new regional trade imprint, the first book in our new Black Internationalism series, and  mark the anniversaries of the New Black Studies series and The Asian American Experience series. You can expect to see more exciting initiatives and great books as we embark on our second century of exceptional publishing.

Highlights from the Spring 2019 catalog include:

Three biographies lead the catalog this season. Andrew E. Stoner tells remarkable life story of the pioneering and controversial journalist, Randy Shilts, who was one of the country’s most recognized voices reporting on the HIV/AIDS epidemic. Michael C. Dorf and George Van Dusen consider the political powerhouse Sidney R. Yates in Clear it With Sid!: Sidney R. Yates and Fifty Years of Presidents, Pragamatism, and Public Serivice. And Melanie Holmes recounts the life and legacy of Volcanologist, David A. Johnston,  who lost his life in the Mount St. Helen eruption in 1980.

2019 will also mark the press’s first foray into Spanish language publishing. In 2014, we published José Ángel N.’s memoir, Illegal: Reflections of an Undocumented Immigrant, in which he bravely and honestly details the constraints, deceptions, and humiliations that characterizes the life of an undocumented immigrant. This spring, we’ll publish a Spanish translation and bring José Ángel’s story to a new readership and audience. The cover for the Spanish language version features artwork from Nicolás de Jesús, which in turn also inspired our catalog cover this season.

Other new titles include:

To Turn the Whole World Over: Black Women and Internationalismedited by Keisha N. Blain and Tiffany M. Gill kicks off our new Black Internationalism series. Emily L. Thuma shines a light on the grassroots history of resistance to gender violence and the carceral state in All Our Trials: Prisons, Policing, and the Feminist Fight to End Violence, and Natalie Fixmer-Oraiz examines the intertwining of homeland security culture and control over women’s bodies and agency in Homeland Maternity: US Security Culture and the New Reproductive Regime.

And that’s just in the first few pages! Browse the new catalog and check out the rest!

 

 

  

  

 

We have the puuuuurfect holiday sale for you this year! Use promo code WINTER18 to get 40% off all books until December 7, 2018. 

Need some ideas? Check out some of our latest titles! 

 

   

  

   

We’re pleased to announce that Chinatown Opera Theater in North America by Nancy Yunhwa Rao has been awarded the AMS Music in American Culture Award. The Music in American Culture Award honors each year a book of exceptional merit that both illuminates some important aspect of the music of the United States and places that music in a rich cultural context. Congratulations Nancy!

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This is the seventh and final installment of our blog series exploring the articles in the special issue on “Fake News” from the Journal of American Folklore (vol. 131, no. 522)! The special issue on “Fake News” from the Journal of American Folklore (vol. 131, no. 522) is available in print and on JSTOR now.

Alternative Health Websites and Fake News: Taking a Stab at Definition, Genre, and Belief
By: Andrea Kitta

I first began my study of vaccination discourse fifteen years ago when I noticed the amount of false medical information online. At the time, I felt a little like Cassandra, doomed to tell the truth and have no one listen, as I gave lecture after lecture warning people about the dangers of not vaccinating. While folk medicine practices are an important part of health and often have a basis in science (albeit not the formalized type of scientific thought that is favored by biomedicine), these websites and forums were producing information that was falsified, linking to studies that often did not exist or hyperbolizing medical research in a way that was not intended by the original researchers. While this certainly isn’t the only predecessor of fake news, it is linked to the Macedonian fake news complex and other fake news sites which were primarily used for profit. However, this is not the only purpose of fake news, it can also be used to critique opponents and/or ideologies and it can be used to create chaos and disinformation for no other reason than because one can.

All of this is troubling, especially in medicine, as these beliefs become the basis of medical decision-making, which result in actions that not only affect the individual, but society as a whole, with vaccination as just one example. As the US watches vaccination rates drop and as outbreaks of measles and other preventable illnesses become more common, how do we negotiate the complicated matter of belief systems (our own and others), legend, and scientific information? How do we combat false information when the recitation of facts is typically ineffective? And what should we, as folklorists, do about it?

Read Andrea’s full article. 

As we began our second hundred years of publishing, we wanted to affirm our dedication to our state and our region, and so Flame & Flight Books was born. Flame & Flight Books, the new trade imprint from the University of Illinois Press, dedicates itself to an original approach to Midwestern publishing.

This approach incorporates two of the Press’s core mandates: first, to produce scholarly books and journals of the highest quality; and second, to publish books about Illinois and the Midwest for general readers. Flame & Flight Books links the academy to any reader interested in dynamic writing and cutting-edge ideas.

The name itself comes from the poem, “Book Power,” that the Pulitzer Prize-winning Chicago poet Gwendolyn Brooks wrote for National Children’s Book Week in 1969. With the permission of the Brooks estate, we used the second stanza—of two stanzas—for commemorative materials that we used to celebrate our centennial. The poem in turn inspired our new regional trade imprint.

With its longstanding commitment to, and development of, regional voices, UIP serves as a supporting pillar of a diverse and vibrant region. Those of us who live here know the amazing stories of radicalism, technological experimentation, religious freedom, innovation in music and the arts, and progressive movements, and Flame & Flight Books will bring these voices and stories to the page.

We see Flame & Flight Books as a new direction that nevertheless keeps us centered on the importance of making good books. We have a lot to offer, and we know that scholarship is not the only coin we can contribute. We continue to explore Illinois, the Midwest, and the unique blend of people and culture in this place—in ways that only the University of Illinois Press can. With this imprint, we will develop new audiences and cultivate the flexibility we need to succeed for the next hundred years.

The first book in the imprint, A Hero on Mount St. Helens: The Life and Legacy of David A. Johnston by Melanie Holmes, will be published in May 2019.

 

 

 

 

 

 

 

 

 

 

 

This week, we’re proud to participate in the University Press Week blog tour. This year’s theme #TurnitUp emphasizes the critical role of university presses in providing a voice for authors, ideas, and communities beyond the scope of mainstream publishing.