Tulsa Studies in Women’s Literature welcomes the submission of Articles, Notes, Archives, and Innovations essays on women’s literature in all time periods and places, including foreign-language literatures, and in every genre—poetry, prose, drama, essays, diaries, memoirs, journalism, and criticism. While submissions need not be exclusively concerned with female writers, the focus must be on women and writing, explicating the specific links between the woman writer and her work. Tulsa Studies particularly encourages work in feminist critical and literary theory.
Articles must place the writer and her work in some larger literary, historical, political, or social framework and argue a thesis that encompasses more than a reading of a single text or several texts by a single author. Articles should be 6,000-9,000 words, excluding endnotes. Please also send an abstract of no more than 100-200 words. Notes can be up to 4,000 words and need to present 1) new, factual material concerning a writer or her work; or 2) illuminate a problem of textual interpretation based on factual bibliographical or biographical information. Archives essays should be presented as bibliographies, descriptions of particular archives, or narratives of archival research. They should be limited to 1,500-3,000 words (for further information, see p. 144 of Vol. 5, No. 1, and pp. 213-14 of Vol. 25, No. 2). Innovations essays are descriptions of new approaches to the study of women’s writing, such as digital humanities projects, or reflections on the effects of such projects on the field; they are approximately 2,000-5,000 words (see pp. 214-15 of Vol. 25, No. 2). Archives and Innovations essays usually are not subjected to peer review but are vetted directly by the editorial staff. Tulsa Studies also publishes Book Reviews, which are requested by the Book Review Editor, and Review Essays, which are commissioned by the Editor.
All submissions must use endnotes that conform to the most recent edition of The Chicago Manual of Style. Contributors are responsible for providing complete and accurate bibliographical documentation. All submissions must be in English; foreign-language quotations will be printed with accompanying English-language translations provided by the author. Submissions are given anonymous review. Contributors’ names should not appear on manuscripts (but rather on a cover letter and abstract); authors may speak in the first person but should not identify themselves by name in the text of the essay or in the accompanying notes. All submissions to Tulsa Studies that meet the criteria detailed above will receive one or two readings by members of the Editorial Board or specialist readers and a reading by the Editor. Final decisions for publication rest with the Editor.
Tulsa Studies requests that electronic submissions be made as Microsoft Word attachments and sent to email@example.com. Please include contact information in a cover letter or email. An abstract should be sent as a separate document. If preferred, an original and three copies of a paper manuscript may be submitted with a self-addressed envelope bearing postage sufficient for the return of one copy of the manuscript (U. S. postage only; manuscripts to international addresses cannot be returned). Address submissions to Editor, Tulsa Studies in Women’s Literature, 800 S. Tucker Drive, Tulsa, OK 74104.
Tulsa Studies does not consider submissions that have been published or are under consideration elsewhere. The University of Tulsa holds copyright on all published materials.
Publishers may send review copies to the following address:
Attn: Book Review Editor
Tulsa Studies in Women’s Literature
University of Tulsa
800 South Tucker Drive
Tulsa, Oklahoma 74104
Current List of Books Received
Arguments with Silence: Writing the History of Roman Women. By Amy Richlin. Ann Arbor: University of Michigan Press, 2014.
Ariadne and Other Poems. By Ingrid Swanberg. Harmony Series. Huron, OH: Bottom Dog Press, 2013.
Bluestocking Feminism and British-German Cultural Transfer, 1750-1837. By Alessa Johns. Ann Arbor: University of Michigan Press, 2014.
British Women Writers and the Short Story, 1850-1930: Reclaiming Social Space. By Kate Krueger. New York: Palgrave Macmillan, 2014.
Confessions of a Book Burner: Personal Essays and Stories. By Lucha Corpi. Houston: Arte Público Press, 2014.
Confronting Visuality in Multi-Ethnic Women’s Writing. By Angela Laflen. New York: Palgrave Macmillan, 2014.
Critical Appropriations: African American Women and the Construction of Transnational Identity. By Simone C. Drake. Baton Rouge: Louisiana State University Press, 2014.
Critical Terms for the Study of Gender. Edited by Catharine R. Stimpson and Gilbert Herdt. Chicago: University of Chicago Press, 2014.
The Cure for Dreaming. By Cat Winters. New York: Amulet Books, 2014.
Elizabeth Stuart Phelps: Selected Tales, Essays, and Poems. Edited by Elizabeth Duquette and Cheryl Tevlin. Lincoln: University of Nebraska Press, 2014.
Femininity and Authorship in the Novels of Elizabeth von Arnim: At Her Most Radiant Moment. By Juliane Römhild. Lanham, MD: Fairleigh Dickinson University Press, 2014.
Gender in Science and Technology: Interdisciplinary Approaches. Edited by Waltraud Ernst and Ilona Horwath. Transcript Gender Studies. New York: Columbia University Press, 2014.
George Eliot and Money: Economics, Ethics, and Literature. By Dermot Coleman. Cambridge: Cambridge University Press, 2014.
Harlots, Hussies, and Poor Unfortunate Women: Crime, Transportation, and the Servitude of Female Convicts, 1718-1783. By Edith M. Ziegler. Tuscaloosa: University of Alabama Press, 2014.
Ida M. Tarbell: The Woman Who Challenged Big Business—And Won! By Emily Arnold McCully. Boston: Clarion Books, 2014.
Letters and Photographs from the Battle Country: The World War I Memoir of Margaret Hall. Edited by Margaret R. Higonnet. Boston: Massachusetts Historical Society, 2014.
The L. M. Montgomery Reader. Volume 2. A Critical Heritage. Edited by Benjamin Lefebvre. Toronto: University of Toronto Press, 2014.
Making Noise, Making News: Suffrage Print Culture and U. S. Modernism. By Mary Chapman. New York: Oxford University Press, 2014.
The Miraculous Parish. By Máire Mhac an tSaoi. Winston-Salem, NC: Wake Forest University Press, 2014.
My Father Moves through Time like a Dirigible and Other Stories. By Gregg Cusick. Livingston, AL: Livingston Press, 2014.
My First Booke of My Life. By Alice Thornton. Edited with an introduction by Raymond A. Anselment. Lincoln: University of Nebraska Press, 2014.
Odyssean Identities in Modern Cultures: The Journey Home. Edited by Hunter Gardner and Sheila Murnaghan. Columbus: Ohio State University Press, 2014.
Panic Fiction: Women and Antebellum Economic Crisis. By Mary Templin. Tuscaloosa: University of Alabama Press, 2014.
Preaching the Gospel of Black Revolt: Appropriating Milton in Early African American Literature. By Reginald A. Wilburn. Pittsburgh: Duquesne University Press, 2014.
Rethinking the Romance Genre: Global Intimacies in Contemporary Literary and Visual Culture. By Emily S. Davis. New York: Palgrave Macmillan, 2013.
Sacramental Shopping: Louisa May Alcott, Edith Wharton, and the Spirit of Modern Consumerism. By Sarah Way Sherman. Durham: University of New Hampshire Press, 2013.
The Sarashina Diary: A Woman’s Life in Eleventh-Century Japan. By Sugawara no Takasue no Musume. Translated by Sonja Arntzen and Moriyuki Ito. New York: Columbia University Press, 2014.
Spanish Female Writers and the Freethinking Press, 1879-1926. By Christine Arkinstall. Toronto: University of Toronto Press, 2014.
Teaching French Women Writers of the Renaissance and Reformation. Edited by Colette H. Winn. New York: Modern Language Association, 2011.
Virginia Woolf and Music. Edited by Adriana L. Varga. Bloomington: Indiana University Press, 2014.
Writing Through Jane Crow: Race and Gender Politics in African American Literature. By Ayesha K. Hardison. Charlottesville: University of Virginia Press, 2014.