Journal Guide

Criminology is devoted to crime and deviant behavior. Disciplines covered include sociology, psychology, design, systems analysis, and decision theory. Major emphasis is placed on empirical research and scientific methodology. The journal's content also includes articles which review the literature or deal with theoretical issues stated in the literature as well as suggestions for the types of investigation which might be carried out in the future.

Crisis and Risk Communication

 (CRC) is an official publication of the International Crisis and Risk Communication Association.  Crisis and risk communication research is increasingly recognized as essential to informing crisis preparedness, response, recovery, learning, resilience, and change in a world characterized by expanding multiple hazards of local, regional, national, and global scope and scale.

The journal is dedicated to publishing original scholarship that enhances our understanding of crisis and risk communication across disciplines, including human communication, media, sociology, psychology, organizational studies, and political science, among others.  CRC seeks a broad range of scholarship that reflects the international, intercultural, and interdisciplinary nature of risk and crisis communication research. A wide array of methodological approaches, such as experimental, case studies, survey, critical scholarship, ethnography, content analysis, theoretical frameworks, conceptualizations, engaged scholarship, systematic reviews, as well as critiques and commentaries on the field are welcome.

CRC is a double-blind peer reviewed journal, with an editorial board that includes members reflecting the interdisciplinary and international nature of the field.

CRC follows APA style guide (7th Edition).

A must for all who need to keep up on the latest findings from both basic research and practical experience in the fields of suicide prevention and crisis intervention! This well-established periodical’s reputation for publishing important articles on suicidology and crisis intervention from around the world is being further enhanced with the move to 6 issues per year (previously 4) in 2010. But over and above its scientific reputation, Crisis also publishes potentially life-saving information for all those involved in crisis intervention and suicide prevention, making it important reading for clinicians, counselors, hotlines, and crisis intervention centers.

Critical Arts Call for PapersOf the early issues dating from 1980 Ntongela Masilela observed that Critical Arts was coterminous with the awakening of the historical consciousness that the practice of cultural studies could facilitate in securing the demise of apartheid. He concluded that 8220;This monumental undertaking is evident on practically every page of Critical Arts8221;. Seminal authors who lent their intellectual labour to the early Critical Arts Project included JM Coetzee, Nadine Gordimer, Andre Brink and later Stuart Hall, Tom O'Regan, Ian Ang and Handel Kashope Wright, amongst many others. Masilela continued, 8220;On the eve of the fall of apartheid these and other scholars were engaging 8220;with the intersection of Marxism, race, representation and feminism in an attempt to create new epistemologies8221; (in Denzin, N. Cultural Studies: A Research Volume, Vol 5, 2000). Ioan Davies wrote in Border/lines (1985/6), 8220;Critical Arts's nervousness about what stance would be appropriate to coming to terms with culture in Africa seems to be perfectly in tune with anyone's nervousness with coming to terms with Africa8221;. The early contributions can be accessed via the Michigan State University eJournals project: http://digital.lib.msu.edu/projects/africanjournals/Critical Arts examined the relationship between texts and contexts, cultural formations and popular forms of expression, mainly in the Third World. After 1994, Critical Arts repositioned itself in the South-North nexus, developing the transdisciplinary epistemologies mentioned by Masilela, but now in conjunction with globally seminal scholars and transnational conceptual trajectories, again with the nervousness identified by Davies. Critical Arts interprets cultural studies as a form of praxis, of experience, and of strategic intervention. How does one explain the contradictions, the opposing ir/rationalities, the fracturing of logics which so brutally feed political solidarities at any cost? The exigencies of being under fire make it hard to find the discursive space in which participants can catch enough breath to speak the truths of their own participation. Our journal seeks to profile those approaches to issues that are amenable to a cultural studies-derived intervention, on the basis that `culture' is a marker of deeper continuities than the immediate conflicts under the fire of which so many must somehow live their lives. They must, perhaps, restore the vision of earlier theorists and historians, for whom `culture' was a kind of synthesis arising from the contradictions between human society and the politics of nations. Under the pressures of globalization, this kind of understanding becomes more relevant at every turn.The journal is rigorously peer reviewed and aims to shape theory on the topics it covers. Cutting edge theorisation (supported by empirical evidence) rather than the reporting of formulaic case studies are preferred as submissions. Our editorial board has consisted of African studies scholars (e.g., David Wiley, Maureen Eke), cultural studies luminaries (e.g., Stuart Hall, Larry Grossberg, Daniel Mato, John Hartley), influential media scholars (e.g., Paddy Scannell, Helge Ronning, Hopeton Dunn, Tom O'Regan), anthropologists (Dave Coplan, Lesley Green), and literary scholars (Ken Harrow) amongst many others drawn from African institutions also. Critical Arts' authors are Africans debating Africa with the rest; and the rest debating Africa and the South and with each other. Submissions are sought from both established and new researchers. Recent topics have included political economy of the media, political communication, intellectual property rights visual anthropology, dance and cultural studies in the Middle East.Keyan G Tomaselli Editor-in-ChiefCulture, Communication and Media StudiesUniversity of KwaZulu-NatalHoward College CampusDurban 4041, South AfricaFax: + 27-31-20-1519Tomasell@ukzn.ac.za DisclaimerTaylor & Francis and Unisa Press make every effort to ensure the accuracy of all the information (the "Content") contained in its publications. However, Taylor & Francis and Unisa Press and its agents and licensors make no representations or warranties whatsoever as to the accuracy, completeness or suitability for any purpose of the Content and disclaim all such representations and warranties whether express or implied to the maximum extent permitted by law. Any views expressed in this publication are the views of the authors and are not necessarily the views of the Editor, Unisa Press, or Taylor & Francis.