Appel à candidature : 4 sous-directeurs de publication pour la section « Visual Arts ». The Routledge Encyclopedia of Modernism (REM).

I have been contracted as Subject Editor for the ‘Visual Arts’ section of the Routledge Encyclopedia of Modernism (REM). I would like to appoint 4 Sub-Editors, responsible for Asia (excluding India), Latin
America, North America and Africa to join the International Editorial Advisory Board. Sub-Editors are paid a small compensation sum of £350 on publication in 2014.

The REM is an online comprehensive resource that will provide definitions and essays on terms associated with modernism and/or the avant-garde across music, dance, theatre, film, architecture,
literature, philosophy and social theory, and visual arts, around the globe and across whatever spans of time necessitated to include all that can be considered modernist/avant-garde. The guiding principle is inclusion of everything that may be called modernist across the arts and
around the world, with little concern for strict periodisation or a narrow set of aesthetic criteria by which to identify what belongs. The visual arts section will have 500 entries in total. Clearly, this is a monumental undertaking, and we will need substantial help.

The Encyclopedia’s International Editorial Advisory Board serves primarily as field editors of areas in which members have expertise.  Sub-Editors commission, write and edit entries before forwarding them to the Subject Editor. Entries are generally 200 or 500 words although key entries are longer. Your primary tasks would be to expand the wish list of entries, identify possible contributors and begin to commission entries. We aim to begin commissioning by the end of this summer. Contributors are unpaid but receive access to the REM.

The organizational structure of the REM is:
General Editor
Subject Editors (8 people)
Editorial Board (55 people)
Contributors (up to 1200 people)

Please contact me (hazel.donkin@durham.ac.uk) if you are interested and
would like further details.

Many thanks,
Hazel Donkin

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