Philament - an online journal of the arts and culture
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Philament publishes academic papers, as well as poetry, fiction, non-fiction and multimedia pieces by postgraduate scholars working anywhere in the world. We also publish fiction and poetry by those who are not postgraduate scholars, however, in the selection process we give priority to works by those who are. Our definition of 'postgraduate' extends to include recent graduates who have obtained their doctorate less than five years ago, and who are yet to secure permanent academic employment.

We are published online biannually, and encourage submissions that conform, however loosely, to our current theme. Please note that all submissions must be accompanied by our Submission Form.

We invite postgraduate scholars (and where appropriate, the general public) to submit articles in the following categories:


Academic papers for peer-review of 3000-8000 words. All submitted academic papers must conform to the Philament house style, based on the Chicago Manual of Style. See below for A Note on Notation Style.


Excursions is Philament's non-peer reviewed, creative section. Submissions may fall into the following categories:

Poetry - Prose/narrative - Short dramatic works - Multimedia - Visual art - Digital art or image experiments - Ficto-criticism - Reviews - Music and Sound Art - Opinion - Comment - Image + text combinations

This should not be considered an exhaustive or exclusive list. Philament welcomes submissions that push at the boundaries of these genres and forms. Although there is no word limit, contributors are asked to submit no more than three pieces per issue.


Philament encourages insightful responses to Features and Excursions pieces published in the current issue.



Philament Submissions will not be considered unless accompanied by Philament's Submission Form. Philament will only accept submissions that have not been previously published (including online) and are not under consideration elsewhere. Please send submissions to



All Features and Excursions submissions to Philament must conform to a high standard of written English, in terms of grammatical structure, comprehension and, for Features submissions, use of appropriate academic style. The work of non-native English speaking postgraduates is most welcome and encouraged, however, please ensure that your work is edited appropriately by a native-speaking academic in your field or an ESL professional prior to submission. Submitted work that does not display fluency in academic English may be returned for editing or may not be accepted.



All copyright remains with contributors, but subsequent publication of any works published by us must acknowledge Philament as the site of initial publication. Please inform us in writing and in advance if you wish to republish anything that has appeared in a previous Philament issue.

It is the author's responsibility to secure copyright permissions in writing for any images, quotations or other third-party sources used in a submission, and to cover any costs incurred in securing these rights. Australian copyright law prohibits the use of substantial sections of a work without the copyright holder's permission for 70 years after the author's death (or 70 years after the material's first appearance for pseudonymous, anonymous, posthumous and other publications). You will need to obtain this permission before your submission can be published, although we are happy to consider submissions while copyright permissions are still pending. Please notify us as soon as possible if you encounter any difficulties in securing these rights. Please contact us if you have any questions about copyright in relaton to your submission.



Academic papers must conform to the Philament house style, based on the Chicago Manual of Style.

The following information is for quick reference and is necessarily brief. For full details, consult the newest edition (16th). In addition to the source of the quoted material, endnotes and footnotes may include editorial comments by the writer of the article to further enlighten the reader, such as an explanation or a citation of another source. However, we ask that discursive footnotes are used judiciously. Full note citation renders a bibliography unnecessary.

Some examples:


Lynda Boren, Eurydice Reclaimed (Ann Arbor: University of Michigan Research Press, 1989), 57.
For every subsequent reference to the same text follow this model: Boren, Eurydice Reclaimed, 79.

Chapter in a book

Richard Siddle, "Ainu: Japan's Indigenous people," in Japan's Minorities: The Illusion of Homogeneity, Michael Weiner, ed. (London: Routledge, 1997), 19.
For every subsequent reference to the same chapter follow this model: Siddle, "Ainu: Japan's Indigenous People,"23.

Article in a journal

Juniper Ellis, "The Singing Word," Journal of Commonwealth Literature 34, no. 1 (May 1999): 181.
For every subsequent reference to the same article follow this model: Ellis, "The Singing Word," 185.

Referencing several works by the same author

David Lodge, After Bakhtin: Essays on Fiction and Criticism (London: Routledge, 1990), 103.
David Lodge, The British Museum is Falling Down (London: Secker & Warburg, 1981), 25.
For every subsequent reference to these texts follow this model: Lodge, After Bakhtin, 126; Lodge, British Museum, 61.


Stephen L. Parker, "Otello Libretto: Atto Quarto," in Opera Libretti and Other Vocal Text, (Stanford University, February 1997,, accessed January 4, 2015.
For every subsequent reference to the same site follow this model: Parker, "Otello Libretto,"1997.


Sally Potter, Orlando (Civic Square, ACT: Ronin Films, 1992), video recording.
For every subsequent reference to the same film follow this model: Potter, Orlando, 1992.


Witi Ihimaera, interview by author (Auckland, July 10, 2003), recording.
For every subsequent reference to the same interview follow this model: Ihimaera, interview, 2003.

Reprints/Later editions

George Bernard Shaw, Pygmalion (Harmondsworth, Middlesex, England: Penguin, [1916] 1941).
For every subsequent reference to the same text follow this model: Shaw, Pygmalion, 23.

Citation from a Secondary Source (strongly discouraged, unless original source unavailable)

Louis Zukofsky, "Sincerity and Objectification," Poetry 37 (February 1931): 269, quoted in Bonnie Costello, Marianne Moore: Imaginary Possessions (Cambridge, MA: Harvard University Press, 1981), 78.
For every subsequent reference to the same text follow this model: Zukofsky, "Sincerity and Objectification," 270.



ISSN: 1449 - 0471
Copyright for submitted materials are held exclusively by the Author.
All other copyrights are held by the University of Sydney © 2015. All rights reserved.