The Journal has a clear vocation for interdisciplinarity as well as for the promotion of transdisciplinary experiences. The transdisciplinary approach promotes a deeper and adequate understanding of human and socio-cultural facts no longer centered on a rigid disciplinary vision, and valorizes cultural and social anthropology, communication and linguistics, history, literature, sociology, psycho-pedagogical studies, economic and political sciences, geography and international relations.

Given its cultural matrix, the dimension of the journal is decidedly international: an Italian director and a Mexican co-director, a ‘scientific board’ which involves many different disciplinary knowledges. Although born as an academic journal, over the years, Comparative Cultural Studies has made contacts with non-university cultural institutions, such as Museums (it is a privileged partner of the Casa de Africa in Cuba), Conservatories and Theaters, in an effort to enrich the contents, the themes and approaches.

The fifteen issues that have been published so far testify to the growth path of the journal  which, founded by a small group of academics, has gradually, thanks to a collective work, become a point of reference for scholars from all over the American continent, giving space to original themes. - even beyond the disciplines of reference: let's think of the number dedicated to music in Cuba - between questions of identity, religious function and musicological aspects; or, always in the musical field, to the reinterpretation of the Brazilian composer Chiquinha Gonzaga.

Attentive to current events, the magazine dedicated two special issues to the pandemic - "Covid pandemic in an unequal world" and “Religiones y riesgos globales. Resistencias y reconfiguraciones del factor religioso en la época de la COVID 19”. Attention to topical issues does not mean being crushed on the present: The spirit of the magazine is inspired by two important phrases by the French historian Marc Bloch: "L'ignorance du passé ne se borne pas à nuire à la connaissance du présent, elle compromet, dans le présent, l'action. " (Bloch, M. 1997, p.27) "L'incompréhension du présent nait fatalement de l'ignorance du passé. Mais il n'est peut-être pas moins vain de s'épuiser à comprendre le passé, yes l'on ne sait rien du présent "(Bloch, M. 1997, p.47). Our recent history has been revisited with two issues consecrated to the European exile in Latin America during the Second World War, with the contribution of original testimonies of refugees. These testimonies are preserved in a video produced at the occasion of a webinar on the subject. The production of video documentaries is another original feature of the magazine. Two documentary videos and three webinars are attached to issues 14-13-11-10- 9.

After fifteen issues, the magazine is now entering a new phase, with a different departmental location, a renewed board and a new collaboration with the UNESCO Chair. Furthermore, this new series, while preserving a solid continuity with previous issues, intends to strengthen the approach to communication and language, as the fundamental and crucial tool driving current intercultural processes.

Comparative Cultural Studies publishes high quality research and review papers, after a timely and rigorous double blind peer review process. Submissions are first evaluated by the Editors / Board of Directors and by the members of the Editorial Boards. If the manuscript is considered suitable for publication, it is sent to at least two reviewers. The peer review process is double-blind, whereby both referees and authors are kept anonymous. If the reviews are positive, but the manuscript requires to be revised and resubmitted, the author is expected to submit the revised version. Publication decisions by the Editors / Board of Directors are final.

Publication Frequency

The journal is published two times per year.

Open Access Policy

Comparative Cultural Studies provides immediate open access to its content. Firenze University Press and the University of Florence, comply with the Budapest Open Access Initiative definition of Open Access: By “open access” , we mean the free availability on the public internet, the permission for all users to read, download, copy, distribute, print, search, or link to the full text of the articles, crawl them for indexing, pass them as data to software, or use them for any other lawful purpose, without financial, legal, or technical barriers other than those inseparable from gaining access to the internet itself. The only constraint on reproduction and distribution, and the only role for copyright in this domain is to guarantee the original authors with control over the integrity of their work and the right to be properly acknowledged and cited. We support a greater global exchange of knowledge by making the research published in our journal open to the public and reusable under the terms of a Creative Commons Attribution 4.0 International Public License (CC-BY-4.0). Furthermore, we encourage authors to post their pre-publication manuscript in institutional repositories or on their websites prior to and during the submission process and to post the Publisher’s final formatted PDF version after publication without embargo. These practices benefit authors with productive exchanges as well as earlier and greater citation of published work.

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