Venezia Arti Journal of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice

open access | peer reviewed

Aims & Scope

Venezia Arti is a journal of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice. It was founded in 1987 by Wladimiro Dorigo and Giuseppe Mazzariol; in 2019 it started a new series, until 2023 directed by Silvia Burini and Giovanni Maria Fara and currently by Matteo Bertelé, Angelo Maria Monaco and Simone Piazza. The journal is open to scholars from all fields of the arts and encourages an interdisciplinary and international outlook, aimed at critically documenting events and problems in artistic culture from the Middle Ages to the present day. The journal is annual, subject to double-blind peer review, recognised as a scientific journal for the areas 08 (Architecture) and 10 (Sciences of Antiquity, Philological-Literary and Historical-Artistic Sciences) by the National Agency for the Evaluation of the University System and Research (ANVUR), and indexed in Scopus. Since 2014 it has been produced in digital format (open access) by Edizioni Ca’ Foscari. It features thematic calls with a miscellaneous section.

Permalink http://doi.org/10.30687/VA/2385-2720 | e-ISSN 2385-2720 | Periodicity annual | Language en, fr, it

Copyright This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

↑ back to top

Latest published issue

33 | 2024
Cross-Pollination: Art, Contamination and Hybridisation from the Middle Ages to the Present
Dec. 9, 2024

2 8
Editoriale
Dec. 18, 2024 | 33 | 2024

0 8
Le cupole più antiche d’Italia s’osservano piane
Stefano Pierguidi
Dec. 10, 2024 | 33 | 2024

5 19
Charting Knowledge: The Situationist Times at the Crossroads of Situationism, Publishing, and Topology
Simone Rossi, Camilla Salvaneschi
Dec. 10, 2024 | 33 | 2024

8 35
Lo scardinamento dei ruoli e dello stereotipo sociale nella ricerca del Collettivo Donne Fotoreporter di Milano alla fine degli anni Settanta
Irene Boyer, Valentina Rossi
Dec. 10, 2024 | 33 | 2024

3 18
Intorno a Cabiria di Giovanni Pastrone: su Sofonisba come figura di coalescenza
Viviana Triscari
Dec. 10, 2024 | 33 | 2024

1 14
Learning from “The East”: Mark Tobey’s “White Writing” and the Shaping of American Abstract Expressionism
Phyllis Zhong
Dec. 10, 2024 | 33 | 2024

1 11
La libertà del dilettante
Giulia Cocconi
Dec. 9, 2024 | 33 | 2024

0 9
Dall’imago clipeata alla Theotokos Platytera
Michele Celentano
Dec. 9, 2024 | 33 | 2024

3 15
Fine Technology Dialogue Across the Eastern Mediterranean in Giovanni Fontana's Bellicorum Instrumentorum Liber
Adriana De Miranda
Dec. 9, 2024 | 33 | 2024

4 17
La linea d’acqua: sulla stamperia Pasquali come laboratorio d’incisione di Canaletto e Visentini
Camilla Pietrabissa
Dec. 9, 2024 | 33 | 2024

3 11
Interscambi e circolarità di modelli: il caso delle pitture rupestri tardomedievali nel santuario micaelico alle Grottelle di Padula
Eleonora Chinappi
Dec. 9, 2024 | 33 | 2024

46 96
Mostruose metamorfosi: sull’ibridazione iconografica del basilisco
Valentina Borniotto
Dec. 20, 2023 | 32 | 2023

24 81
Identità in (tras)formazione: Marina il monaco, ovvero storia di una Santa ‘mascherata’ e del suo culto a Venezia tra Medioevo ed Età Moderna
Giulia Anna Bianca Bordi
Dec. 20, 2023 | 32 | 2023

21 87
Percorsi metamorfici della natura nel Cinquecento
Emanuela Ferretti
Dec. 20, 2023 | 32 | 2023

16 68
From Triton Neptvni Tubicen to the Glory of Lepanto
Laris Borić
Dec. 20, 2023 | 32 | 2023

14 94
Gore ot uma di Olga Tobreluts: la metamorfosi di un classico
Maria Redaelli
Dec. 20, 2023 | 32 | 2023

14 77
Transformation as an Artistic Strategy in the Work of the Artist Anwar Saeed
Simone Wille
Dec. 20, 2023 | 32 | 2023

36 94
The Beast Within, the Beast Without
Francesca Borgo
Dec. 20, 2023 | 32 | 2023

17 48
«Nudi trasfigurati da una strana metamorfosi»
Emanuele Greco
Dec. 20, 2023 | 32 | 2023

14 75
The Visual Afterlife of les gueules cassées: Artistic Reception from the Interbellum to documenta 13
Alexandra Timonina
Dec. 20, 2023 | 32 | 2023

18 76
Raccontare il miracolo italiano nel 1994. The Italian Metamorphosis 1943-1968
Silvia Maria Sara Cammarata
Dec. 20, 2023 | 32 | 2023

39 116
«Signori, la festa è finita». Le ‘ultime’ opere di Maurizio Cattelan tra continuità e citazione
Giulia Zompa
Dec. 20, 2022 | 31 | 2022

15 93
William Congdon e Fred Licht
Giuseppe Barbieri
Dec. 20, 2022 | 31 | 2022

18 105
Altersstil novecentesco di Ettore Tito
Anna Mazzanti
Dec. 20, 2022 | 31 | 2022

27 105
Architettura e frammentismo, o lo stile tardo di Giuliano da Sangallo
Dario Donetti
Dec. 20, 2022 | 31 | 2022

25 64
Editoriale
Silvia Burini, Giovanni Maria Fara
Dec. 20, 2022 | 31 | 2022

33 123
«Chi si aspetterebbe un Pordenone a Gallipoli?»
Floriana Conte
Dec. 20, 2022 | 31 | 2022

27 89
A Matter of Attitude
Sabine Peinelt-Schmidt
Dec. 20, 2022 | 31 | 2022

17 111
Il lungo Cinquecento nelle volte dell’aristocrazia
Francesca Casamassima
Dec. 20, 2022 | 31 | 2022

29 241
Antonio Guardi’s “copies-works of art”
Chiara Bombardini
Dec. 21, 2021 | 30 | 2021

60 312
Between Originals and Copies: Notes on Ottoman Portraits from the Giovio Collection
Ilenia Pittui
Dec. 21, 2021 | 30 | 2021

31 108
Editorial
Silvia Burini, Giovanni Maria Fara
Dec. 21, 2021 | 30 | 2021

25 168
From the Copy to the Fake to the ‘Second Original’
Laura Lombardi
Dec. 21, 2021 | 30 | 2021

37 231
Multiplied Works, Open Work
Marta Previti
Dec. 21, 2021 | 30 | 2021

44 225
Originals and copies in the Letter of Filippo Baldinucci to Vincenzo Capponi
Elena Fumagalli
Dec. 21, 2021 | 30 | 2021

28 205
The Figure of the Collector Daniele Farsetti in the Letters
Ilaria Serati
Dec. 21, 2021 | 30 | 2021

43 224
Titian and Callisto’s Double Metamorphosis
Alessandro Rossi
Dec. 21, 2021 | 30 | 2021

39 278
The Original – ‘Again’
Margarita Delcheva
Dec. 21, 2021 | 30 | 2021

58 255
Recreated Subjects, Reconstructed Copies: Considerations on the Photographic Process
Grischka Petri
Dec. 21, 2021 | 30 | 2021

27 251
Fake or Fortune? Alexander Dorner and the Weimar Reproductions Debate
Camilla Balbi
Dec. 21, 2021 | 30 | 2021

29 270
Border hacking: An Artistic Conversion of Transnational Borders into the Society of Networks
Paolo Berti
Dec. 11, 2020 | 29 | 2020

87 497
Aesthetics of Infection: From Cyborg to Theriomorph
Roberto Marchesini, Karin Andersen
Dec. 11, 2020 | 29 | 2020

74 403
Books and Prints by the Manfrin House in Venice between the Eighteenth and Nineteenth Centuries. First Considerations
Linda Borean
Dec. 11, 2020 | 29 | 2020

69 339
Computer Art in Italy in the 1980s
Paola Lagonigro
Dec. 11, 2020 | 29 | 2020

52 403
Cornelis De Bie, the Gulden Cabinet and Still Life Painting and Genre Painting in Italy
Luca Fiorentino
Dec. 11, 2020 | 29 | 2020

38 208
Editorial
Silvia Burini, Giovanni Maria Fara
Dec. 11, 2020 | 29 | 2020

27 230
Out-of-Frame Figures
Sarah Munoz
Dec. 11, 2020 | 29 | 2020

51 344
Pastel Painting in European in the Eighteenth Century between Scientific Knowledge and Artistic Practice
Alice Ottazzi
Dec. 11, 2020 | 29 | 2020

21 178
The Diagram on Stage
Catherine Paoletti
Dec. 11, 2020 | 29 | 2020

27 94
The Gelati Academy, the Gessi Family and Edgar Allan Poe
Andrea Gardi
Dec. 11, 2020 | 29 | 2020

80 458
From Vitruvius to the Science Of Drawing
Filippo Camerota
Dec. 11, 2020 | 29 | 2020

38 214
Poussin and Optics: Reflections on the Lake in “a Calm”
Janis Bell
Dec. 11, 2020 | 29 | 2020

52 347
Mikhail Larionov’s Rayonism and the Scientific Mythologies of the Late Nineteenth and Early Twentieth Century
Ekaterina Bobrinskaya
Dec. 11, 2020 | 29 | 2020

162 478
Biopolitical Horizons in the Performative Actions of Marina Abramović and Regina José Galindo
Matteo Valentini
Dec. 11, 2019 | 28 | 2019

51 289
Circulation of Models: Casts from Michelangelo Between Emilia and Veneto, in the Second Half of the Sixteenth Century
Elisabetta Fadda
Dec. 11, 2019 | 28 | 2019

20 160
Editorial
Silvia Burini, Giovanni Maria Fara
Dec. 11, 2019 | 28 | 2019

41 283
From Correggio to Pordenone
Caterina Furlan
Dec. 11, 2019 | 28 | 2019

33 289
Marcantonio Magno’s Emblem: New Considerations
Mino Gabriele
Dec. 11, 2019 | 28 | 2019

75 418
Salvador Dalí, the Hybrid Portraits of the 1920s
Elide Pittarello
Dec. 11, 2019 | 28 | 2019

31 339
The Eclipses of a Star: Anna Moffo Between Opera, Cinema, Television
Paologiovanni Maione
Dec. 11, 2019 | 28 | 2019

143 545
The Female Body in the Artistic Research of the Late Twentieth Century
Arianna Fantuzzi
Dec. 11, 2019 | 28 | 2019

76 349
The Representation of Holiness Between Realism and Devotion in the Polyptych of Montefiore dell’Aso by Carlo Crivelli
Francesco De Carolis
Dec. 11, 2019 | 28 | 2019

23 234
The Second Skin
Maria Ida Biggi
Dec. 11, 2019 | 28 | 2019

76 262
Re-visioning St. Sebastian: Nicoletto da Modena’s Reworked Engravings of St. Sebastian
Bryony Bartlett-Rawlings
Dec. 11, 2019 | 28 | 2019

23 199
Remaking the Body Politic Anew through Mob and Gang
David A.J. Murrieta Flores
Dec. 11, 2019 | 28 | 2019

66 364
The Electric Body
Nicoletta Misler
Dec. 11, 2019 | 28 | 2019

39 363
A Lucky metaphor by Cesare Brandi: The "Crystal Churches" of the Armenians
Marco Ruffilli
Dec. 13, 2018 | 27 | 2018

34 360
The Archaeological and Ethnographic Description of Greater Armenia by the Mkhitarist Fathers of Venice Between Hellenophile and Armenophilia
Benedetta Contin
Dec. 13, 2018 | 27 | 2018

35 342
“The Heritage of Ancestors”
Gohar Grigoryan Savary
Dec. 13, 2018 | 27 | 2018

26 469
Inventing, Transforming and Discovering Southern Caucasus
Ivan Foletti, Stefano Riccioni
Dec. 13, 2018 | 27 | 2018

53 357
Krikor (Grigor) Balakian’s Ruins of Ani
Christina Maranci
Dec. 13, 2018 | 27 | 2018

35 370
For Beauty, Nation and God
Alžběta Filipová
Dec. 13, 2018 | 27 | 2018

34 296
From Russia with Love
Ivan Foletti, Pavel Rakitin
Dec. 13, 2018 | 27 | 2018

26 283
Illuminating an Armenian Collection of Manuscripts
Cecilia Riva
Dec. 13, 2018 | 27 | 2018

79 528
Armenian Art and Culture from the Pages of the Historia Imperii Mediterranei
Stefano Riccioni
Dec. 13, 2018 | 27 | 2018

59 469
Alighiero & Boetti: About the Signature as Identity and Duplication
Stefania Portinari
Dec. 20, 2017 | 26 | 2017

36 314
Artists in North-Central Puglia Between the 11th and 13th Centuries
Marida Pierno
Dec. 20, 2017 | 26 | 2017

40 370
Correggio, Anselmi and Rondani
Elisabetta Fadda
Dec. 20, 2017 | 26 | 2017

20 283
For a Project on the Signed Paintings of Venice in the Gothic and Late Gothic Periods
Stefano Riccioni
Dec. 20, 2017 | 26 | 2017

39 389
Light on Titian's ‘Hidden’ Signature
Marco Tagliapietra
Dec. 20, 2017 | 26 | 2017

12 473
Memories of a Film
Martina Zanco
Dec. 20, 2017 | 26 | 2017

28 263
Signatures of Seventeenth-Century Woodcutters in the Wooden Matrices of the Galleria Estense in Modena
Chiara Travisonni
Dec. 20, 2017 | 26 | 2017

21 272
Signing merci (Duchamp Against Himself)
Nico Stringa
Dec. 20, 2017 | 26 | 2017

36 399
The Artist's Signature in Romanesque France
Emilie Mineo
Dec. 20, 2017 | 26 | 2017

45 544
The Artist's Signature in the Context of the happening
Martina Rossi
Dec. 20, 2017 | 26 | 2017

58 546
The Artist's Signature, the Vasari Myths and Wolvinus magister phaber
Ivan Foletti
Dec. 20, 2017 | 26 | 2017

19 270
The Setting up of the Ancient Seat of the Naval History Museum of Venice
Silvia Peressutti
Dec. 20, 2017 | 26 | 2017

68 393
The ‘Signature’ in the Art
Stefano Riccioni, Giovanni Maria Fara, Nico Stringa
Dec. 20, 2017 | 26 | 2017

37 324
Set in Stone
Amanda Hilliam
Dec. 20, 2017 | 26 | 2017

23 292
Gio. Bapt. Paggius Genuensis F.
Valentina Frascarolo
Dec. 20, 2017 | 26 | 2017

36 321
Edvard Munch’s Toponymic Codes
Patricia G. Berman
Dec. 20, 2017 | 26 | 2017

15 284
«De Zavatarijs hanc ornavere capellam»
Roberta Delmoro, Anna Lucchini
Dec. 20, 2017 | 26 | 2017

38 298
Manifestations of Authorship
Maria Lidova
Dec. 20, 2017 | 26 | 2017

491 1589
Why Was Jan van Eyck here?
Benjamin Binstock
Dec. 20, 2017 | 26 | 2017

37 499
A Memory of Alberto Prandi Always Alive
Sergio Marinelli
Dec. 20, 2016 | 25 | 2016

40 439
About the Edition of the Lettere sopra la pittura grottesca by Pirro Ligorio
Damiano Acciarino
Dec. 20, 2016 | 25 | 2016

13 269
Art and What Remains Out of It
Michael Lüthy, Bernard Schieder
Dec. 20, 2016 | 25 | 2016

14 255
Art as a Gesture: Singular and Shared
Daniele Goldoni
Dec. 20, 2016 | 25 | 2016

69 599
Custodians: From Curators to Guardians
Chiara Piva
Dec. 20, 2016 | 25 | 2016

10 260
Editorial
Carmelo Alberti, Michela Agazzi
Dec. 20, 2016 | 25 | 2016

79 428
For a History of Fashion
Giorgio Riello
Dec. 20, 2016 | 25 | 2016

9 233
Opera Overture and Directorial Commentary: An (un)Happy Abuse?
Fabio Dal Corobbo
Dec. 20, 2016 | 25 | 2016

12 283
Photography, a Matrix for two Exhibitions
Margherita Naim
Dec. 20, 2016 | 25 | 2016

22 312
Reuse of Roman Steles in the Jewish Cemetery of the Lido of Venice
Licia Fabbiani
Dec. 20, 2016 | 25 | 2016

34 404
The Fine Arts and Monuments Office of the Superintendency of Trieste (1920-1925)
Beatrice Marangoni
Dec. 20, 2016 | 25 | 2016

18 241
The Thresholds and Guardians of the Arts
Roberta Dreon, Diego Mantoan
Dec. 20, 2016 | 25 | 2016

47 417
«Stupido Guardi!»
Federica Veratelli, Giulio Zavatta
Dec. 20, 2016 | 25 | 2016

24 338
Gli intermediari nell’arte contemporanea
Nathalie Heinich
Dec. 20, 2016 | 25 | 2016

10 314
A Rusty Issue; or, the Strange Case of a Victorian Crane in Venice
Patrizia Pierazzo
Dec. 20, 2016 | 25 | 2016

61 394
Arthur Danto and the Political Re-Enfranchisement of Art
Noël Carroll
Dec. 20, 2016 | 25 | 2016

73 456
The Artist-entrepreneur Acting as a Gatekeeper in the Realm of Art
Monica Calcagno, Lisa Balzarin
Dec. 20, 2016 | 25 | 2016

31 333
A Different Caucasus
Karina Solovyova, Inessa Kouteinikova
Dec. 20, 2016 | 25 | 2016

73 466
Borders and Border Crossing Between Art Worlds
Diego Mantoan
Dec. 20, 2016 | 25 | 2016

28 789
1 + 1 = 1. The Door-Landscape of Nostalghia in Some Tarkovskian Objects
Fabrizio Borin
June 15, 2014 | 24 | 2014

30 565
A Rare Constantinopolitan Sculpture from the Paleological era in Murano
Claudia Barsanti
June 15, 2014 | 24 | 2014

38 344
An Early View of the Grand Canal
Marina Magrini
June 15, 2014 | 24 | 2014

77 722
Biennale 1958: The Golden Lion to Marc Tobey and the Consecration of American-Style Art
Chiara Di Stefano
June 15, 2014 | 24 | 2014

19 394
On the Use of the Harp in Shakespeare's “Fantastic Scene”: Britten's Musical “Dream”
Alessandra Robles
June 15, 2014 | 24 | 2014

21 270
Pasolini and the Mystery of the Scene
Paolo Puppa
June 15, 2014 | 24 | 2014

27 296
Preliminary Considerations on the Art of Delegating. Sol Lewitt and Bruce Nauman at the 1970 Tokyo Biennale: Two Case Studies
Eleonora Charans
June 15, 2014 | 24 | 2014

21 286
Restorations | Recoveries | Inventories
Fabien Benuzzi, Francesca Guidolin, Maria Antonella Bellin, Paola Martinuzzi
June 15, 2014 | 24 | 2014

32 314
Sergio Bettini and the Art Criticism
Arturo Carlo Quintavalle
June 15, 2014 | 24 | 2014

41 371
The Door, the Bridge, the Lintel. The Idea of a Frame in the Performative System
Cristina Gottardi
June 15, 2014 | 24 | 2014

35 444
The Sacristy of the Church of San Bartolomeo di Rialto
Mario Rosso
June 15, 2014 | 24 | 2014

19 306
«Istrioni che si beffano di noi». Chronicles of Italian Theater from the Age of the Great Actor to the Era of the Director
Carmelo Alberti
June 15, 2014 | 24 | 2014

416 1084
32 | 2023
Dec. 20, 2023

1235 815
31 | 2022
Dec. 20, 2022

1172 1164
30 | 2021
Dec. 21, 2021

398 1246
29 | 2020
Dec. 11, 2020

288 1045
28 | 2019
Dec. 11, 2019

321 1356
27 | 2018
Ivan Foletti, Stefano Riccioni
Dec. 13, 2018

415 1574
26 | 2017
Dec. 20, 2017

196 851
25 | 2016
Roberta Dreon, Diego Mantoan
Dec. 20, 2016

161 864
24 | 2014
June 15, 2014

Editors-in-Chief
Matteo Bertelé (sezione Contemporaneo), Università Ca’ Foscari Venezia, Italia
Angelo Maria Monaco (sezione Età Moderna), Università Ca’ Foscari Venezia, Italia
Simone Piazza (sezione Medioevo), Università Ca’ Foscari Venezia, Italia

Editing Supervisors
Stefania Gerevini (sezione Medioevo), Università Bocconi, Milano, Italia
Marco Scotti (sezione Contemporaneo), Università IUAV di Venezia, Italia
Stefania Ventra (sezione Età Moderna), Università Ca’ Foscari Venezia, Italia

Advisory Board
John Bowlt, University of Southern California, USA
Silvia Burini, Università Ca’ Foscari Venezia, Italia
Kosme De Barañano, Universidad Miguel Hernández, Alicante, España
David Freedberg, Columbia University, New York, USA
Giancarlo Gentilini, Università degli Studi di Perugia, Italia
Boris Groys, Staatliche Hochschule für Gestaltung, Karlsruhe,Deutschland
Yoko Hasegawa, Tama Art University, Tokyo, Japan
Michel Hochmann, École Pratique des Hautes Études, Paris, France
Tanja Michalsky, Biblotheca Hertziana-Max-Planck-Institut fuer Kunstgeschichte, Roma
Philippe Morel, Université Paris 1 Panthéon-Sorbonne, Paris, France
Silvia Naef, Université de Genève, Suisse
Alina Payne, Harvard University, Cambridge, USA
Serena Romano, Université de Lausanne, Suisse
Sebastian Schütze, Universität Wien, Österreich
Salvatore Settis, Scuola Normale Superiore di Pisa, Italia
Victor Stoichita, Université de Fribourg, Suisse
Chia-ling Yang, The University of Edinburgh, UK
Alessandro Zuccari, Sapienza Università di Roma, Italia

Editorial Board (section Contemporary)
Elisa Caldarola, Università degli Studi di Torino, Italia; The Graduate Center, City University of New York, USA
Miriam De Rosa, Università Ca’ Foscari Venezia, Italia
Susanne Franco, Università Ca’ Foscari Venezia, Italia
Sara Mondini, Ghent University, Belgium
Luca Pietro Nicoletti, Università degli Studi di Udine, Italia
Vincenzina Ottomano, Università Ca’ Foscari Venezia, Italia
Stefania Portinari, Università Ca’ Foscari Venezia, Italia
Sabrina Rastelli, Università Ca’ Foscari Venezia, Italia
Clarissa Ricci, Università di Bologna, Italia

Editorial Board (section Early Modern Period)
Walter Cupperi, Università Ca’ Foscari Venezia, Italia
Corinna T. Gallori, Kunsthistorisches Institut in Florenz - Max-Planck-Institut, Italia
Jasenka Gudelj, Università Ca’ Foscari Venezia, Italia
Rodolfo Maffeis, Politecnico di Milano, Italia
Émilie Passignat, Università Ca’ Foscari Venezia, Italia
Valentina Sapienza, Università Ca’ Foscari Venezia, Italia
Giorgio Tagliaferro, University of Warwick, UK

Editorial Board (section Middle Ages)
Francesco Gangemi, Università degli Studi di Bergamo, Italia
Ruggero Longo, Università degli Studi di Siena, Italia
Giulia Puma, Université Côte d’Azur, France
Elisabetta Scirocco, Bibliotheca Hertziana, Roma, Italia
Nicoletta Usai, Università degli Studi di Cagliari, Italia

Every article published by ECF was accepted for publication by no less than two qualified reviewers as a result of a process of anonymous reviewing (double-blind peer review). The reviewers are independent of the authors and not affiliated with the same institution.

The Journal’s Editor-in-Chief guarantees the proper execution of the peer review process for every article published in the Journal.

Peer review policies for the different sections:

Complete volume/issue: subject to peer review
Monographs/essays/articles: subject to peer review
Introductions, prefaces: no peer review
Reviews: no peer review
Editorials: no peer review

For a complete description of the process, please visit: Scientific certification.

This handbook describes the main editorial guidelines adopted in the journal. For special cases and further indications (such as the list of permitted abbreviations), please refer to the complete editorial guidelines of the Edizioni Ca’ Foscari: Editorial Guidelines.

I. Composition of the text

Formatting the Word file

Limit formatting to what is strictly necessary, adopting 12 characters and avoiding small caps, special styles and line spacing other than 1. A particular case is constituted by long text citations. The use of bold is allowed for titles.

Dates, Numbers, Measures

The numbers must be indicated in abbreviated form omitting the parts that do not change (except for the so-called ‘teens’, 11-19). For example: 1960-65, 270-1, 256-70, 311-18 (n.b.), 1,000, 120 × 240 cm; 5 March-7 May; il Eighteenth Century; the Thirties.

Citations within the text

If less than 10 words in length, they remain in the body of the text in double quotation marks (“ ”). Lines are separated by the sign |. If longer than 10 words, the citations must be:

without quotation marks
detached from the body of the text by means of a simple white line before and one after
indented 1 cm to the left of the main text body
ended with a full stop.

Quotation within quotation: single high quotation marks (‘...’) within double quotation marks (“ ”).

Source citations should be in the original language. The translation of the quoted text, if necessary, follows immediately, in brackets and in round characters.

Omissions in the body of the quotes are marked with ‘[...]’.

Foreign words and translations

If not included in the Treccani dictionary (http://www.treccani.it/vocabolario/), they must be written in italics. Transliterations are also italicized. Relevant translations go between round brackets immediately after the term. Example: Totenmal (funerary monument).

Emphasis

High quotation marks (‘’) can also be used to highlight a ‘concept’, highlight the precise meaning of a ‘term’, signal the ‘idiomatic’, ‘metaphorical’ or ‘improper’ use of a word.

Titles

The titles of literary, pictorial, sculptural, photographic, cinematographic, theatrical, musical, etc. works are italicized with capital letters.

Trait d’union

Use ‘-’ in lists and in cases such as: John Pope-Hennessy, 1960-67, May 2-June 5
Use ‘–’ to introduce parenthesis and bring sentences into direct speech (e.g. in dialogues)
Do not use ‘-’, but use the comma to distinguish the surnames of authors in the Abbreviations in the footnotes, and the semicolon to separate each group Surname-Name in the final Bibliography.

II. Bibliographic references

Abbreviations in the footnotes Write the author’s surname, the year of publication and the page number preceded by a comma only. This abbreviation refers to every occurrence, avoiding the use of idem, ibidem, and similar expressions.

Examples:

Rossi 2010, 25-7

Rossi 2010, 234 fn. 23 [footnote 23]

Rossi, Bianchi 2010 [coauthors]

Rossi, Bianchi, Verdi 2010 [coauthors]

Rossi et al. 2010 [more than three authors]

M. Rossi 2010, G. Rossi 2010 [authors with the same surname]

Rossi 2010a, 2010b [more works by the same author appearing in the same year]

Rossi 2010, 2011 [more works by the same author, but published in different years]

Rossi, s.d., 34 [undated work on the title page and in the imprint]

Rossi, forthcoming [to be published soon]; Bianchi (oral communication)

BSI 1985 [= ‘British Standards Institution’, similar abbreviations are to be found in the final bibliography]

Rossi 2008, 2, 2: 630 fn. 15 [= ‘volume’ 2, ‘tome’ 2: ‘page’ 630, ‘footnote’ 15]

If an edition or a translation of ancient, medieval or early modern texts is cited, at the first occurrence a unique topological reference is provided (e.g. book, chapter, paragraph; song, verse, verse, etc.) and declare the edition or translation used; in subsequent citations the univocal topological reference is sufficient. To indicate in an abbreviated form the edition or translation of similar texts, reference is made to the name of the publisher/translator, rather than that of the author.

For the citation of works of Greco-Roman antiquity, refer to the abbreviations contained in the dictionaries compiled by Henry George Liddell and Robert Scott (A Greek-English Lexicon. Oxford, 1996, http://stephanus.tlg.uci.edu /lsj/05-general_abbreviations.html) and by Luigi Castiglioni and Scevola Mariotti (Il vocabolario della lingua latina. Turin, 1966 and subsequent editions), italicizing the abbreviation relating to the title of the work.

Examples:

Hist.

Aen.

Mk 1,17 [= the Gospel according to Mark, chapter 1, line 17]

For the items of dictionaries and encyclopedias, the surname of the author of the form and the date of publication are indicated. Example: Rossi 2004, 7. To which in the final bibliography will correspond:

Rossi, M. (2004). s.v. “Bianchi, Antonio”. Enciclopedia degli autori italiani. http://www.enciclopediaautoriintaliani.org/articles/antonio-bianchi.

For manuscripts, the conservation institution and the fund are indicated in abbreviated form. Page numbers are not preceded by abbreviations; the column ones are instead introduced by ‘col./coll.’ and the paper ones by ‘c./cc.’, which is the abbreviation to be adopted if the paper sheet is bound; ‘fol./foll.’ is the abbreviation to be preferred if the sheet is loose. In the latter two cases whether the number of paper or sheet refers to the front and/or the reverse is also indicated. The use of the abbreviation ‘ms’, where superfluous, is omitted. Example: ASV, ASC, numerazione rossa, pratica 614, b. 4235, fasc. 3, cc. 2r-v, 3v [numerazione moderna]; ASV, ASC, b. 4235, s.p. [ma 44].

Final bibliography

Abbreviations relating to bibliographic entries are listed after the text of the article. The items are listed in alphabetical order and, for the same author, from the oldest to the most recent. Each bibliographic entry reports, in the language of the cited publication:

Extended surname of the author or editor. The author’s name must be pointed. Surname and Name must repeated at each occurrence.
Year of publication in round brackets.
Title and subtitle (separated by periods).
Total number of volumes; number of the single volume and its title, if one in particular is mentioned.
Publication data (place of publication only, without publisher), except for periodicals.
Page numbers (for articles in journals and essays in miscellany).
Series (optional).
The additions to the data available within the publication are indicated in square brackets.

Examples:

My Work. A Close Look

Our work

Our Work

The Thousand and One Nights

Translations

The work can be indexed by referring to the name of the Translator (especially in the case of classics) or, alternatively, to that of the Author, provided that the choice is consistent with the criteria adopted for the bibliographic abbreviations in the note.

Aeneid

My Work

Mon oeuvre

Opera in multiple volumes and essay in opera in multiple volumes

Essays on Art

Anthology of Mario Rossi's writings

History of Publishing

Digital Publishing

Edited book

L’opera di Giotto

Commentaires

Contribution in edited work

The title and subtitle of the contribution are shown in low brackets. After a point, the surname and name of the editor are indicated followed by '(edited by)' or similar expressions, and a comma; follows the title of the collection in italics.

The Gothic in the 19th Century

Online editions

For electronic publications, the DOI (to be preferred, if available) or the URL are used. The DOI codes, which can be deduced from the https://search.crossref.org/search/references site, are cited as: https://doi.org/10.xxxx/xxxxx.

My Work

Bernini in France

Edited Works and Essays = Conference Proceedings

Reviews

Smith, P. (2019). Review of My Work, by Black, J. Journal of Contemporary Art, 23(4), 24-7.

III. Captions

Follow these guidelines:

Title

IV. Figures

Send tiff files, in colour or in black and white, numbered in coherence with the captions, with a resolution of at least 300 ppi.

V. Checklist

Verify that the article:

indicates the author’s affiliation and email
is accompanied by bibliography, abstracts (in English), five or more keywords (in English), captions with indication of credits, and images in digital format
the file is made anonymous for the double-blind peer review.

For information and clarifications, please contact the Edizioni Ca’ Foscari editorial staff at ecf@unive.it.

Call for papers Venezia Arti 2024, vol. 33

Thematic call: Cross-pollination: Art, Contamination and Hybridisation from the Middle Ages to the Present

and ALIA ITINERA miscellaneous section

In botany, cross-pollination refers to a natural event whereby pollen is transported from one flower to another through the mechanical action of the wind, an insect or any other unpredictable agent. Hence, the combinatorial possibilities which guarantee the survival of a species are numerous. Among them, moreover, many cases of contamination from one species to another are harbingers of hybridisation phenomena: it can happen that, instead of predefined reproductive paths, original and unexpected forms develop (Stefano Mancuso, L'incredibile viaggio delle piante, Bari, 2018; but also The Florence Experiment, a project devised by Stefano Mancuso and Carsten Höller, Florence, Fondazione Palazzo Strozzi, 2018). Having made due distinctions, cross-fertilisation of genres, themes, scientific and methodological approaches have always been a source of enrichment in the field of knowledge and in the world of art. Its contribution accelerates processes and innovates language, both in the creative dimension and on the level of criticism.

In the light of this premise, a protean picture of the Arts and Art History emerges, a terse mirror of complexity as a parameter which disrupts the logic of taxonomy, scientific sectoriality or techniques, broadening the horizon to the issues of multidisciplinarity and interculturality within the artistic expressions of the different historical periods.

In continuity with the topic of the previous issue –which was dedicated to the investigation of metamorphosis as subject or process– this call wishes to continue a critical reflection in the vast field of art-historical research, whether theoretical or historiographical, iconographic or technical-formal, without neglecting the universe of the performing arts (theatre, music, cinema). The invitation is now aimed at writing on the theme of contamination, in the positive meaning of the term, i.e. in reference to its disruptive effect within the creative dimension, in moments, aspects, works, personalities of the History of the Arts, from the Middle Ages to the Present. Particular attention will be paid to contributions hinging on conjunctural phenomena, of rupture, osmosis, exchange, translation, indeed of 'cross-pollination'.

Expressive forms that can be interpreted as ruptures or openings, between unprecedented paths that reconfigure inherently codified languages; processes and events as tools for relocating knowledge practices; convergences of genres and exhibition formats, solo and group shows, thematic and historical exhibitions, biennials and festivals; the emergence of new modes of experience and spectatorship: these are just some of the possible approaches, all of which focus on a concept that is both elusive and poignant by nature.

The theme in question can be investigated on multiple fronts: in the field of architecture, in the visual dimension of the arts and in the techniques. There are countless cases of exchange and circulation of artistic knowledge that, thanks to trade, territorial conquests and the recruitment of artists across borders, affected the Euro-Mediterranean area and the Asian continent since the Middle Ages (as repeatedly emerged in the "Convegni di Parma" promoted by Arturo Carlo Quintavalle), and from the modern age onwards, can be found worldwide. In the words of critic Piotr Piotrowski, the opening up of new horizons, and the breaking down of borders and curtains, shows the necessity of a "spatial turn" able of generating a "horizontal" approach to art history. A new approach that has to be understood no longer as a vertical narration, dictated by one-way influences from the centre to the periphery, but rather by transversal, reciprocal and multidirectional transfers of knowledge within a dialogic and polycentric structure.

As is now customary, the 2024 issue will also welcome a number of contributions outside the monographic theme, in the specific section Alia itinera.

CALL FOR ABSTRACTS:

Abstract of approx. 2000 characters (including spaces), in the language of the article, with a title proposal.

Only proposals from scholars holding a Ph.D may be considered.

ABSTRACT DEADLINES:

Abstracts deadline: 12 May 2024

Notification of accepted abstracts: 31 May 2024

CALL FOR SELECTED PAPERS:

The issue can accept up to 10 contributions.

The essay must be written according to the editorial standards of the journal.

Admissible length: between 30,000 and 40,000 characters, including spaces and footnotes (not included in the final count: abstract, captions, bibliography).

The essay must also include

-an abstract in English of approx. 1000 characters including spaces;

-5 keywords in English;

-a final, complete bibliography, written in alphabetical order according to Edizioni Ca' Foscari editorial standards;

-image captions including photo credits.

Illustrations: max 10 images, in Jpeg format, 300 dpi resolution, with specification of credits already paid or authorised.

Languages allowed: Italian, English, French.

DEADLINES FOR ARTICLES

Deadline for the final version: 1 September 2024;

Publication of the issue by 20 December 2024.

FOR FURTHER INFORMATION

Please contact venezia.arti@unive.it.

Go to the upload page

https://ecfpeerflow.unive.it/abstracts/form/journal/8/295

➦

DOAJ - Directory of Open Access Journals

ERIH PLUS - European Reference Index for the Humanities

Scopus

WorldCat

Ethical Code of Venezia Arti

Venezia Arti is a peer-reviewed scientific journal whose policy is inspired by the COPE (Committee on Publication Ethics) Ethical Code. See the Best Practice Guidelines for Journal Editors.

Publisher’s responsibilities

The Publisher must provide the Journal with adequate resources and the guidance of experts, in order to carry out its role in the most professional way, aiming at the highest quality standard.

The Publisher must have a written agreement that defines the relationship with the owner of the Journal and/or the Editor-in-Chief. The agreement must comply with the Code of Behavior for Publishers of Scientific Journals, as established by COPE.

The relationship among the Editor-in-Chief, the Advisory Board and the Publisher is based on the principle of publishing independence.

Editors’ responsibilities

The Editor-in-Chief and the Advisory Board of Venezia Arti alone are responsible for the decision to publish the articles submitted.

Submitted articles, after having been checked for plagiarism by means of the anti-plagiarism software Compilatio that is used by the University and is made available to us, will be sent to at least two reviewers. Final acceptance presumes the implementation of possible amendments, as required by the reviewers and under the supervision of the Venezia Arti Editor-in-Chief.

The Venezia Arti Editor-in-Chief and Advisory Board must evaluate each submitted paper in compliance with the Journalʼs policy, i.e. exclusively on the basis of its scientific content, without discrimination of race, sex, gender, creed, ethnic origin, citizenship, or the scientific, academic and political position of the Authors.

Allegations of misconduct

If the Venezia Arti Editor-in-Chief and Advisory Board notice (or receive notifications of) mistakes or inaccuracies, conflict of interest or plagiarism in a published article, they will immediately warn the Author and the Publisher and will undertake the necessary actions to resolve the issue. They will do their best to correct the published content whenever they are informed that it contains scientific errors or that the authors have committed unethical or illegal acts in connection with their published work. If necessary, they will withdraw the article or publish a recantation.

All complaints are handled in accordance with the guidelines published by the COPE.

Concerns and complaints must be addressed to the following e-mail ecf_support@unive.it. The letter should contain the following information:

complainant’s personal information;
title, author(s), publication date, DOI;
complaint(s);
declaration that the complainant has no conflict of interest, or declaration of an actual or potential conflict of interest.

Authors’ responsibilities

Stylesheet

Authors must follow the Guidelines for Authors to be downloaded from the Venezia Arti website.

No multiple submissions

Authors must explicitly state that their work is original in all its parts and that the submitted paper has not been previously published, nor submitted to other journals, until the entire evaluation process is completed. Since no paper gets published without significant revision, earlier dissemination in conference proceedings or working papers does not preclude consideration for publication, but Authors are expected to fully disclose publication/dissemination of the material in other closely related publications, so that the overlap can be evaluated by the Venezia Arti Editor-in-Chief.

Authorship

Authors are strongly encouraged to use their ORCID iD when submitting a manuscript. This will ensure the authors’ visibility and correct citation of their work.

Authorship must be correctly attributed; all those who have given a substantial contribution to the design, organisation and accomplishment of the research the article is based on, must be indicated as Co-Authors. Please ensure that: the order of the author names is correct; the names of all authors are present and correctly spelled, and that affiliations are up-to-date.

The respective roles of each co-author should be described in a footnote. The statement that all authors have approved the final version should be included in the disclosure.

Conflicts of interest and financing

Authors, under their own responsibility, must avoid any conflict of interest affecting the results obtained or the interpretations suggested. The Venezia Arti Editor-in-Chief will give serious and careful consideration to suggestions of cases in which, due to possible conflict of interest, an Author’s work should not be reviewed by a specific scholar. Authors should indicate any financing agency or the project the article stems from.

Quotations

Authors must see to it that all works consulted be properly quoted. If works or words of others are used, they have to be properly paraphrased or duly quoted. Quotations between “double quotes” (or «angled quotation marks» if the text is written in a language other than English) must reproduce the exact wording of the source; under their own responsibility, Authors should carefully refrain from disguising a restyling of the source’s wording, as though it was the original formulation.

Any form of excessive, inappropriate or unnecessary self-citation, as well as any other form of citation manipulation, are strongly discouraged.

Ethical Committee

Whenever required, the research protocols must be authorised in advance by the Ethical Committee of Ca’ Foscari University of Venice.

Emendations

When Authors find a mistake or an inaccuracy in their own article, they must immediately warn the Venezia Arti Editor-in-Chief, providing all the information needed to make the due adjustments.

Reviewers’ responsibilities

Goal

By means of the peer-review procedure, reviewers assist the Venezia Arti Editor-in-Chief and Advisory Board in taking decisions on the articles submitted. They are expected to offer the Authors suggestions as to possible adjustments aimed at improving their contribution submission.

Timing and conflicts of interest

If a reviewer does not feel up to the task of doing a given review, or if she/he is unable to read the work within the agreed schedule, she/he should notify the Venezia Arti Editor-in-Chief. Reviewers must not accept articles for which there is a conflict of interest due to previous contributions or to a competition with a disclosed author (or with an author they believe to have identified).

Confidentiality

The content of the reviewed work must be considered confidential and must not be used without explicit authorisation by the Author, who is to be contacted via the editor-in-chief. Any confidential information obtained during the peer review process should not be used for other purposes.

Collaborative attitude

Reviewers should see themselves not as adversaries but as advocates for the field. Any comment must be done in a collaborative way and from an objective point of view. Reviewers should clearly motivate their comments and keep in mind the Golden Rule of Reviewing: “Review for others as you would have others review for you”.

Plagiarism

Reviewers should report any similarity or overlapping of the work under analysis with other works known to them.

Indexed in

Venezia Arti Journal of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice

Venezia Arti Journal of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice

+ Search in this journal

+ Browse all the issues

+ Boards

+ Proposal / Submission

+ APCs

+ Peer review

+ Archive

+ Editorial Guidelines

+ Call for papers

+ Indexed in

+ Policy

Indexed in

Info

+ Share