Venezia Arti

Journal of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice
     topic: arts  
Aims & Scope

Venezia Arti is a journal of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice. VA was founded in 1987 by Wladimiro Dorigo and Giuseppe Mazzariol, a new series directed by Silvia Burini and Giovanni Maria Fara begins in 2019. The journal welcomes scholars of all disciplines focusing on the arts and encourages an interdisciplinary and international approach, capable of systematically and critically doing research on events and problems in the artistic culture. VA aims to become a sound reference point for medieval, modern and contemporary art, visual and performing arts, and all the main themes of the international methodological debate. The journal is annual and undergoes a double-blind peer review. It is recognized as a scientific journal for the fields 08 (Architecture) and 10 (Antiquities, Philology, Literary Studies, Art History) and it is indexed in Scopus. Since 2014, the journal is published in a digital (open access) edition by Edizioni Ca’ Foscari. It is characterised by thematic calls and a miscellaneous section in which contributions of young emerging scholars are very well accepted.

General info

Boards
  • peopleBoards
    Editors-in-Chief
    Matteo Bertelé (sezione Contemporaneo), Università Ca’ Foscari Venezia, Italia    
    Angelo Maria Monaco (sezione Medioevo e Età Moderna), Università Ca’ Foscari Venezia, Italia    
    Simone Piazza (sezione Medioevo e 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    
    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    
    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 Edimburgh, UK    
    Alessandro Zuccari, Sapienza Università di Roma, Italia    

    Editorial Board (section Contemporary)
    Cristina Baldacci, Università Ca’ Foscari Venezia, Italia    
    Elisa Caldarola, Università Ca’ Foscari Venezia, Italia    
    Marco Dalla Gassa, Università Ca’ Foscari Venezia, Italia    
    Miriam De Rosa, Università Ca’ Foscari Venezia, Italia    
    Giovanni De Zorzi, Università Ca’ Foscari Venezia, Italia    
    Susanne Franco, Università Ca’ Foscari Venezia, Italia    
    Michele Girardi, Università Ca’ Foscari Venezia, Italia    
    Flavio Gregori, Università Ca’ Foscari Venezia, Italia    
    Sara Mondini, Università Ca’ Foscari Venezia, Italia    
    Luca Pietro Nicoletti, Università degli Studi di Udine, Italia    
    Maria Roberta Novielli, Università Ca’ Foscari Venezia, 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    
    Cecilia Rofena, Università Ca’ Foscari Venezia, Italia    
    Marco Scotti, IUAV Venezia, Italia    
    Silvia Vesco, Università Ca’ Foscari Venezia, Italia    

    Editorial Board (section Middle Ages and Early Modern Period)
    Walter Cupperi, Università Ca’ Foscari Venezia, Italia    
    Paolo Delorenzi, 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    
    Craig Edwin Martin, Università Ca’ Foscari Venezia, Italia    
    Elisabetta Molteni, Università Ca’ Foscari Venezia, Italia    
    Émilie Passignat, Università Ca’ Foscari Venezia, Italia    
    Valentina Sapienza, Università Ca’ Foscari Venezia, Italia    
    Stefania Ventra, Università Ca’ Foscari Venezia, Italia    
    Pier Mario Vescovo, Università Ca’ Foscari Venezia, Italia    
    Giulio Zavatta, Università Ca’ Foscari Venezia, Italia    

Proposal / Submission

Use the form to submit a proposal.

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APCs

The article processing charges are regulated by the Publisher. For more information please visit: Publish with us.

Peer review

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.

Archive
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Editorial Guidelines
  • listEditorial Guidelines

    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:

      Tuc., Hist., 7, 3, 18 [= book 7, chapter 3, paragraph 18]; Piccirilli 1985, 107
      Verg., Aen., 1, v. 127 [= book 1, line 127]; Calzecchi Onesti, 20
      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:

      Bianchi, F. (2016). My Work. A Close Look. Edited by L. Rossi. Venice. Archives of Italian Literature 8.
      Rossi, M.; Verdi, G. (2000). Our work. Venice.
      Rossi, M. (2000). Our Work. Berlin; München; Oxford [multi-location publisher].
      The Thousand and One Nights (1990). Novara [unknown author].

    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.

      Spencer, J. (transl.) (1974). Aeneid. London.
      Rossi, M. (2010). My Work. Trad. By A. Bianchi. Venice. Trad. By: Mon oeuvre. Paris, 2000.

    Opera in multiple volumes and essay in opera in multiple volumes

      Smith, P. (2016). Essays on Art. 3 vols. London.
      Bianchi, A. (ed.) (2000-). Anthology of Mario Rossi's writings. Venice.
      Lombardi, Massimo (2017). History of Publishing. Vol. 4, Digital Publishing. Venice.

    Edited book

      Bianchi, A. (a cura di) (2010). L’opera di Giotto. Venezia: Edizioni Aperte.
      Blanche, A. (éd.) (2010). Commentaires. Paris: Gallimard.

    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.
      Bianchi, F. (2016). «The Gothic. Myths.». Ricci, L. (ed.), The Gothic in the 19th Century. Venice, 87-121.

    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 site, are cited as: https://doi.org/10.xxxx/xxxxx.
      Bianchi, F. (2016). My Work. Edited by L. Rossi. Venezia. http://www.edizioniaperte.it.
      Smith, P. (2019). Bernini in France [PhD dissertation]. London.
      Black, J. (unpublished). “My Work”. Johnson, M. (ed.), Edited Works and Essays = Conference Proceedings (Milan, 22 September 2006).

    Reviews

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


    III. Captions

    Follow these guidelines:

      Figure 1 Author, Title. Year. Technique / support / material, dimensions [the unit of measurement is postponed and separated by a space]. Place, conservation institute, possible origin. Image / copyright source [without full stop]

    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
  • listCall for papers
    Call for paper Venezia Arti 2023, vol. 23

    Thematic call METAMORPHOSIS and ALIA ITINERA miscellaneous section

    With its roots stretching far into ancient times, the topic of Metamorphosis is a prolific one both in the Arts and, more generally, in Cultural History. The transformation into something else -found in nature and in the animal kingdom- exists in many mythologies and religions of the past, and has been reiterated and taken up in the following literary traditions (up to Kafka and beyond): above all, Ovid still stands as the most emblematic author of this crucial perspective (as is well known, not exclusively Western), precisely because of his celebrated Metamorphosĕon libri XV, a brilliant synthesis of its poetic, erudite, figurative and plastic precedents, but also an indispensable source for almost every subsequent revival. Apollo and Daphne, Venus and Adonis, Narcissus, Prometheus, Leda and the Swan, Danae, Callisto, Actaeon, Perseus: the list is full of celebrated masterpieces and revivals in every century (even in the present one). There are also examples of critical historiography (from Warburg to Saxl, from Panofsky to Wind, from Fumaroli to Lévi-Strauss, to Roberto Calasso) that established a constant in art-historical research since the discipline’s inception up to the present day. The theme has also been crucial for the natural sciences, in the passage from astrology to astronomy, and of alchemy into chemistry, and also in philosophical speculation: we need only refer to Nietzsche’s founding role in modern thought, up to the much more recent investigations by, among others, Emanuele Coccia.

    The 2023 issue of Venezia Arti proposes to scholars to produce up-to-date contributions, from late antiquity to the contemporary scenarios, concerning the theme of Metamorphosis declined on several possible registers, i.e. mutation/transformation, which starts from the assumption of an adaptation between the human species and the biological dynamics of plants and animals; or in the so-called mutant morphologies, where the object of representation hinges on the notions of ‘hybrid’, ‘monster’ and ‘cyborg’: while in the Middle Ages collecting them together was considered a celebration of the monstrous or, later, the grotesque, today these aspects appear to us as salient features between the end of modernity and the beginnings of what we call post-modernity or, better, the post-human era. For the Greeks, the greatest sin was hybris – an unacceptable violation of the cosmos’ order – and centaurs, chimeras, and satyrs dared to escape a world ordered in necessary and rigid categories by the simple and arrogant composition of their bodies. Similarly, the presence in today's art of biological forms, just as singular as those of the monsters of the past, is the manifestation of a modern kind of hybris, but also the symptom of a society in crisis.

    While considering the ‘fortune’ of the Metamorphosis topic in the modern era, we cannot overlook the numerous popularisations -and moralisations- of Ovid’s work: the editorial fortune of his Metamorphosis, which had already become a classic at the time, also reverberates on the illustrations of numerous printed editions, in pictorial cycles or in “movable” works, from paintings to tapestries, throughout Europe. 

    For instance, among the indispensable studies, we must mention the iconographic repertoire edited by Claudia Cieri Via (L’arte delle Metamorfosi. Decorazioni mitologiche nel Cinquecento, Roma, 2003): it consists of a substantial mapping of the figurative occurrences of painted Ovidian episodes, albeit within the geographical limits of central-northern Italy -all the more reason to turn our gaze along geographical routes not considered at the time, and works realised on other media. As a further example, we can also consider Giuseppe Capriotti’s studies dedicated to Lodovico Dolce’s ‘time of transformations’, and mention two bibliographic references in an illustrious publishing context: «Le quattro stampe di Giovanni Antonio Rusconi aggiunte alla seconda edizione del 1553 delle “Trasformationi” di Lodovico Dolce», in Galassia Ariosto. Il modello editoriale dell’”Orlando furioso” dal libro illustrato al web, edited by L. Bolzoni, Rome, 2017, 309-324; and the study by Federica Toniolo “Immagini in trasformazione. Le Metamorfosi illustrate dai manoscritti ai libri di stampa”, in Ovidio. Amori, miti e altre storie, edited by F. Ghedini, Naples, 2018, 95-103. All of these contributions, be they more or less extended, equally attest that the spheres of visual and literary culture in the 16th century were osmotic, and confirm once again the Horatian paradigm of ut pictura poësis as Rensselaer Wright Lee investigated it in his celebrated essay (Ut Pictura Poesis. A Humanistic Theory of Painting, New York, 1967).

    A further possible register focuses on the visual persistence of classical mythology, that led to the ‘manipulations’ found in the modern and contemporary age. In this era, the hybrid is considered as a cross between human and animal, spiritual and carnal; it is also a metaphor of reality, a point of view on the world in a thematic itinerary through different ages, styles, and conceptual contributions. Many artists tackled this issue, among whom we can mention Böcklin, Moreau, Rodin, von Stuck, Redon, de Chirico, Magritte, Grosz, Klinger, Picasso, Chagall, Arturo and Alberto Martini, Savinio, Delvaux, Bacon, Kahlo, Picabia, Mendieta, Clemente, Chia, Paladino, Barney, Cattelan, Bourgeois, Sherman, Kiki Smith, up to Aspassio Haronitaki and his work, Giuseppe Maraniello (and the list could go on).

    The metamorphosis also relates to the theme of identity/otherness, which is, if possible, an even more dilated one. As Arthur Rimbaud noted in his Letter from the Seer of 1871, «je est un autre» (I is another): our identity is open to infinite possible transformations, induced by our sensitivity and the conditions in which we live. A question to which artists, from the historical avant-gardes to the present day, have continued to refer, experimenting through works in which their very face and body become the object of disguises, camouflages, and doubling of identity, in both an ironical and critical sense. Master of them all is Marcel Duchamp, but many other artists have played with disguises, as Luigi Ontani did.

    In more recent times, transformism has been accompanied by reflection on the ‘manipulation’ of the body, from cosmetic surgery to genetic medicine. It is often female artists who work on these themes, such as Orlan, Marina Abramović, Mariko Mori, who in her performances in the 1990s played the roles of post-technological geisha, plastic mermaid, young manga heroine, to show the different faces of an oriental female iconography that responds to the desires of a male chauvinist society. Cindy Sherman has made transformism and camouflage the basis of her work: over time, she put on different make-ups, playing the roles of hundreds of female protagonists of the most famous modern and contemporary films, reflecting on the conditioning and commonplaces about female actresses in the film industry; she has interpreted the female protagonists of great works of art, from Venus to Judith; she has staged the American manias and standards of female beauty; she has created terrible theatres of mutilated bodies, to stimulate debate on the theme of violence against women.

    There are many examples, such as the camouflages of the Japanese Yasumasa Morimura and the Chinese Liu Bolin. The former is literally obsessed with comparing himself with the most famous Western artists of the past, whose famous works he reproduces, from Van Gogh’s self-portrait to Manet’s Olympia, in highly sought-after and meticulous sets where he portrays himself in make-up like the protagonists of these paintings. The latter disguises himself in environments or in front of great works of art, literally becoming mimetic with them, underlining the danger of losing the identity of things in the globalised world. Up to the experience of Russian performer Vladislav Mamyshev Monroe.

    Today’s scenario seems to be hosting a radical change, urged on by the continuous visual alterations of installations, sculptures, performance actions, paintings, and videos that invite the observer to reflect on the meaning of perception, and to penetrate the silent language of a nature that, precisely in metamorphosis, shows itself as an alive and quivering entity. In essence, we witness a transition to the transitory and impermanent, which no longer has anything to do with the nineteenth and twentieth-century idea of ‘change’, as Carolyn Christov-Bakargiev recently pointed out, arguing that today’s concept of ‘transformation’ is more appropriately connected to the idea of ‘metabolisation’.

    The 2023 issue of Venezia Arti will host, in the specific section “Alia itinera”, selected contributions that go beyond the monographic theme Metamorphosis.


    DEADLINES

    • Abstract submissions: 15 May 2023
    • Notice of acceptance of abstracts: 31 May 2023
    • Article submission: 31 August 2023

    Abstracts should not exceed 2,500 characters, spaces included.


Policy
  • listComplete journal policy

    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.