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). Since 2014, the journal is published both in a printed and 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.

Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License 
General info
  • peopleBoards
    General Editors – new series
    Carmelo Alberti, Università Ca’ Foscari Venezia  
    Carmelo Alberti (Direttore), Università Ca’ Foscari Venezia, Italia  
    Silvia Burini (sezione Contemporaneo), Università Ca’ Foscari Venezia, Italia    
    Michela Agazzi (Condirettore), Università Ca’ Foscari Venezia, Italia  
    Giovanni Maria Fara (sezione Medioevo e Età Moderna), Università Ca’ Foscari Venezia, Italia    

    Advisory Board
    Kosme de Barañano, Universidad Miguel Hernández, Alicante, España    
    Michela Agazzi, Università Ca’ Foscari Venezia, Italia  
    John Bowlt, University of Southern California, USA    
    Hans Aurenhammer, Universität Frankfurt am Main, Germany  
    David Freedberg, Columbia University, New York, USA    
    Xavier Barral i Altet, Université de Rennes 2, France  
    Boris Groys, Staatliche Hochschule für Gestaltung, Karlsruhe,Deutschland    
    Gabriella Belli, Fondazione Musei Civici Veneziani, Venezia, Italia  
    Yoko Hasegawa, Tama Art University, Tokyo, Japan    
    Joe Farrell, Strathclyde University, Glasgow, UK  
    Michel Hochmann, École Pratique des Hautes Études, Paris, France    
    Fernando Mazzocca, Università degli Studi di Milano, Italia  
    Philippe Morel, Université Paris 1 Panthéon-Sorbonne, Paris, France    
    Maria Grazia Messina, Università degli Studi di Firenze, Italia  
    Silvia Naef, Université de Genève, Suisse    
    Alina Payne, Harvard University, Cambridge, USA    
    Josè Sasportes, Universidade de Lisboa, Portugal  
    Sebastian Schütze, Universität Wien, Österreich    
    Luca Zoppelli, Universität Freiburg, Germany  
    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    
    Tanja Michalsky, Biblotheca Hertziana-Max-Plank-Institut fuer Kunstgeschichte, Roma    

    Editor-in-Chief
    Diego Mantoan, Università Ca’ Foscari Venezia, Italia  
    Walter Cupperi, Università Ca’ Foscari Venezia, Italia    

    Editorial Board (section Contemporary)
    Maria Ida Biggi, Università Ca’ Foscari Venezia, Italia  
    Fabrizio Borin, Università Ca’ Foscari Venezia, Italia  
    David Bryant, Università Ca’ Foscari Venezia, Italia  
    Roberta Dreon, Università Ca’ Foscari Venezia, Italia  
    Giovanni Maria Fara, Università Ca’ Foscari Venezia, Italia  
    Corinna T. Gallori, Kunsthistorisches Institut in Florenz - Max-Planck-Institut, Italia    
    Corinna T. Gallori, Kunsthistorisches Institut in Florenz - Max-Planck-Institut  
    Sergio Marinelli, Università Ca’ Foscari Venezia, Italia  
    Maria Chiara Piva, Università Ca’ Foscari Venezia, Italia  
    Paolo Puppa, Università Ca’ Foscari Venezia, Italia  
    Stefano Riccioni, Università Ca’ Foscari Venezia, Italia  
    Nico Stringa, Università Ca’ Foscari Venezia, Italia  
    Giordana Trovabene, Università Ca’ Foscari Venezia, Italia  
    Cristina Baldacci, Università Ca’ Foscari Venezia, Italia    
    Matteo Bertelè, Università Ca’ Foscari Venezia, Italia    
    Marco Dalla Gassa, 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    
    Maria Roberta Novielli, Università Ca’ Foscari Venezia, Italia    
    Stefania Portinari, Università Ca’ Foscari Venezia, Italia    
    Sabrina Rastelli, Università Ca’ Foscari Venezia, Italia    
    Cecilia Rofena, Università Ca’ Foscari Venezia, Italia    
    Silvia Vesco, Università Ca’ Foscari Venezia, Italia    

    Editorial Board (section Middle Ages and Early Modern Period)
    Pietro Conte, Università Ca’ Foscari Venezia, Italia    
    Walter Cupperi, Università Ca’ Foscari Venezia, Italia    
    Craig Edwin Martin, Università Ca’ Foscari Venezia, Italia    
    Elisabetta Molteni, Università Ca’ Foscari Venezia, Italia    
    Simone Piazza, Università Ca’ Foscari Venezia, Italia    
    Valentina Sapienza, Università Ca’ Foscari Venezia, Italia    
    Pier Mario Vescovo, Università Ca’ Foscari Venezia, Italia    
    Giulio Zavatta, Università Ca’ Foscari Venezia, Italia    

  • messageContacts
    To the General Editor

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    Attachment
  • euro_symbolAPCs

    Authors who publish with this Journal/Series agree to the following terms:

    1. Open Access publishing is at no cost. Therefore, the Publisher (ECF) charges a fee of 8€ (+VAT) per page (2000 characters, spaces included) for each article or monograph, after acceptance. This fee applies for Journals/Series or series affiliated with Institutions or Research entities not linked with Ca’ Foscari University of Venice.
    2. If the Journals/Series or series is affiliated to Ca’ Foscari University of Venice, publication fees are met by the single Departments on the basis of specific arrangements between the Departments and ECF.
    3. In any case, Authors’ institutions – and not individual Authors – will be charged.
    In case of an article of monograph with particular features or complex content (non-western languages, non-standard graphic elaborations, etc.), Authors’ institutions may be charged with extra fees, to be determined by ECF.


    To find out more, please contact Edizioni Ca’ Foscari’s editorial staff at ecf@unive.it

  • assignment_turned_inPeer 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/Series’ Scientific Director guarantees the proper execution of the peer review process for every article published in the Journal/Series. The evaluation is conducted in accordance with the following criteria:
    Revision 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 see: Scientific Certification of the Works Published by ECF
Archive
Our series and journals are archived on PHAIDRA (Permanent Hosting, Archiving and Indexing of Digital Resources and Assets), a platform for long-term archiving of digital collections: PHAIDRA.
Editorial Guidelines
  • listLista delle norme redazionali

    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: 1960-5, 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:

    • indicate 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
  • Call for papers

    CALL FOR PAPERS – Venezia Arti, s. II, 2/XXIX (2020)

    Title: Art and Science

    TOPIC

    The problem of the relationship between science and art has accompanied human civilisation since its beginning, starting from the first skills achieved by homo habilis and, subsequently, by homo faber. It is also crucial in the development of Western philosophy and appears in the treatises on the various artistic practices, starting from Vitruvius. Therefore, the famous expression of the Parisian architect Jean Mignot, ars sine scientia nihil, pronounced in the building site of the Duomo of Milan in 1398, summarises a century-old debate. Moreover, it opens up to the subsequent and almost infinite reflections by Cennino, Alberti, Piero della Francesca, Leonardo, fra Giocondo, etc., and offers a significant key to understand the terminology of artistic literature. The latter may reveal the absence of any dualism between art and science, like in the Greek term techne (the equivalent of the Latin ars), which holds together art and technique, or in Vasari’s word artefice. Over the last centuries, this relationship has been enriched by the contributions of other human sciences, the development of research in the cognitive field and the tumultuous increase of technological resources, since a part of what is commonly called science is now above all the consequence of technological applications, in which the same homo faber intervenes in art, engaging his intelligence and his imagination.

    The 2020 issue of Venezia Arti will be dedicated to the multiplicity and diachronic development of these relationships, with the aim of answering a crucial question: what is the relationship between art and science? Only with Descartes, with the so-called scientific revolution of the seventeenth century, this extraordinary relationship started to be seen in terms of a clear break between the two worlds. Yet, are we really dealing with two “opposite” factors, i.e. the positive and confirmed structure of scientific knowledge, on the one hand, and the intuitiveness of art, the product of human irrationality, on the other? When asked what art and science, two worlds apparently so distant from each other, had in common, Albert Einstein replied that “the greatest scientists are also artists”. In a speech delivered in 1923 he also declared that “having reached a high level of technical competence, science and art tend to merge in aesthetics, plasticity and form”.

    2020 is also the year of the 30th anniversary of the publication of The Science of Art. Optical Themes in Western Art from Brunelleschi to Seurat by Martin Kemp, a book that has certainly influenced academic studies in this field, albeit in a wide furrow in which it is almost useless to add, among many others, the names of Quatremère de Quincy, Morelli, Hourticq, Saxl, Gombrich, Kubler, Baxandall, Alpers, several dedicated journals and even more numerous academies.

    As for the medieval and early modern area, Venezia Arti 2020 invites scholars to send their contributions on the theoretical, historical and critical debate upon the relationships between art and science from the 11th to the 19th century. The papers can focus on specific figures or concrete episodes, such as the application of optics to pictorial representations to military architecture, or the relationships between anatomical research and graphic and plastic practices, just to give some examples.

    As for the contemporary area, today’s cultural horizon bans any dichotomy between humanistic and scientific knowledge: these are two distinct forms of knowledge among which, however, there are links of correlation and overlapping. Distinct cognitive acts, based respectively on intuition and reason, although corresponding to different perspectives and different ways of experiencing reality, no longer contemplate an ideal succession or a hierarchical order.

    The new generations of artists, scholars, critics and curators are living in an atmosphere of technoculture and no longer ask themselves the question of a conventional separation between science and art. Nor can we consider the issue only within a ‘Western culture’, given that today both art and science are universal values, recognised in every part of the world: they are objectives pursued by artists and scientists from all nations, and characteristics of the global and simultaneous knowledge of the 21st century, which is conveyed through digital networks. It is therefore not a matter of “opposites” in a dialectical vision, but of complementary sides.

    The attention of contemporary art has focused on particular aspects of technoculture, such as the manipulation of nature and the control of natural forces. The tendencies of the artists to use and modify their body as if it were a form of sculpture, of sculpture on the living, arise from this (see e.g. Orlan and Stelarc, but also piercings and tattoos or other forms of body modification). One of the cruces is certainly the frontier of bioethics: while science attempts to set limits on biological experimentation (for example cloning), contemporary art attempts to violate these limits, or to interpret them in their most surrealistic aspects. The cyborg has become an emblem of contemporary art.

    There are many possible variations of the theme in the contemporary context. Without wanting to set a limit, we shall indicate a few:

    • New Media Art in an interdisciplinary context that involves the world of independent self-productions, institutions, laboratories and industries, and investigates the relationship between hybrid markets and between art, design, architecture, sound, fashion, performance, scientific research and technological innovation;
    • the appearance of cyborgs, androids, replicants and robots, which can be considered as the symbol of contamination, fusion and gradual dematerialization taking place, and of a body that seems to have chosen to contaminate itself with technology to create a new essence;
    • the need for the “Other” in the definition of otherness and in the repositioning of the boundaries between what is internal and external to the idea of culture and, consequently, of humanity. The discourse on the ‘transhuman’ is characterised by the overcoming of limitations previously considered fundamental, which leads to the concept of hyperbody, capable of absorbing and containing parts of other humans, animals, plants, minerals and new technologies. On the edge of a mutant morphology, the passage from the fixity of the images to their mental persistence takes place;
    • the development of digital aesthetics and new trends in digital art;
    • the impact of technologies and sciences on art, design and contemporary culture;
    • the different ways in which the visual arts of the twentieth century and the aesthetic theories related to them have arisen in relation to technological developments in communication and the affirmation of the mass media;
    • the relationship between Art net and Art market.

    SUBMISSION | Guidelines and information

    To submit a contribution, please send the article with a brief biographical note. The materials must be sent within 31 May 2020 to venezia.arti@unive.it.

    The text of the contribution must not exceed 40,000 characters (footnotes and spaces included) and will undergo a double-blind peer review. The accepted languages are English, Italian and French. Regardless of the text’s language, all articles must include an English abstract and at least five English keywords, and must comply with Edizioni Ca’ Foscari’s editorial guidelines (Norme redazionali).

    Non-complying texts will not be accepted. Authors must provide by themselves for costs and reproduction rights of any images, which shall be provided in high definition (at least 300 dpi).

    For more details and information, please contact the editorial board at venezia.arti@unive.it.

Policy
  • Complete 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 General Editor. The agreement must comply with the Code of Behaviour for Publishers of Scientific Journals, as established by COPE.

    The relationship among the General Editor(s), the Editorial Board and the Publisher is based on the principle of publishing independence. 

    The General Editor(s) are nominated by the Department Director. The General Editor(s) promotes the shape of the Advisory Board and the Editorial Board and can integrate and/or vary the shape of the same. The boards remain in office for 6 years and are automatically renewed for another 6 in the absence of a difference of opinion within the Department Director.


    Editors’ responsibilities 

    The General Editors of Venezia Arti alone are responsible for the decision to publish the articles submitted.

    Submitted articles 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 Editors.

    The Venezia Arti General Editors and Editorial 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. 

    If the Venezia Arti General Editors and Editorial 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. If necessary, they will withdraw the article or publish a recantation. 

    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 Editors. 

    Authorship

    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. 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 Editors 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. Citations 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. 

    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 Editors, 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 General Editors 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 Editors. 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.