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. 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.

General info

Boards
  • peopleBoards
    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    
    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 degli Studi di Torino, Italia; The Graduate Center, City University of New York, USA    
    Miriam De Rosa, Università Ca’ Foscari Venezia, Italia    
    Giovanni De Zorzi, Università Ca’ Foscari Venezia, Italia    
    Susanne Franco, Università Ca’ Foscari Venezia, Italia    
    Flavio Gregori, Università Ca’ Foscari Venezia, Italia    
    Sara Mondini, Ghent University, Belgium    
    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    
    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    
    Elisabetta Molteni, Università Ca’ Foscari Venezia, Italia    
    Émilie Passignat, Università Ca’ Foscari Venezia, Italia    
    Valentina Sapienza, Università Ca’ Foscari Venezia, Italia    
    Giorgio Tagliaferro, University of Warwick, UK    
    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
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
  • 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 for papers
  • listCall for papers
    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.



     


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.