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Author Guidelines

RACAR STYLE GUIDE

Manuscripts that do not conform to the following guidelines may be returned to the author for corrections before the start of the editorial process.

MANUSCRIPT

1. Please send your submission to the managing editor at ersy.contogouris@gmail.com.

2. Manuscripts should be no longer than approximately 9,000 words or 30 pages, including apparatus, and should contain no more than 12 illustrations. Authors are required to begin their article with an abstract in French (250 words or less).

3. To ensure that the peer-review process is anonymous, the author’s name and affiliation must appear on a separate title page. The author’s name must also be removed from the document’s Properties, which in Microsoft Word is found in the File menu.

4. All manuscripts must be typed double-spaced in Times New Roman font 12. This includes not only the text, but also the quotations, notes, abstract, and list of captions.

5. The manuscript should begin with the title in upper and lower case type (no italics or boldface). Italics should be used for titles of publications, artworks, exhibitions, and for foreign terms. Underlining is used only for URL addresses. All pages of the manuscript should be paginated consecutively, with page numbers in the lower right-hand corner.

6. Indent all paragraphs except the first paragraph in each section of the article. Single space between sentences. Do not justify the right-hand margin.

7. The notes should be contained in a separate section, after the main text. Any acknowledgements should come before the endnotes.

8. The editors of RACAR retain the right to make such editorial revisions as may be necessary to render the finished work suitable for publication.

COPYRIGHT

1. The author, and not RACAR, is solely responsible for the entire contents of his/her contribution.

2. Manuscripts accepted for publication will not be published until the author provides the managing editor with documentation showing that copyright laws for reproductive material and/or for extensive quotations have been satisfied.

TEXT STYLE

1. The spelling and hyphenation of words should conform to Canadian English usage. RACAR prefers  -re rather than -er word endings (e.g., centre, not center) and -our rather than -or endings (e.g., labour, not labor). Where both are possible, use -ize endings, not -ise endings (but note that there are words where "s" is essential: e.g., advertise, supervise, etc.). For further clarification, see the Oxford Canadian Dictionary. Foreign words should be italicized; however, those that have been absorbed into the language, particularly art terms (e.g., chiaroscuro) need not be italicized, and accents can normally be omitted. Place names should generally conform to the spelling of the native country or region (e.g., Regensburg, not Ratisbonne; Livorno, not Leghorn); Anglicizations of long standing (e.g., Rome, Florence) are, however, acceptable.

2. For quotations, and for single words picked out in the text, use double quotation marks. Use single quotation marks only for quotations within quotations. Final quotation marks should always follow sense stops, such as commas or periods. Longer quotations, of more than roughly 40 words, should be differentiated from the text by indentation, and set out as extracts, without quotation marks. All shorter quotations, however, should be incorporated in the text and set within quotation marks.

3. Ellipses in quotations. Use three spaced dots to indicate words dropped within sentences and a period followed by three spaced dots to indicate deleted sentences.

4. Indicate if you are responsible for translations of quotations by adding before the first note: “Unless otherwise indicated, translations are mine.”

5. Dates. Use nineteenth century, or nineteenth-century [art] (written in full), not 19th century, or 19th-century [art]. Use 1930s, not '30s or thirties. Use 19 July 1992, not July 19, 1992 or July 19th, 1992. For approximate dates, use ca. 1203, rather than circa 1203, c.1203 or c. 1203.

6. Other numbers. Spell out numbers less than 100, other than dates and measures, that occur in isolation in the text (arabic numerals may be used, however, when several numbers are being mentioned or for comparisons). Write all numbers of three digits or more in arabic numerals. When specifying a hyphenated range of numbers, include the last two digits of the final number, thus: 152–55, 1980–88. Use en dashes between numbers.

7. Capitalization. Historical movements and generally accepted historico-stylistic categories should be capitalized (e.g., Gothic architecture, Expressionist movement, Classical art). More generally used stylistic descriptors should not be capitalized (e.g., expressionist tendencies, classic moment).

8. Wherever possible, use metric rather than imperial units. Abbreviated units do not change in the plural, e.g., 3 km (not 3 kms).

9. For other points of style, consult The Chicago Manual of Style.

NOTE STYLE

1. Notes should be used sparingly. Where lengthy notes are deemed essential by the author, consideration should be given either to adjusting the text or to the addition of an addendum or addenda.

2. In all references, the choice between given name(s) and/or initial(s) for authors should follow the author's own practice, as reflected in their published works. Titles of published books and periodicals should be italicized. All important words, both in titles and subtitles, should be capitalized. If a book is part of a series, the series name should not be italicized. Note that quotation marks always follow sense stops. Page numbers are not preceded by p. or pp. See below for detailed exemplars. If a reference is not covered in this list, adapt it as closely as possible to the most similar exemplar.

3. A full reference should be given initially. All subsequent note references to the same work should be in standard shortened title form: author's last name, the key word(s) of the title, page number(s). In particular, shortened titles should be used in place of ibid., op. cit., etc. See examples below.

4. In exceptional cases where a single work is discussed at length or cited repeatedly, bracketed page references may be inserted directly in the text, once the full citation has been made in a note.

Monograph

François Souchal, Les Slodtz, sculpteurs et décorateurs du Roi (1685–1764) (Paris, 1967), 172–74, 650–51.

Lucy Freeman Sandler, Gothic Manuscripts 1285–1385, A Survey of Manuscripts Illuminated in the British Isles V, ed. J.J.G. Alexander, 2 vols. (London, 1986), I, 30–32, fig. 32.

Multi-Authored Work

John Blair and Nigel Ramsey, eds., English Medieval Industries: Craftsmen, Techniques, Products (London, 1991), 78.

Ernst Cassirer, Paul Oskar Kristeller, and John Herman Randall, Jr., eds., The Renaissance Philosophy of Man (Chicago, 1948), 112–22. [where there are more than three authors or editors, list the first, followed by "et al.,"]

Exhibition Catalogue

Joan Murray, The Art of Tom Thomson, exh. cat., Toronto, Art Gallery of Ontario (Toronto, 1971), 51.

Jean Clair, ed., The 1920s: Age of the Metropolis, exh. cat., Montreal Museum of Fine Arts (Montreal, 1991), 450–71.

The Romantics to Rodin: French Nineteenth-Century Sculpture from North American Collections, exh. cat., Los Angeles County Museum of Art (Los Angeles, 1980), 246. [exhibition locations are not required for travelling exhibitions]

Books in a Series

Francis Muel, et al., La Tenture de l'Apocalypse d'Angers, Cahiers de l'Inventaire IV (Paris, 1987), 45.

E.H. Gombrich, Art and Illusion, Bollingen Series XXXV, 5, 2nd ed. (Princeton, 1961), 223–28.

Translations

Edmond and Jules de Goncourt, French Eighteenth Century Painters, trans. Robin Ironside (London, 1948), 32.

Incunabula

H. Badesius, De Sacello Sixti. V. Pont. Max. In Exquiliis ad praesepe Domini extructo (Rome, 1588), 6, 8, 11.

I. Castalionus in H. Badesius, De ... Sacello Sixti V. Pont. Max. (n.p., n.d.), 17.

Re-edition

P. Fabricio, Delle allusioni, imprese, et emblemi ... sopra la vita, opere, et attioni di Gregorio XIII ... Libri VI (1st ed., 1585; Rome, 1588), 331, Emblem CCXXII.

Martin Shaw Briggs, Baroque Architecture (1913; repr. New York, 1967), 33–52.

Dissertation

M.L. Shapiro, "Studies in the Iconology of the Sculptures in the Tempio Malatestiano," PhD diss., New York University, 1958, 196.

Article in a Periodical

Norman D. Ziff, "Jeanne d'Arc and French Restoration Art," Gazette des Beaux-Arts, series 6, XCIII (January 1979): 38.

Maureen Ryan, "Picturing Canada's Native Landscape: Colonial Expansion, National Identity, and the Image of a 'Dying Race,' " RACAR (Revue d'art canadienne / Canadian Art Review) XVII, 2 (1990): 150–57, figs. 85–91.

Online Journal Articles

Sandra Yin, "Colour Bind," American Demographics 25, 7 (2003): 22–26, http://www.galileo.usg.edu (date of access).

Article in a Multi-Authored Work

Wyly Grier, "Canadian Art: A Résumé," The Year Book of Canadian Art, 1913, ed. Alan Sullivan (Toronto, 1914), 243.

Claude Blair and John Blair, "Copper Alloys," English Medieval Industries: Craftsmen, Techniques, Products, ed. John Blair and Nigel Ramsay (London, 1991), 81–106, esp. 93–95.

Millard Meiss, "Jan van Eyck and the Italian Renaissance," in Meiss, The Painter's Choice: Problems in the Interpretation of Renaissance Art (New York, 1976), 19–35.

Sales Catalogue

Sotheby Parke Bernet and Co., London, The Thomas F. Flannery, Jr., Collection: Medieval and Later Works of Art (1 Dec. 1983: lot 5; 2 Dec. 1983: lot 403).

Newspaper Article

Mario Proth, "Voyage au pays des peintres," Le Réveil, 1 May 1885, 1.

Website

Anita Ramasastry, "Toppling Saddam, Not His Statues," Findlaw's Writ, 22 April 2003, http://writ.news.findlaw.com (accessed 30 December 2004).

Interviews

Donna E. Shalala, interview by author, Madison, Wisconsin, 1 December 1992.

Shortened Titles

After a source has been cited in full, subsequent references consist of the author's last name and a shortened form of the title, usually (but not necessarily) consisting of the first words of the title. RACAR does not make use of "ibid." or "op. cit." in its notes. Some shortened titles from the above examples are listed below:

Souchal, Les Slodtz, 172–74.

Blair and Ramsay, eds., English Medieval Industries, 145.

Murray, The Art of Tom Thomson, 45.

Ziff, "Jeanne d'Arc," 38.

CAPTION STYLE

Text references to illustrations should take the form (fig. 2). For all captions, appropriate photographic credits and/or permissions must be included. It is the contributor's responsibility to obtain such permissions. Only actual titles of works, not descriptions (such as the names of buildings), are to be italicized. Please check that titles and/or descriptions used in captions exactly match the relevant reference in the text of the article. Exemplars for the main sorts of captions are listed below:

Figure 1. Lucius O'Brien, Lords of the Forest, 1874. Watercolour on paper, 67.2 x 46.6 cm. Toronto, Art Gallery of Ontario, The Bert and Barbara Stitt Family Collection (Photo: Art Gallery of Ontario).

Figure 2. Jusepe de Ribera, Saint Jerome, 1629. Oil on canvas, 125 x 100 cm. Rome, Galleria Doria Pamphili (Photo: reproduced from Jonathan Brown, Jusepe de Ribera: Prints and Drawings, Princeton, 1973).

Figure 3. Anonymous, Die Wittenbergisch Nachtigall, 1st ed., 1523, title-page (Photo: Göttingen, Universitätsbibliothek).

Figure 4. Henry II entering a church. Pontifical of Henry II, ca. 1007–24. Bamberg, Staatsbibliothek, Lit. 53, fol. 2v (Photo: Hirmer Fotoarchiv, Munich).

Figure 5. Mainz Cathedral. Tomb slab of Archbishop Siegfried III von Eppstein, ca. 1250 (Photo: Marburg/Art Resource, New York).

Figure 6. Bishop Sigebert of Minden accompanied by two priests and two deacons, ca. 1030. Ivory plaque, 14 x 7 cm. Berlin, Staatsbibliothek Preußischer Kulturbesitz, Ms. germ. qu. 42, bookcover (Photo: Rheinisches Bildarchiv, Cologne).

Figure 7. St. Paul's, Halifax. The interior as it appeared in 1987 [chancel of 1872] (Photo: T.U.N.S. / P. Toman).

Figure 8. St. Paul's, Halifax. Reconstruction of the ground plan as built in 1750 (Photo: author).

Figure 9. James Gibbs, Mary'bone Chapell [St. Peter, Vere Street]. Engraving: The North Side, with the plan in small (Photo: reproduced from A Book of Architecture, London, 1728, pl. XXIV).

Figure 10. Olowe of Ise, Veranda Post (Opo) from the Palace of the Ogaga (king) of Ikere. Nigeria, Ikere, Yoruba. Wood, traces of pigment, h. 153.7 cm, 1910/14. Art Institute of Chicago (1984.550), http://www.artic.edu/aic/collections/afr/81pc_olowe.html (accessed 5 September 2003).

 

Submission Preparation Checklist

As part of the submission process, authors are required to check off their submission's compliance with all of the following items, and submissions may be returned to authors that do not adhere to these guidelines.

  1. The submission has not been previously published, nor is it before another journal for consideration.
  2. The submission file is in Microsoft Word or RTF document file format.
  3. When available, the URLs to access references online are provided and are ready to click (e.g., http://pkp.sfu.ca).
  4. The text is double-spaced; uses a 12-point font; and employs italics, rather than underlining (except with URL addresses).
  5. The text adheres to the stylistic and bibliographic requirements outlined in the Author Guidelines, which is found in About the Journal.
 

Copyright Notice

Copyright l'Association d'art des universités du Canada / Universities Art Association of Canada. 1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. 2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal. 3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).

 

Privacy Statement

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