International Yearbook of Futurism Studies
Ed. by Berghaus, Günter
- First medium of communication for the global community of Futurism scholars
- International and interdisciplinary approach
- Contains essays, country surveys, reports, reviews and an annual bibliography
Aims and Scope
The Futurist art movement, founded by F.T. Marinetti in 1909, had a worldwide impact and made important contributions to avant-garde movements in many countries and artistic genres. This yearbook is designed to act as a medium of communication amongst a global community of Futurism scholars. It has an interdisciplinary orientation and presents new research on Futurism across national borders in fields such as literature, fine arts, music, theatre, design, etc. Apart from essays and country surveys it contains reports, reviews and an annual bibliography of recent Futurism studies.
Vol. 1 (2011): Special Issue, Futurism in Eastern and Central Europe
Vol. 2 (2012): Open Issue
Vol. 3 (2013): Special Issue, Iberian Futurism
Vol. 4 (2014): Open Issue
Vol. 5 (2015): Special Issue, Women Futurists
Vol. 6 (2016): Open Issue
Please see also: http://www.degruyter.com/view/serial/128079
- Type of Publication:
Submission of Manuscripts
Instructions for Authors
An essay would normally havea length of 6,000-8,000 words (or 40,000-50,000 characters with spaces). There is some leeway over length, depending on the number of essays and illustrations included in a volume. Some essays also contain a documentary appendix, in which longer documents unknown to the wider community of Futurism scholars are being reprinted.
Abstracts: may be submitted at any time Draft versions: March-May in the year preceding the publication Deadline: 1 June in the year preceding the publication Estimated publication date: 1 March
Essays may contain 3-4 images, to be provided in 300 dpi in .tif format. Authors are responsible for clearing copyright of all illustrative material.
All essays are published in English. Quotations are also in English. If a quoted text has stylistic features (e.g., in poetry) that cannot be faithfully translated, both versions are printed next to each other. If the text has never been published in the original, the translation appears in the main text and the original in the footnote. If a quoted document is of historical significance and is unknown or difficult to obtain, it may be printed in an appendix. In this case, relevant excerpts, in translation, may appear in the main text of the essay and the full text, in the original, in the appendix.
If the author is not a native speaker of English, s/he should take care to have the essay proofread by an English native speaker. Stylistic conventions follow British rather than US usage. See attached style sheet.
The International Yearbook of Futurism Studies has a readership from a variety of disciplines: Literary studies, fine art, design and architecture, Italian Studies, Hispanic Studies, Slavonic Studies, Cultural Studies, Theatre History, Music History etc. Potential authors should bear in mind that they are not writing for colleagues in their own discipline but for scholars with a rather diverse level of expertise. For example, if you essay is concerned with Futurist architecture, do not expect that everybody will be familiar with the works of, say, Sant'Elia, Sartoris, Chiattone, Marchi, etc. And if you write
about Futurism in Bulgaria, remember that the cultural history of that country is not necessarily known to a reader in Montevideo, Tokyo or Oslo.
All essays should be accompanied by an abstract of 200-250 words, to appear at the head of the essay between the author/title indication and the beginning of the main text.
NOTES ON CONTRIBUTORS
At the back of each volume there will be a list of contributors with a short biography, indication of current position and a list of main publications. The length should not exceed 175 words.
Essay titles (bold, 13 points, centred, initial capitals only) begin on text line 5, followed by a white line followed by the name of the author (no bold, 13 points, centred, initial capitals only). The text of the abstract is separated from
the title of the essay and author’s name by two white lines.
Essay titles should be capitalized according to the following rules:
- Capitalize all nouns, verbs (including is and other forms of to be), adverbs (including than and when), adjectives (including this and that), and pronouns (including its).
- Capitalize the first and last words (“The Future to Look For”).
- Capitalize prepositions that are part of a verb phrase (“Standing Up to Your Mission”).
- Do not capitalize articles (a, an, the) unless an article is the first word in the title.
- Do not capitalize coordinate conjunctions (and, but, for, nor, or).
- Do not capitalize prepositions of four or fewer letters.
- Do not capitalize “to” in an infinitive phrase (“How to Become a Futurist”).
- Capitalize the second word in compound words if it is a noun or proper adjective or the words have equal weight (Cross-Reference, Read/Write Access, Run-Time; Franco-Italian Relations; Stained-Glass Windows). Do not capitalize the second word if it is another part of speech or a participle modifying the first word (How-to, Take-off). Separate prefixes from proper nouns with a hyphen and capitalize the noun (pre-Dadaist; late-Symbolist, neo-Futurist). Compound words formed with prefixes are normally one word (antibacterial, binomial, coauthor, cyberspace, hypertext, infrastructure, intramural). Otherwise, the general use is: do not capitalize second element (Ever-present Road Congestion; The President-elect George W. Bush; City-states in Italy; Cutting-edge Research; Self-sustaining Cities of
FONT / SPACING
Authors should use Times New Roman throughout. Size: 12 points for all text, except:
- titles of essay: 13 points
- essay abstracts, quotations, page numbers, headers, endnotes, bibliography, index: 10 points.
Use single line spacing. Do not use automatic end-of-line hyphenation. Do not use justification function.
Use automatic page numbering system, beginning with Arabic 1 for title page, with numbers set in 10 points.
HEADINGS AND SUBHEADINGS
The text should be divided into sections and if necessary subsections, with appropriate headings. Section headings should be set in bold using sentence case (e.g., “Marinetti’s use of neologisms”, not: “Marinetti’s Use of
Authors should provide entries for 1) a name index, 2) a subject index, 3) a geographical index (country, city, venue) at the end of their essay. The indexes should cover the main text of the essay and the topics discussed in the footnotes, but not the bibliography and simple bibliographic references in the footnotes (i.e. it is not a citation index). Each volume will have an index, and every five years there will be a cumulative index of all previously published volumes. This will also appear on the Yearbook’s website.
ITALICS / BOLDFACE / INVERTED COMMAS
Emphasized words and foreign words should be printed in italics. Boldface for highlighting terms and concepts must be avoided. Use italics or small caps instead. Single inverted commas indicate meanings (e.g., the French verb vendre ‘to sell’), to mark a gloss, opinion, or interpretation (e.g., the river is a metaphor for ‘life’), to indicate the dubious status of a word (e.g., ‘Backstage’ can be a noun, adjective and adverb), for words used in a particular way,
be it ironically or with reservations (e.g., the concept of ‘serious’ literature), or when a word or phrase is being used in an unusual or in some specialized sense (e.g., there is an important difference between ‘being’ and ‘Being’).
Never use double spaces after full stops, commas and semicolons. At the end of quotations, place punctuation outside inverted commas when the sentence has not finished (Marinetti’s slogan, “Guerra sola igiene del mondo”,
expressed in The Foundation and Manifesto of Futurism). Place punctuation inside inverted commas when a sentence has finished (Sant’Elia wrote: “The Futurist house must be like a gigantic machine.”) Do not use serial comma, i.e. “Portugal, Spain and France”, not: “Portugal, Spain, and France”.
Make sure that sources are quoted correctly. Editorial interventions should always be marked as such by means of square brackets. For example: [...], [sic]. Quotations in lesser known languages should be accompanied by a
Quotations shorter than three lines should be incorporated into the main text and signalled by means of double quotes.
Quotations of three lines or longer should be indented and separated from the regular text by a one-line space above and below. They are to be printed in 10 points. No quotation marks are used in this case.
Please use footnotes generated by your word-processing software. Generally try to keep the number of notes down as much as possible.
The use of sources in the main text is to be acknowledged by footnote references of the format:
Orazi: “Le macchine liriche di Picabia”, p. 76. Or: Carrà: “Plastic Planes as Spherical Expansions in Space.”
Apollonio: Futurist Manifestos, p. 91.
The full reference will appear in the bibliography at the end of the essay:
Orazi, Vittorio: “Le macchine liriche di Picabia.” Civiltà delle macchine 4 (1955): 76-77.
Carrà, Carlo: “Plastic Planes as Spherical Expansions in Space.” Umbro Apollonio: Futurist Manifestos. London: Thames and Hudson, 1973. 91-92.
Please follow British conventions, using -ize, -zation, rather than -ise, -sation, as in “emphasize”, “organization”; “centre”, rather than “center”; “channelled” rather than “channeled”. But note: “analyse” is British, “analyze” American. Ditto “recognise” = British and “recognize” more common in the U.S. Artistic movements (Futurism, Surrealism, Dadaism, etc.) should be capitalized.
Make sure your text is absolutely free from linguistic and typographical errors. It is strongly recommended to have the text checked and proof-read by a native speaker or a professional style editor.
Please provide tables and figures in separate files (each table or figure in a file of its own). Images should be 300 dpi in TIFF format. Files should be named so that they can be easily identified, e.g. authorname_tab1.doc., authorname_fig1.tif. Sources should be given below each table/figure. Give a standardized instruction on the very spot where you wish to have tables/figures inserted into the text. Do not forget captions. Sample instruction: [Insert figure 1 here. Caption: Léon Delagrange on 24 May 1908 on piazza d’Armi in Rome. Source: Collection David Lam, Brussels.] [Insert table 2 here. Caption: FIAT production numbers, 1900-1925. Source: Jean-Pierre Bardou: La Révolution automobile. Paris: Michel, 1977. 58-59, 106]
Each author will be responsible for matters of copyright permissions. A photocopy of all permissions correspondence should be delivered to the editor with your final manuscript.
References in the bibliography begin on a new line each and should have hanging indents of 0.4 cm. For a second reference to the same author omit name and use double dash + colon, as in
Verdone, Mario: “Caratteri dello spettacolo futurista.” Enrico Crispolti, ed.: Futurismo, 1909-1944: Arte, architettura, spettacolo, grafica, letteratura. Milano: Mazzotta, 2001. 163-170.
--: “Futurismo nel mondo.” Controspazio: Mensile di architettura e urbanistica 3:4-5 (April-May 1971): 112-114.
Where appropriate, authors are encouraged to subdivide references into a list of manuscript / archival sources and printed references.
References are listed in alphabetical order.
References to Marinetti’s writings should use, where appropriate and possible, the second edition of Teoria e invenzione futurista. A cura di Luciano de Maria. Milano: Mondadori, 1983.
Marinetti, Filippo Tommaso: Futurismo e fascismo. Foligno: Campitelli, 1924. Reprinted in Teoria e invenzione futurista. A cura di Luciano de
Maria. Milan: Mondadori, 1983. 489-572.
Marinetti, Filippo Tommaso: “Manifesto tecnico della letteratura.” Teoria e invenzione futurista. A cura di Luciano de Maria. Milan: Mondadori,
Abstracting & Indexing
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