Editorial Guidelines for Authors

The editors of Engramma invite the contributors to follow the editorial guidelines set out below.

I. FORMAT

♦ Submit a clean Word file, free from style distinctions, paragraph indents, and automatic formatting (bulleted or numbered lists, automatic headings, keyword indexing, etc.), and avoid using tables;
♦ Use Unicode-compliant fonts for all non-Latin scripts;
♦ Indicate paragraph breaks with a single line space—these will be respected during layout insofar as formatting requirements allow.

II. FOOTNOTES

♦ Minimise the use of footnotes or endnotes; instead, integrate bibliographic references into the main text;
♦ Avoid lengthy digressive or supplementary notes;
♦ Any necessary notes should be inserted in the text in brackets, numbered progressively as (note 1), (note 2), etc., and highlighted in colour.

III. ILLUSTRATIONS

♦ Submit image files separately in .jpg format (minimum resolution: 300 dpi); at least one image must accompany each article;
♦ Indicate image placement in the text with numbered markers in brackets—e.g. [Fig. 1], [Fig. 2]—highlighted in colour;
♦ Where comparative images are used, indicate which should/may be paired;
♦ Provide image captions at the end of the text file. Captions must include: Artist, Title of work, medium and material, place of origin (if known), date or period, current location (museum/private collection), inventory number (mandatory for archaeological artefacts);
♦ Always credit the source or author of multimedia/visual materials and digital images, even if the hyperlink is omitted;
♦ Provide captions for multimedia/visual materials (e.g., film stills, photographs) at the end of the text file. For photographs, include: Photographer (if credit is due ©), Title, place of origin (if known), date, and place of conservation (archive/museum, if indicated). For film stills, include: Director/Author, Film title, frame with timestamp (e.g. frame 27’ 55”), type (video/film), and date;
♦ For web sources, avoid using the secure protocol (https://) or “www.”. Instead, refer to the institution, organisation, or research group (e.g., write: indafondazione.org archivio or Archivio Fondazione INDA | Siracusa rather than https://www.indafondazione.org/archivio).

IV. ENGLISH ABSTRACT AND KEYWORDS

♦ Submit an English abstract summarising the article (approx. 800–2000 characters);
♦ Include a list of 3 to 5 keywords.

V. GRAPHIC CONSISTENCY

V.1 Quotation Marks

♦ Only two types of quotation marks are permitted:
– Double quotation marks < “ ” > for direct quotations;
– Single quotation marks < ‘ ’ > for individual terms or for emphasis.

V.2 Greek and Other Non-Latin Scripts

♦ In general, Greek is not transliterated. Individual words may be transliterated and italicised. Common terms do not require accents (e.g. pathos, mimesis, katharsis); less familiar terms should use an acute accent where appropriate;
♦ For extended quotations, use Greek characters in Unicode-compliant fonts.

VI. QUOTATIONS

♦ Quotations should preferably be given in the original language, accompanied by a translation;
♦ Omissions should be indicated by three dots in square brackets: […].

VI.1 REFERENCES TO ANCIENT TEXTS OR AUTHORS

♦ Titles of ancient works may be cited in full in Italian, Latin or Greek, provided the same form is used consistently throughout the contribution;
♦ Specific references should be abbreviated following standard Latin conventions used internationally in scholarly work, followed by passage reference;
♦ In citing poetry, omit “v.”/“vv.” after the title (e.g. Hom. Od. IX, 105);
♦ Omit commas between author and work, and between work and passage; insert a comma only after the book (in Roman numerals) and any chapter. Examples:

Aesch. Pr. 1–5;
Thuc. V, 26, 2;
Ap. Rhod. III, 967;
Sen. Med. 125–130.

♦ For referring to following lines, use < f./ff. > (in Italian: < s./ss. >) instead of precise range:

Aristoph. Ran. 1–11
or
Aristoph. Ran. 1 ff.

♦ Greek authors’ abbreviations follow the Liddell-Scott-Jones dictionary with some exceptions. Examples:

Aristophanes = Aristoph.
Bacchylides = Bacch.
Demosthenes = Dem.
Aeschylus = Aesch.
Euripides = Eur.
Pindar = Pind.
Xenophon = Xen.
Sophocles = Soph.
Thucydides = Thuc.

VI.2 REFERENCES TO MODERN TEXTS OR AUTHORS

♦ When possible, cite passages by traditional internal divisions (book, canto, paragraph, chapter, verse, etc.). Use a comma between author and title, but not between title and passage:

Dante, Inferno XXXI, 44-47;
Ariosto, Orlando Furioso XX, 55, 1-3;
Shakespeare, Hamlet V 1, 2.

VI.3 ABBREVIATIONS AND BIBLIOGRAPHIC REFERENCES

♦ Insert all references within the main text using the < Author year > format, with page numbers but without “p./pp.”. For editions or translations, add the original publication year in square brackets before the edition consulted. Examples:

(Rossi 1985, 44–65);
(Panofsky [1939] 1975, 102).

♦ List all cited references alphabetically under the heading Bibliographic References at the end of the article;
♦ Authors may optionally include a bibliographic note on the specific subject of the article;
♦ Reference entries should include complete bibliographic data (city of publication, translator, etc.) according to the following examples:

– volume:

Reference key < Author year >
Author (initial(s) with no spacing for double initials), Title, place and year of publication.

Taplin 2007
O. Taplin, Pots & Plays. Interactions between Tragedy and Greek Vase-painting of the Fourth Century B.C., Los Angeles 2007.

Sarte 1938
J.-P. Sarte, La Nausée, Paris 1938. 

– translated volume:

Reference key < Author [original edition year] translation year >
Author (initial(s) with no spacing for double initials), Title in Italian [Original title, place and year of original edition], translated by initial(s) and surname of translator, place and year of translated edition.

Panofsky [1939] 1970
E. Panofsky, Studi di iconologia [Studies in Iconology. Humanistic Themes In the Art of the Renaissance, New York 1939], traduzione di R. Pedio, Torino 1975.

Sartre [1938] 1948
J.-P. Sarte, La nausea [La Nausée, Paris 1938], traduzione di B. Fonzi, Torino 1948. .

– contributions from a volume:

Reference key < Author year >
Author (initial(s) with no spacing for double initials), Title of essay, in Editor/Author (Id./Ead. if same author; with abbreviation in the appropriate language: a cura di; ed./eds.; éd./éds.; hrsg./hrsgg.), Title of edited volume, place and year of publication, page numbers.

Vernant 1986
J.-P. Vernant, Corps obscur, corps éclatant, in Ch. Malamoud, J.-P. Vernant (éds.), Corps des dieux, Paris 1986, 19-45.

Benjamin 1966
W. Benjamin, Piccola storia della fotografia [Kleine Geschichte der Photographie, “Die Literarische Welt” 1931], in Id., L’opera d’arte nell’epoca della sua riproducibilità tecnica, traduzione di E. Filippini, Torino 1966, 57-78.

– article/essay from a periodical:

Reference key < Author year >
Author (initial(s) with no spacing for double initials), Title of article, "Journal title" issue/volume (year or month/year in parentheses), page numbers.

Martin-Velasco 2007
M.J. Martin-Velasco, Medea. An Example of How Destructive Rhetoric Can Become, “Rosetta” 3 (2007), 1-16.

Velicogna 2024
C. Velicogna, Saluti da Pankow. A proposito del Muro di Berlino e dei suoi resti, “La Rivista di Engramma” 210 (marzo 2024), 87-114.

– article from a newspaper:

Reference key < Author [original year] cited year >
Author (initial(s) with no spacing for double initials), Title of article, "Newspaper title" (day month year), page numbers.

Settis 2020
S. Settis, Leonardo secondo Warburg. Tre lezioni di Warburg su Leonardo da Vinci, “Il Sole 24 Ore” (9 agosto 2020), 10-11.

– contribution by different authors (separated by a comma in the related abbreviation):

Reference key < Author, Author year >
Authors (initials with no spacing for double initials), Title of contribution, in Editor/Author (Id./Ead. if same as contributor; with abbreviation in the appropriate language: a cura di; ed./eds.; éd./éds.; hrsg./hrsgg.), Title of edited volume, place and year of publication, page numbers.

Agosti, Farinella 1984
G. Agosti, V. Farinella, Calore del marmo. Pratiche e tipologie delle deduzioni iconografiche, in S. Settis (a cura di), Memoria dell’antico nell’arte italiana, vol. I “L’uso dei classici”, Torino 1984, 373-444..

♦ For works with multiple authors, the first name may be followed by < et al. > (in italics): 

Centanni et al. 2013
M. Centanni, C. Licitra, M. Nuzzi, A. Pedersoli, Il Laocoonte perduto di Sofocle: una ricostruzione per fragmenta testuali e iconografici (con una digressione sulle fonti mitografiche e letterarie su Laocoonte, precedenti e posteriori alla tragedia sofoclea), “La Rivista di Engramma” 107 (giugno 2013), 79-106.