Guidelines

Guidelines for the preparation of manuscripts

1. General remarks

It is expected that articles submitted explicitly contribute to current questions of iconic criticism. In addition, they should be methodically sound and express their scholarly arguments in terms and phrases that are as clear and intelligible as possible, in order they can also be followed by scholars of different, albeit related disciplines. Each article should open with a brief explanation of the chosen terminology and an introduction to what the article is aiming at. It should close with a proper conclusion that discusses the results achieved.

1.1. Scope of delivery (in two separate files at the time)

All articles must be sent by e-mail to the editorial board. The editors reserve the right to edit, abridge or reject any material. Usually they make contact with the author beforehand. Any file exceeding 30 MB should be sent by mail on a CD-ROM or by any other appropriate means and services.

Allowed maximum size per category in characters, incl. empty spaces is: 30’000 (Aufsätze, i.e. essays); 15’000 (Glossar, i.e. glossary and Dialog, i.e. interviews); 10’000 to 15’000 (Bild.Geschichte); 5’000-10’000 (Kritik, i.e. reviews).

Essays follow an abstract in English that may not exceed 600 characters.

Definition of delivery
Text file

• the body of text
• footnotes: body of text with automatically generated footnotes set at the end of the body of text
• a brief biographical note

Image files

• captions
• photo credit
• seach image as separate file

1.2. Allowed formats

• Text files: doc, docx, rtf.
• Image files: jpg, png or gif (with gif for b/w images only. Resolution: 72 dpi, with. 1200 pixels (portrait), 1700 pixels (landscape)
• Audio files: wav. / video files: mov.
• Please always use easily understandable file names (e.g., «author’s name_image»)

2. Images (incl. audio and video files)

Authors assume the responsibility for all text and illustration copyrights. With the submission of any image, audio or video file the author confirms that she is in possession of any necessary permission. «Rheinsprung 11» does not cover any fee or charge created by an image request or asked for any permission to be granted.

• Any image has to be delivered as separate image file (and separate from the text file).
• Please mark in the text file where an image should be placed.
• Figure indications have to be set in square brackets; e.g. [fig. 4].
• Unless agreed upon otherwise, an article may not be accompanied by more than 5 images.

2.1. Captions

style: Fig. no. author (artist etc), title, year
example: Fig. 1, Sandro Botticelli, Young Gentleman holding a Medallion, representing Cosimo the Elder, 1474

2.2. Photo credits

Photo credits

• repeat the captions
• give additional information, such as measurements (in cm), technique, collection, location
• may relate to bibliographical references, including indication of page or plate number
• add the copyright information

example: Fig. 1 Sandro Botticelli, Young Gentleman holding a Medallion, representing Cosimo the Elder, 1474, 57 x 4 cm, tempera on wood, Galleria degli Uffizi, Firenze, photo: Joe Pattern / Art Resource, NY.

3. General style sheet

• Script to be used: Times New Roman; 1,5 line spacing; type size: 12 points; please apply no syllable divisions or any other formatting (with the exception of superscripts).
• For headings and subtitles, please use no other formatting than an empty line to the subsequent body of text.
• For allusions and (ironical) disassociations please use single typographical quotation marks: ‹›.
• Italics should be used for emphasizing and termini technici, incl. foreign language termini (e.g. image muette).  
• Italics should further be used for titles of works of any kind (songs, essays, monographs, movies, images etc.). Titles in captions are not set in italics, unless reference is made therein to a title; example: Marc Carnet, billboard for movie Delicatessen, 1991.

• Please be as conservative as possible at any time in your use of special characters and italics.Abstain from abbreviations wherever possible. For exceptions within the footnotes see 4. Quotes and references.

• In the body of text, numbers up to the number twelve and amounts like twenty, thirty, one hundred etc. should be written out (except are figure indications and measurements).

4. Style sheet for quotes and references

4.1. In the body of text

• When mentioning the name of an author for the first time, include his/her first name.
• Put quotes in double quotation marks «», quotes within quotations in single quotation marks ‹›.
• Quotes that are longer than three lines are followed by a new paragraph.
• Additions in quotes are being marked with square brackets […]. Please use carets (do not use three single points) (see 5. for procedure).
• Make personal emphasis explicit, also in quotes [emphasis mine], «followin[g]» etc.
• Put all bibliographical references in the footnotes at the end of the body of text. (Do not use American bibliographic style!).
• Please use continuous superscript for the whole body of text.

• Unless a certain term needs to be commented upon, superscripts should always be placed after punctuation marks.

• All footnotes close with a full stop. A point after abbreviations such as f. serves as a full stop.

• For indication of page numbers pp. 62–63 or pp. 62f. can be used alternatively.

4.2. Bibliographical references

• Use comma for all separations between author, title, place year, page etc.). a point is only used for separation of main and subtitle.

• If there is more than one bibliographical reference, use the semicolon for separation.

• Frankfurt am Main is abbreviated as Frankfurt a. M.

• When there is more than one location for one publisher, use /. Example: Basel/London/Paris.  

• When there are more than three locations for one publisher, mention the first location only followed by «et al.».

• When an author is referred to more than once in the same footnote, use idem (for male) or eadem (for female) with any subsequent bibliographical reference within this same note.

• Mention always every author or editor with their full name. For separation use comma.

• Editors are being indicated with «, ed.» after the (last) name, whether there is one or more editors.

• Join numbers with a dash: 1980–1990; pp. 14–18.  

• For American states use common standard; example: Boston, MA.

• The indication of the year of a first edition is optional. When used please insert after title in square brackets.

4.3. Initial referencing

• No italics may be used in the footnotes.

• Place of publication is being given in the original language.

Example: Pierrine Galand-Hallyn, Le Reflet des fleurs, Genève 1994.  

4.3.1. Monograph

style: first name last name, title. subtitle, place year, p. page number/s
example: Jonathan Crary, Suspensions of Perception. Attention, Spectacle and Modern Culture, Cambridge, MA and London 1999, pp. 3–11.

4.3.2. Essay in a Collection

style: first name last name, title. subtitle, in: first name last name, first name last name, ed., title. subtitle, place year, p. page number/s.
example: Gérard Raulet, Die neue Utopie. Die soziologische und philosophische Bedeutung der neuen Kommunikationstechnologien, in: idem, Manfred Frank, Willem van Reijen, ed., Die Frage nach dem Subjekt, Frankfurt a. M. 1988, p. 163.

4.3.3. Exhibition catalogue

style: first name last name, ed., catalogue title, exhibition catalogue name of institution 1, run time of exhibition 1, name of institution 2, run time of exhibition 2 [etc.], place of publication year, page number/s.
example: Eva Meyer-Hermann, Susanne Neuburger, ed., Nach Kippenberger/After Kippenberger, exhibition catalogue MUMOK Museum Moderner Kunst Stiftung Ludwig im MQ, Wien, Van Abbe Museum, Eindhoven 2003/2004, Wien 2003, p. 14.

• An indication of editors is required only where given.

• For travelling exhibitions with more than three venues give name of first venue only, followed by et al.

4.3.4. Essay in an exhibition catalogue

style: first name last name, title. subtitle, in: first name last name, ed., catalogue title, place year, p. page number/s [catalogue to the exhibition «title of exhibition», venue/s, year’s of exhibition   
example: Elisabeth Suessman, Robert Gober: Installation and Sculpture, in: Theodora Vischer, ed., Robert Gober. Sculptures and Installations 1979-2007, Göttingen 2007, pp. 16–32 [catalogue to the exhibition «Robert Gober. Works 1979-2007», Schaulager, Basel 2007].

4.3.5. Essay in a journal

style: first name last name, title. subtitle, in: name of journal volume/issue, year, p. page number/s
example: Stefan Rieger, Ohrenzucht und Hörgymnastik. Zu Thomas Bernhards Roman Das Kalkwerk, in: Weimarer Beiträge 44/3, 1998, pp. 411–33.

4.3.6. Essay in the internet

style: first name last name, title.subtitle, go to: web address [date of visit]
example: Nicole Schaffer, Tinysex. Sexualität und Identität in Multi-User Dimensions, go to:

http://www.univie.ac.at/Publizistik/Dorer1997-8.htm [10/22/1999].

4.3.7. Edition of writings and similar publication formats

style: first name last name, title. subtitle [year of first edition], in: idem, title. subtile, ed. by editor’s first and last name, Vol. volume in Roman cipher/s (without full stop): volume title, place year, p. page number/s.
example: Sigmund Freud, Jenseits des Lustprinzips [1920], in: idem, Studienausgabe, ed. by Alexander Mitscherlich et al., Vol. III: Psychologie des Unbewussten, Frankfurt a. M. 1975, p. 251.

4.3.8. Lexicon and similar publication formats

style: title, number of volumes, place year, Vol. volume number, year of volume, key word: key word, p. page number/s.
example: Allgemeine deutsche Real-Encyklopädie für die gebildeten Stände (Brockhaus Conversations-Lexikon), 12 vols., Leipzig 1833-37, Vol. 4, 1834, key word: Gedächtniß, p. 536.

4.4. Recurrent references

For recurrent references in directly subsequent foot notes use «ibid.» plus page number/s (if different from above). Please do not use any other expressions.

For recurrent references further down from first reference
style: last name, short title (as note = note where the full reference is given), p. page number/s
example of recurrent monograph: Crary, Suspensions of Perception (as note 2), p. 12.
example of recurrent essay: Raulet, Die neuen Utopien (as note 2), p. 159.
example of recurrent lexicon: Brockhaus, vol. IV, 1834 (as note 2), key word: Gedächtniß, p. 537.

5. Symbols

Please do not use protected space keys (i. e., e. g.).