Submissions

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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.
  • The submission has not been previously published, nor is it before another journal for consideration.
  • The manuscript file is in Microsoft Word.
  • In the case of textual article, the length of the text does not exceed 40.000 characters (with spaces) footnotes included.
  • In the case of book reviews, the length of the text does not exceed 4.000 characters (with spaces). Any exceptions must have been previously discussed with the editorial board.
  • If present, figures are in black and white at 1200 dpi
  • If present, figures are all in JPEG or TIFF format.
  • If present, the line drawings are all in EPS format at 1200 dpi.
  • If figures are present, the submission is accompanied by a specific file with captions.
  • Special requirements (if any) for formatting graphs, table, pictures, use of special scripts (e.g. Greek letters or Cyrillic, logical and mathematical symbols, etc.), etc. Each one of these elements (together with their caption) has to uploaded separately from the main text, together with an indication of the exact position in the text (for instance ‘Fig. 3’, ‘Tab. 1’).
  • The abstract is in English.
  • The abstract does not exceed 250 words.
  • 3 keywords in English are provided.
  • The section titles are numbered, except for the introduction and the conclusion.
  • Section titles are in italics (without bold, underlines or Caps Lock).
  • If in English, all the titles begin with a capital letter except for articles, prepositions and conjunctions.
  • The article does not contain bold or underscores.
  • The font is Times New Roman, size 12.
  • The font of the footnotes is Times New Roman, size 10.
  • The final bibliography is compiled according to the author guidelines.

Author Guidelines

Rivista di Estetica publishes three kinds of contributions:

Solicited Manuscript

Submitted Manuscript

Book reviews

You will find further information down below.

Review Process

In order to be considered for publication, both submitted manuscripts and solicited manuscripts must be original and not under consideration elsewhere. Manuscripts that meet these conditions undergo a double-blind peer review process. The peer review process usually takes no more than two months, depending upon the availability of expert reviewers, the work submitted and the editorial calendar. Book reviews will be instead evaluated by the editorial board.

In order to facilitate the process, the main author should provide the following files:

  • The Manuscript file, submitted as a word document (see below for structure and style guidelines) anonymized for blind referee (please recall to remove the metadata from the file that you submit). It should include the following: the title of the article, an abstract in English that does not exceed 250 words, 3 keywords; the main text; references.
  • A Title page as a separate word document, including author name(s), affiliation(s), email address(es), and mailing address(es) where the complimentary hard copy of the journal will be sent.
  • If the submitted article has figures, or any other special requirements for formatting graphs, table, pictures, use of special scripts (e.g. Greek letters or Cyrillic, logical and mathematical symbols, etc.), etc.; each one of these elements (together with their caption) has to be submitted separately from the main text, together with an indication of the exact position in the text (for instance ‘Fig. 3’, ‘Tab. 1’).
  • Author names and any word or sentence that may allow reviewers to infer these names should not appear in the manuscript, its main text, abstract, footnotes, and references. They should only be included in the title page, which has to be submitted separately. Authors for whom English and Italian are not their native language are recommended to work alongside a native speaker familiar to produce a manuscript that meets an acceptable language standard.
  • Reviewers are selected by the Editors. Authors may not suggest reviewers. The review process is double-blind: the author’s identity will not be revealed to the reviewers; likewise, the reviewers’ identities will not be revealed to the author.
  • Manuscripts accepted for peer review will receive one of the following decisions: accepted, accepted pending minor revision, accepted pending major revision, rejected with the possibility of submitting a new version, rejected. In the event of a split decision, the manuscript may be sent to a third reviewer.
  • If a manuscript is accepted pending revision, the author will be responsible for completing the revisions within the deadlines imposed by the production schedule. If the author is unwilling or unable to revise the manuscript, the manuscript will not be published, and the author may withdraw the manuscript.
  • In the case of “accept pending major revision” and “reject & resubmit” verdicts, the manuscript will be sent out for a second round of peer review.

Style and conventions

Quotations

  • Short quotations within the main text should be enclosed in low quotation marks (« »).
  • Quotations that exceed four-five lines (200-300 characters) should be pulled out of the main text and indented. They should have a line space above and below them. Indented quotations should not be put within quotation marks.

Quotation marks 

  • Quotation marks must be used as follows:

- « », use low quotation marks for quotations;
- “ ”, double quotation marks should be used for quotations within quotations;
- ‘ ’, if a third level of quotation is necessary, use single quotation marks.

  • Every alteration of a quote, included the cuts, must be signaled by square brackets: […].

Citations

  • Citations should be made using the “author-date” system.
  • References in the text and in notes must follow this schema: Surname of the author (followed by forename initials if there are homonyms) year(s) of publication (if more than one work of a quoted author is published in the same year, use a, b, c, etc. to distinguish between them): page(s).

Examples: Kitcher 1980; Fischer K.P. 1975: 444; Fischer K.R. 1977: 45; Derrida 1984b: 342-343.

  • In the case of reference to translations, both the year of the original edition and the translation must be indicated.

Example: Darwin (1859), tr. it. 2009: 25.

  • In the case of reference to editions different from the first edition, both the first and the edition used must be indicated.

Example: Ridley (1993), 3rd ed. 2004: 76.

  • Classical literature must be referred by name and title of the work.

Example: Aristotle, Phys. 192b8–12.

References 

  • A list of references alphabetically ordered must appear at the end of the manuscript. Entries in the list must use the following conventions.
  • Books: Surname, forname(s) initial(s) (without spaces between initials). Year(s) of publication, Title, city of publication, publisher.

Example:

Moore, G.E. 

–– 1922, Philosophical Papers, London, Routledge.

  • Translations: Surname, forname(s) initial(s) (without spaces between initials). Year(s) of publication, Title; (indication of the language of the translation) trans. by forname(s) initial(s) and surname(s) of the translator(s), Title, city of publication, publisher, year.

Example:

Darwin, C. 

–– 1859, On the Origin of Species; It. trans. by L. Fratini, L’origine delle specie, Torino, Bollati Boringhieri, 2011.

  • Books (not first edition): Surname, forname(s) initial(s) (without spaces between initials). Year(s) of publication, Title, city of publication, publisher, edition used.

Example:

Ridley, M.

–– 1994, Evolution, Oxford, Blackwell, 3rd Ed. 2004.

  • Classical literature: name, Title, edition used.

Example:

Aristotle,

–– Physics; in Barnes, J., ed. The Complete Works of Aristotle, Vol. I, Princeton, Princeton University Press, 1984.

  • Edited collections: Surname, forname(s) initial(s) (without spaces between initials) (ed.) (or (eds.) in case there is more than one editor). Year(s) of publication, Title, city of publication, publisher.

Example:

LaCroix, A.L., McAdams, R.H., Nussbaum, M.C. (eds.). 

–– 2016, Fatal Fictions: Crime and Investigation in Law and Literature, Oxford, Oxford University Press.

  • Articles in journals: Surname, forname(s) initials (without spaces between initials). Year(s) of publication, Title, “Name of the Journal”, volume: pages.

Example:

Korsgaard, C.

–– 1983, Two distinctions in goodness, “Philosophical Review”, 92: 169-195.

  • Articles in edited collections: Surname, forname(s) initial(s) (without spaces between initials). Year(s) of publication, Title of the article, in Forname initial(s) (without spaces between initials) Surname (ed.) (or (eds.) in case there is more than one editor), Title of the Collection, city of publication, publisher: pages.

Example:

Isaacs, T. 

–– 2018, Food insecurity: Dieting as ideology, as oppression, and as privilege, in A. Barnhill, M. Budolfson, T. Doggett (eds.), The Oxford Handbook of Food Ethics, Oxford, Oxford University Press: 572-592.

Notes

  • Please use footnotes rather than endnotes.
  • Superscript numbers referring to notes should be placed before punctuation.

Typographical Style

  • Please, check that the manuscript contains no orthographical mistakes (including grammatical norms on accents and punctuation, etc.) and stylistic defects. As for the typographical style: it is preferable to use italics soberly (beware of involuntary italicization of parentheses and quotation marks surrounding the text) and to avoid underlined, bold, ALL CAPS passages, and different fonts.
  • Please avoid the following:
  • Automatic hyphenation option and automatic bulleting or numbering (for paragraph, lists, internal titles, etc.)
  • Protected areas, hyperlink to other texts (for instance to an illustration), or hidden parts (for instance, reviewing marks)
  • Texts (or peculiar formal features) in the headings and footings.
  • Among the typing defects having the worst outcome in publishing: using capital ‘I’ or small ‘l’ instead of the digit ‘1’; using (capital or small) ‘O’ instead of the digit ‘0’; double blank-spacing between two words, and especially after a point; blank-spacing before punctuation, or forgetting to blank-space after punctuation; obtaining an indentation by a series of blank-spaces or with the ‘tab’ key.

Articles

Section default policy

Solicited Manuscript

solicited manuscript is a manuscript that the author submits after a personal invitation of the editorial board, or the guest curator, to respond to the call. They usually are included in a special issue. Apart from this, solicited manuscripts follow the same double blind peer review process as the submitted ones. Length must not exceed 40.000 characters (with spaces), footnotes and captions included. Editors retain normal editorial responsibilities, including the right of rejection.

Submitted Manuscript (extra special issue)

submitted manuscript is a manuscript that the author freely submits to the editorial board. Length must not exceed 40.000 characters (with spaces), footnotes and captions included.

 

CFP 2/2023 The Philosophy of Television Series

Guest editors: Mario Slugan (Queen Mary University of London) and Enrico Terrone (Università di Genova)

Deadline for submission: 1 April 2022

It is often said that television series are nowadays as good as films, or even better than them, but the philosophical inquiry into the former remains much less developed than the philosophy of film. A handful of recent books have tried to fill the gap, but there is much work still to be done. Significant contributions to the aesthetics of television series are coming from television studies and film studies, raising issues which philosophers are challenged to address. The special issue of Rivista di estetica looks for philosophical perspectives on television series with the aim of exploring this new fascinating area of research in which aesthetics and media studies can fruitfully interact. Topics for papers may include but are not limited to the following:

  • Is TV series a self-standing form of art or is it to be traced back to the cinema?
  • What is the relationship between television series and films?
  • What is the relationship between television series and other forms of television (e.g. talk shows, reality shows, news)?
  • What sets the Golden Age of Television (Peak Television) apart from the preceding era?
  • Is there a narrative specificity of television series?
  • What is the effect of seriality/seasonality on television series?
  • How are television series related to other serial narratives such as comics?
  • How do television series deal with the system of film genres?
  • The fiction/nonfiction divide in television series.
  • The antihero and the antiheroine as outstanding characters in television series
  • Philosophical themes in television series

Instructions: Articles must be written in English and should not exceed 30.000 characters.

In order to submit your paper, please register and login to: http://labont.it/estetica/index.php/rivistadiestetica/login

When asked “What kind of file is this?”, please select the relevant CFP.

Please notice: when asked “What kind of file is this”, please select the relevant CFP.

CFP 3/2023 Ontology of Finance

Title: Ontology of Finance

Guest editors: Gloria Sansò (University at Buffalo) and Barry Smith (University at Buffalo)

Deadline for submission: 30 June 2022

One famous scene in The Wolf of Wall Street (2013) is the dialogue between the young Jordan Belfort (Leonardo DiCaprio) and the expert trader Mark Hanna (Matthew McConaughey). Hanna is complaining that the stock market is unpredictable; it’s “fugazi … it’s fairy dust. It doesn’t exist. It’s never landed. It is not matter. It’s not on the element chart. It’s not real”. But the fact that something is unpredictable and non-physical does not imply that it does not exist. On the other hand, its unpredictability, non-physicality, and the fact that the stock market trend is largely determined by investors’ beliefs, do make its nature difficult to grasp.

This special issue of Rivista di Estetica aims to explore the financial sector from an ontological point of view. While the ontology of money has been extensively studied, few scholars have focused on the stock market and, more generally, on those entities belonging to the investment landscape. Matters are made more complicated by the fact that the financial sector is characterized by an ever-increasing use of digital technology, including software elements that trade in the market themselves. We believe that a careful study of this phenomenon may help us better to understand the role of artificial agents in the social world.

Topics and research questions include (but are not limited to):

  • The nature of financial instruments, financial risk, financial markets
  • The nature of buying, selling and investing
  • The problem of performativity in the financial world
  • What is the difference between price and value?
  • Are the orders placed by an automated trading system social acts?
  • What is the role of documents in finance?
  • Can the financial market be fair?

Instructions: Articles must be written in English and should not exceed 40.000 characters, notes and blank-spaces included.

In order to submit your paper, please register and login to: http://labont.it/estetica/index.php/rivistadiestetica/login.

Please notice: when asked “What kind of file is this”, select the relevant CFP.

For further information, mail to: gsanso@buffalo.edu

Webpages: https://labont.it/labont/rivista-di-estetica/
https://journals.openedition.org/estetica/

Book Reviews

Book reviews must must not exceed 4.000 characters (with spaces). Proposals for Book reviews shall be sent the Editorial Board (rivista.estetica@gmail.com) in order to be approved.

Manuscripts not prepared accordingly will be returned to authors and this will inevitably lead to a delay in the editorial processing of the manuscript.

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