Instructions for Authors

“Itinera” publishes high-quality academic papers on any topic related to philosophical aesthetics,
moral philosophy, history of philosophy, arts and theater theories.

Editorial inquiries should be addressed to:

maddalena.mazzocut-mis@unimi.it

How to submit:

Articles should be sent to the editors of the issue (for the monographic part) and to the Director of
the journal (maddalena.mazzocut-mis@unimi.it)

Authors should also include, in three separate files:

1. an abstract in English and a list of four keywords (also in English)
2. a bibliography
3. the name and the email address of the author

General Rules:

Journal Languages: English, Italian, French or Spanish.

Format: .doc or .docx

Paper size: A4

Line spacing: 1.5

Font Style: Times New Roman

Font Size: 12, justified

Margins: 3 cm

The first line of each paragraph should be indented 0.5 cm on the left, except for the first
paragraph of each section.
Number of characters: between 25, 000 and 40, 000 characters for articles.

Between 5,000 and 8,000 for reviews.

All pages must be numbered. The number should be placed at the bottom, centered.

Dashes:

Please always use this type of dashes in order to separate phrases: –

Small dashes - have to be used only to separate numbers (for ex. page numbers) or cities (inside
references).

Examples:
As a young adult he opposed Germany’s involvement in the First World War and in consequence
spent most of the war years in Switzerland – yet visions of the war’s «nights of annihilation» per-
vade his work.

G. Marini, S. Cai, Ermeneutica e linguistica, in “Atti della Società Italiana di Glottologia”, a cura di
A. De Juliis, Giardini, Pisa 1981, pp. 117-136

Quotations:

Quotations inside the text should be placed between this type of double quotation marks: «...»
Example: The key to it is Avery’s ability «to create a world of his own»5.

Use double quotation marks of this type: “...” only to enclose a quote within a quote, or to
emphasize one or more words.
Example: Wittgenstein writes: «Different degrees of red are also incompatible with one another. –
And yet I can say: “There's an even redder blue than the redder of these two”»3.

Use single quotation marks ‘…’ only if included inside the double ones “…”
Quotes within quotes should be organized in this way: « “ ‘ ’ ” ».
Example: Giulio Schiavoni ci ricorda che «Agamben ha sottolineato il fatto che “Benjamin
afferma: ‘La lontananza è il contrario della vicinanza’”»1.

Please note: in all cases, punctuation marks come after quotation marks.
Bibliographical references should be given in the footnotes
Footnotes numbers always precede punctuation marks and follow brackets and quotation marks.

If quotations are longer than five lines, they should be presented as block quotes, set off from the
text: font size 10, indented 1 cm on both sides. In this case, no quotation marks should appear
around the block quote. Example:

What makes us think that perhaps there are infinitely many things is only our confusing the things of
physics with the elements of knowledge. “The patch lies somewhere between b and c”: the infinite
possibility of positions isn't expressed in the analysis of this. – The illusion of an infinite hypothesis in
which the parcels of matter are confused with the simple objects. What we can imagine multiplied to
infinity are the combinations of the things in accordance with their infinite possibilities, never the things
themselves.

For poetry, strophes have to be separated by /

Example: «Sempre caro mi fu quest’ermo colle, / e questa siepe, che da tanta parte / dell’ultimo
orizzonte il guardo esclude».

Bibliographic references:

Complete bibliographic references must be included in the footnotes, according to this model:

Monographs

S. Petrelli, La stampa in Occidente. Analisi critica, IV, De Gruyter, Berlino-New York 20005, pp.
23-28.

E. Thompson, Mind in life. Biology, phenomenology, and the sciences of mind, Harvard University
Press, Cambridge-London 2007.

G. Deleuze, Critique et clinique, Minuit, Paris 1993.

G. Deleuze, Differenza e ripetizione (1968), tr. it. di G. Guglielmi, Raffaello Cortina Editore,
Milano 1997, p. 147.

J.C. Larrat, J. Lecarme (éd. par), D’un siècle l’autre, André Malraux: actes du colloque de Cerisy-
la-Salle, Gallimard, Paris 2002.

Please note: The initial(s) of the first name come before the surname; titles are in italics; no comma
between place and date of publishing; for pages use p. and pp.

Abbreviations for editors are the following: a cura di; ed. by; hrsg. v.; éd. par

Abbreviations for translators are the following: tr. it. di; translated by; übers. v.; traduit par;
tr. it. nostra; my translation; meine Übersetzung; tr. de l’auteur

Book chapters

J.-P. Zarader, Malraux entre Hegel et Benjamin. L’histoire et l’histoire de l’art dans les écrits sur
l’art: continuité et discontinuité, in J.C. Larrat, J. Lecarme (éd. par) D’un siècle l’autre, André
Malraux: actes du colloque de Cerisy-la-Salle, Gallimard, Paris 2002, pp. 201-211.

M. Imdahl, Ikonik (1988, inedito), in G. Boehm (hrsg. v.) Was ist ein Bild?, Fink, München 1994,
pp. 301- 324.

G. Marini, S. Cai, Ermeneutica e linguistica, in A. De Juliis (a cura di) Atti della Società Italiana di
Glottologia, Giardini, Pisa 1981, pp. 117-136.

Please note: the title of the monograph is in italics and preceded by “in”; there is no comma
between “in” and the title.

Journal Articles

J. Seznec, Diderot et Sarrasine, in “Diderot Studies”, IV, 1963, pp. 237-245.

G. De Marco, I “sogni sepolti”: Antonia Pozzi, in “Esperienze letterarie”, XII/4, 1989, pp. 23-24.
R. Gianfelice, V. Pagnan, S. Petrelli, La stampa in Europa. Studi e riflessioni, in “Bibliologia”,
serie ii, II/3, 2001, pp. v-xii e 43-46.

Please note: Journals’ titles are not in italics and are inside double quotation marks “…”; they are
precede by “in”

Ancient and Medieval texts:

Plat., Alcib. I, 129 a. (Alcibiade Maggiore, pagina 129, gruppo di righe a, dell’edizione dello
Stephanus delle opere di Platone, 3 voll., Parigi 1578)

Plat., Resp. VII, 524 d 2. (Repubblica, libro VII, pagina 524, gruppo di righe d, riga 2)

Arist., An. Post. I, 4, 73 a 34. (Analitici secondi, libro I, cap. 4, pagina 73, colonna a, riga 34
dell’edizione di I. Bekker delle opere di Aristotele, Berlino 1831-1870)

Plot., Ennead. I, 4,16, 20. (Enneade I, libro 4, capitolo 16, riga 20 dell’Editio princeps del Perna,
Basilea. 1580)

Bibliography:

In the bibliography, references are organized in the same way as in the footnotes, except for the fact
that the initial(s) of the name have to follow the surname and there should be a comma between the
surname and the initial(s). References should be given in alphabetical order.

Example:
Krauss, R., Sense and Sensibility. Reflection on Post ‘60s Sculpture, in “Artforum”, 12 (1973), pp.
43-52.

Krauss, R., L’inconscio ottico (1998), tr. it. di E. Grazioli, Bruno Mondadori, Milano 2008.

Lichtenstein, J., La couleur éloquente. Rhétorique et peinture à l'âge classique (1989), Flammarion,
Paris 2013.

Lichtenstein, J., Modern Color: A New Paradigm, in I. Graw, E. Lajer-Burcharth (a cura di),
Painting Beyond Itself. The Medium in the Post-medium Condition, Sternberg, Berlin 2016, pp. 63-
68.
Venturi, R., Black Paintings. Eclissi sul modernismo, Electa, Milano 2008.