Submissions

 

Author Guidelines

 

 

General

We are not accepting any online submissions at this time. Please address new submissions to the Editor at Junctures@op.ac.nz. 

 

We request submissions at specific times for each themed issue. See the home page for calls for papers and the time period during which you can submit for each issue. 

Submissions outside of these guidelines can not be considered.

 

Submissions must not be previously published, nor should they be subimtted for publication elsewhere while under review by Junctures

 

Style

Junctures publishes high quality critically informed interdisciplinary academic material which nonetheless is suitable for a wide-ranging readership. Given the inter-disciplinary nature of the journal, all work should be presented in a way which is open to readers from outside the particular field.

 

We use:

  • English spelling
  • Double quotation marks
  • Punctuation inside of quotation marks
  • Endnote markers outside of punctuation

  

Referencing

Junctures uses the Chicago Manual of Style 15th Edition, Endnotes and references style.

Book

One author
Endnote
1. Roger Neich, Painted Histories. Early Maori Figurative Painting (Auckland: Auckland University Press, 1994), 65.

Two authors
Endnote
6. Ian Heywood, and Barry Sandywell eds., Interpreting Visual Culture: Exploration in the Hermeneutics of the Visual. (London & New York: Routledge, 2000), 104–7.

Four or more authors
Endnote
13. Hal Foster et al., Art Since 1900 Modernism, Antimoderism Postmodernism (London: Thames & Hudson, 2004), 262.

Editor, translator, or compiler instead of author
Endnote
4. Jill Nelmes, ed., An Introduction to Film Studies (London & New York: Routledge, 1996), 91-92.

Editor, translator, or compiler in addition to author
Endnote
16. Gilles Deleuze, The Fold. Leibniz and the Baroque, trans. Tom Conley (Minneapolis & London:University of Minnesota Press, 1993), 22.

Chapter or other part of a book
Endnote
5. Gerhard Richter, “Interview with Rolf Schōn, 1972”, in The Daily Practice of Painting: Writings 1962-1993, trans. H.-U. Obrist, ed. D. Britt (London: Thames & Hudson, 1995), 73.

Chapter of an edited volume originally published elsewhere (as in primary sources)
Endnote
8. Clement Greenburg. “Towards a Newer Laocoon,” in Art in Theory 1900 – 1990 An Anthology of Changing Ideas, ed. Charles Harrison and Paul Wood (Oxford & Cambridge:Blackwell Publishers, 1992), 554-560.

Preface, foreword, introduction, or similar part of a book
Endnote
17. E.H. Gombrich, Preface to The Preference for the Primitive:Episodes in the History of Western Taste and Art, by E. H. Gombrich (London & New York: Phaidon, 2002),7-10.

Book published electronically
If a book is available in more than one format, you should cite the version you consulted, but you may also list the other formats, as in the second example below. Include the access date parenthetically at the end of the citation, as in the examples below.
Endnote
2. Florian Cramer, Words made Flesh (Rotterdam: Piet Zwart Institute, 2005), http://pzwart.wdka.hro.nl/mdr/research/fcramer/wordsmadeflesh/. (accessed 12 February 2007).

Journal articles and other published sources

Journal article
Article in a print journal
Endnote
8. Timothy Brittain-Catlin, “What did Modernism do for us?” Modern Painters April (2006): 84-91.

Article in an online journal
Endnote
33. Ana Terry, “Wall Stories: Sensory Archaeology" Scope: Contemporary Research Topics, no. 1 Art (2006): 35-62, http://www.thescopes.org/issues.php?issue=1&title=Art.

Popular magazine article
Endnote
29. Andrew Paul Wood, “Out on the Street,” Listener, Vol. 207 No. 3484, 17-23 February 2007, 84-85.

Newspaper article
Newspaper articles may be cited in running text (“As William Niederkorn noted in a New York Times article on June 20, 2002, . . . ”) instead of in a note or an in-text citation, and they are commonly omitted from a bibliography or reference list as well. The following examples show the more formal versions of the citations.
Endnote
10. Martha Schwendener., “Blood Unsimple: The Ties that Bind, in All Their Complexity,” Arts Section. New York Times, 20 February 2007.

Book review

Endnote
1. Kathryn Harrison, Review of Twenty-eight artists and two Saints. Essays, by Joan Acocela, New York Times Book Review, 18 Februrary, 2007, 16.

Art Exhibition review
Endnote
2. Wynstan Curnow, “Max Gimblett.” Review of Max Gimblett: Spirit, Gow Langsford Auckland, 29 July –22 August 1998, Art Asia Pacific, Issue 23, 1999, 107.

Thesis or dissertation
Endnote
22. L. Schmidt, Coordinates between the Visual Form and Content in Painting of the Modern Era (D Litt et Phil thesis, University of Johannesburg, 1983), 22–29, 35.

Online Sources

Web site
Endnote
11. Guy Debord, “Introduction to a Critique of Urban Geography,” Situationist International Anthology, http://www.bopsecrets.org/SI/

Weblog entry or comment
Endnote
8. Tyler Green, “Looking Back,” Modern Art Notes. The Tyler-Green Blog, comment posted 14 February 2007, http://www.artsjournal.com/man/ (accessed 14 February, 2007).

E-mail message
E-mail messages may be cited in running text (“In an e-mail message to the author on October 31, 2005, John Doe revealed . . .”) instead of in a note or an in-text citation, and they can be listed in a bibliography or reference list. The following example shows the more formal version of a note.
Endnote
2. John Doe, e-mail message to author, October 31, 2005. Item in online database

Journal articles published in online databases should be cited as shown above, under “Article in an online journal.” If an access date is required by your publisher or discipline, include it parenthetically at the end of the citation, as in the first example below.
Endnote
7. wikipedia, Russian Formalism, http://en.wikipedia.org/wiki/Formalism, (accessed 14 February 2007):4.

Artworks

References to artworks should include the following minimum information:
Artist’s name. Title of work. (date of work), Medium, dimensions – height before width. Location or exhibiting gallery of original.

Formal Titles
Leonardo da Vinci. Madonna of the Rocks. (1483-86), Oil on canvas, 199 x 122 cm. Louvre, Paris.
Jeff Wall. A Sudden Gust of Wind (after Hokusai). (1993), Photographic transparency and illuminated display case, 250 x 397 x 34 cm. Tate, London.

Film and Television
Titles of movies and of television programmes are italicized.
Endnote
6. Robert Hughes, “Culture as Nature”, an episode in The Shock of the New London: BBC Productions (1980).

7. Leon Narbey, dir., A Film of Real Time. A Light Sound Environment. colour, sound, 10min. Wellington:New Zealand film archive, (1970).

Narbey, Leon. dir., A Film of Real Time. A Light Sound Environment. colour, sound, 10min. Wellington: New Zealand film archive, 1970.

Multi Media
Endnote
7. Anthony McCall, Line Describing a Cone (1973, 16mm film, b&w, 30min), exhibited in “Into The Light,” 2001-2, (Whitney Museum: New York).

8. Nam June Paik, “Zen for TV” in Exposition of Music - Electronic Television (1963), 13 manipulated televisions, noisemakers, prepared pianos, dimensions variable, (Galerie Parnass: Wuppertal, Germany).

9. Ronnie Van Hout, On the Run (2004), multimedia installation including: web interface, digital flat screen projection, sculptural elements, computer technology, exhibited in “Telecom Prospect,” curated by Emma Bugden, (City Gallery: Wellington).


Exhibition Catalogue
Endnote
6. George Maciunas, “Neo-Dada in Music, Theatre, Poetry, Art” in Fluxus (NewYork: Museum of Modern Art, 1988), 25-27.

For numerous further examples, see chapters 16 and 17 of The Chicago Manual of Style, 15th edition (Chicago and London: University of Chicago Press, 2003).

Note: Online sources that are analogous to print sources (such as articles published in online journals, magazines, or newspapers) should be cited similarly to their print counterparts but with the addition of a URL. Junctures requires an access date also be included, this is because many online sources change or go offline. For online or other electronic sources that do not have a direct print counterpart (such as an institutional Web site or a Weblog), give as much information as you can in addition to the URL. 

 

 Images

Images for final publication purposes should be sent as separate tif, jpg or eps files, with resolution equivalent to at least 300 dpi. Indicate in the article the approximate placement of images with <<figure 1>> Maximum image print area is 130mm wide x 180mm deep All image files should be labelled with the author’s name and numbered in the order in which the images appear in the document e.g. “smith1.tif”. “smith2.tif” etc. The author should supply a list of full captions. All images must be accompanied by reproduction permission.

 

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.

  1. The submission has not been previously published, nor is it before another journal for consideration.
  2. The submission file is saved as a .doc or .rtf format for Microsoft Word.
  3. All references and endnotes are formatted.
  4. The text is single-spaced; uses a 12-point font; employs italics, rather than underlining (except with URL addresses); and all illustrations, figures, and tables are placed within the text at the appropriate points, rather than at the end.
  5. The text adheres to the stylistic and bibliographic requirements outlined in the Author Guidelines, which is found in About the Journal.
  6. The instructions in Ensuring a Blind Review have been followed.
  7. Written reproduction permission has been obtained for all images. A supporting page of information detailing authorship, full title, origin and permission for all images is supplied.
  8. Images are provided as tif, jpg or eps files and are at least 300dpi.  Image files are labelled with the contributor's name and number in the order which they should appear (ex: smith1, smith2).
 

Copyright Notice

Authors should note that in the spirit of open access to research Junctures is published under a New Zealand cc-by-nc-nd licence.
This licence is the most stringent cc-by licence currently available that means that people are free to read and redistribute the article but only with full acknowledgement of the author and the source. Although this licence does allow sharing of research, it does not allow any forms of commercial distribution. For more on cc licencing please see: http://www.creativecommons.org.nz/licences_explained__1 If you require your work to be published under a different licence please contact the Junctures Editorial Assistant.

Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their personal website) with an acknowledgement of its initial publication in this journal, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).

 

Privacy Statement

Names and email addresses entered in this journal site will be used exclusively for the stated purposes of this journal and will not be made available for any other purpose or to any other party.