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Submission and evaluation of texts

The articles submitted for publication must be addressed to the director of the review and to the Editor-in-Chief, at the following two email addresses:

The journal publishes original and previously unpublished texts. Submitted articles are considered in the light of special issues or topics to feature in the Varia column. We also welcome proposals from guest coordinators. The journal also considers any proposal suitable for publication in the Interviews and Reports column, as well as original works submitted by artists (texts and still or animated images).

The articles must be sent in Word format (.doc or .docx) and must include the names and surnames of the authors, as well as their affiliations (institution and laboratory). The articles, which must be between 30 000 and 45 000 characters (spaces and footnotes included), can be in English or French. The formatting must comply with the norms specified below.

All articles must be accompanied by a 150-word summary, in French and English, as well as six to eight key words, also in French and English. The key words are not capitalized, except proper names. The title must appear in both languages.

If the article includes images, it is the responsibility of the authors to request permission to reproduce the images accompanying their texts and to pay the associated rights. Reproduction authorizations are sent to the editors of the volume. The authors must also provide a short bio-bibliography – 200 words maximum.

All submitted articles undergo double blind peer review. Files are anonymized and sent to two experts, who draw up a report based on the assessment form provided by the review (available on this website). Authors receive the anonymous evaluation reports within 6 months of their submission. If both reports are positive, the article is accepted. It can then be the subject of discussion between the author and the Editorial Committee, to revise it in accordance with the experts’ advice. If both reports are negative, the article is rejected. If the expert opinions differ, the Editorial Committee can come to a decision or proceed to enlist a third expert.

Interfaces is committed to the fight against academic fraud. Submitted articles are evaluated on the basis of their intrinsic qualities and in relation to the originality of their contributions to the fields of study. As a result, the articles are systematically checked with automatic antiplagiarism software (Compilatio).

Authors of accepted articles sign a contract that includes their authorization for digital publication. This non-exclusive contract (reviewed and adapted by the Legal Unit at the Université de Bourgogne) is part of the Comité pour la science ouverte (CoSO). As specified in the contract, the review allows authors to immediately place the published version of their texts into the open archives.

Editorial norms

Submitted articles must adhere to the editorial norms and typographic rules described below. Articles that do not follow the norms of the review will not be sent to the experts.

The general rule is that styling or formatting should not be used. To simplify editing, avoid unnecessary typographic devices: no indentation when you begin a new paragraph; only set-off quotations (quotations that run to more than 3 lines) should be indented (one centimeter). Use only size 12 characters and only one typeface (preferably Times New Roman).

Whenever you cite the title of a work published independently, it should be italicized (books, plays, long poems published as books, films, paintings…). The titles of works published within larger works (short poems, short stories, articles…) should be placed between quotation marks.

For centuries: the 19th century – 19th-century letters.

Figures are abbreviated in the following manner: 5-6, 12-17, 145-48, 1940-45.

To refer to historical periods: the 1940s.

Foreign words are italicised.

Quotations

When quoting, use double quotation marks (“ ”). Single quotation marks (‘’) are used for quotes within quotes. In English, punctuation marks that directly follow quotations go inside the quotation marks, but if a quotation ending a sentence requires a parenthetical reference place the sentence period after the reference.

The omission of words from quotations should be indicated by three dots within square brackets: […]. When you omit the end of a sentence, the sentence period should be placed after the square brackets (see example n°2); for other types of alterations, see example n°1.

Example n°1, original text: “Mahitosh Sinha-Roy turned out to be a little different from his photograph. The photo had not done justice to his complexion. He was remarkably fair. His height seemed nearly the same as Feluda’s, and he had put on a little weight since the photo had been taken” (Ray 124).

“Mahitosh Sinha-Roy turned out to be a little different from his photograph. […] His height seemed nearly the same as Feluda’s, and he had put on a little weight since the photo had been taken” (Ray 124).

“Mahitosh Sinha-Roy turned out to be a little different from his photograph. […] His height seemed nearly the same as Feluda’s” (Ray 124).

“Mahitosh Sinha-Roy turned out to be a little different from his photograph. The photo had not done justice to his complexion. […] [A]nd he had put on a little weight since the photo had been taken” (Ray 124).

Example n°2, original text: “It may be that writing was in my blood, but I didn’t know it until four years ago when I first started to write. My grandfather and father were both writers” (Ray 124).

“It may be that writing was in my blood […]. My grandfather and father were both writers” (Ray 124).

Quotations that exceed three lines should be set off from the text. When a quotation is set off from the text, do not use opening and closing quotation marks; page number and parenthetical reference follow the punctuation mark ending the quotation.

Mahitosh Sinha-Roy turned out to be a little different from his photograph. The photo had not done justice to his complexion. He was remarkably fair. His height seemed nearly the same as Feluda’s, and he had put on a little weight since the photo had been taken. His voice was deep and strong. Enough to frighten a tiger if he simply spoke to it, I thought. (Ray 124)

If the quotation you make is taken from an indirect source, put the abbreviation “qtd. in” before the indirect source you cite in your parenthetical reference.

If you cite classic verse plays and poems, omit page numbers and cite by division (act, scene, canto, stanza) and line: for example, Revelations 21.1-4 refers to chapter 21, verses 1 to 4. For citations of acts and scenes in plays, use roman numerals: for example, As You Like It II. vii. 20-28 refers to act 2, scene 7, lines 20 to 28. If you cite part of a multivolume work, give the volume number as well as the page reference (separate the two by a colon: “2: 183” means volume 2, page 183).

Notes

The number of notes in your paper should be limited. When quoting or otherwise acknowledging your sources in your paper, use only short parenthetical references. When the author’s name appears in the text, give only the page reference in parentheses. If the context does not clearly identify the author, add the author’s last name before the page reference (Ray 124), but if the work from which you quote is listed under the editor’s name, indicate the editor’s name instead. If the work has more than two authors, keep the first name and add et al. (Morel et al. 32). The title of the work is not mentioned unless there are several works by the same author. (Eagleton, Criticism and Ideology 113). For articles and chapters, titles are between quotes, not italicized (Eagleton, “The Ideology of the Aesthetic” 330). The smaller capitals are used for prefaces and forewords (Roberts vii).

Notes should be presented as footnotes (not endnotes) and numbered consecutively. When following a quotation, a note number should be placed after punctuation and quotation marks.

List of works cited

Please make sure that your list of Works Cited is complete and that you have given all the relevant publication facts. All the works that you refer to in your paper, even if you only cite the title of a work, should appear in your list of works cited. Conversely, do not use the Works Cited section to list works that are not mentioned in your article.

Always indicate the date of the edition you are referring to after the name of the publisher. If it is not the original date of publication of the work, indicate the original year of publication directly after the title.

A film entry usually begins either with the director’s name or the title, and includes the distributor and the year of release. You may of course add other data that seem relevant. If you cite the title in English, give the original between square brackets.

When you cite a work of art, don’t forget to name the institution that houses the work and the city. If you refer to a photograph of a work of art, also indicate the complete publication information for the source in which the photograph appears.

In an entry for a short work (article, essay, poem, short story…) published within a longer work, always give the inclusive page numbers at the end of your entry.

If you cite an online source, don’t forget to give the complete network address and the date when you last visited the site.

Examples

A book:

BOURRIAUD, Nicolas. Inclusions. Esthétique du capitalocène. Paris: Presses Universitaires de France, 2021.

ROBERTS, Jennifer. Transporting Visions: The Movement of Images in Early America. Berkeley: University of California Press, 2014.

An article in a periodical (besides the title, publication information requires the volume and/or issue number, the day/month/season year of publication between parentheses, the inclusive page numbers preceded by a colon):

SONTAG, Susan. “An Argument about Beauty.” Daedalus 131.4 (oct. 2002): 21-26.
RICŒUR, Paul. “Paul Ricœur, un parcours philosophique.” Interview with François EWALD. Magazine littéraire 390 (sept. 2000): 20-26.

Two works by the same author (follow the chronological order and repeat the author’s name):

EAGLETON, Terry. Criticism and Ideology. 1975. London: Verso, 1998.
EAGLETON, Terry. “The Ideology of the Aesthetic.” Poetics Today 9.2 (jan. 1988): 327-338.

A collective work:

HARRISON, Charles, and Paul WOOD, eds. Art in Theory, 1900-1990: An Anthology of Changing Ideas. Oxford: Blackwell, 1992.

A text within a collective work, referenced under its author (Full stop between the publication date and the page numbers) (If there are more than two editors, keep the first name and replace the others by et al.) (Note how to mention the translator in the second example):

EDWARDS, Elizabeth. “Photographs as Objects of Memory.” Material Memories: Design and Evocation. Eds. Marius Kwint et al. Oxford & New York: Berg, 1999. 221-236.

CERTEAU, Michel de. “Practices of Space.” 1980. Translated from the French by Richard Miller and Edward Schneider. On Signs. Ed. Marshall Blonsky. Baltimore: Johns Hopkins Press, 1985. 122-45.

An article within a collection by the same author (Note here how to place the dates of the original publication of the text, the original edition of the book and the edition you have used):

BERGER, John. “Painting and Time.” 1979. The Sense of Sight. 1985. Ed. Lloyd Spencer. New York: Vintage International, 1993. 205-211.

A short story within a collection by the same author (Note how to refer to the translator and how to mention the dates):

RAY, Satyajit. “The Royal Bengal Mystery.” 1974. The Royal Bengal Mystery and Other Feluda Stories. Translated from the Bengali by Gopa Majumdar. New Delhi: Penguin Books India, 1997. 113-196.

A special issue of a periodical:

KALIFA, Dominique, ed. Romantisme 149 (“Enquête et culture de l’enquête au XIXe siècle 2010).

ODIN, Roger. “La question de l’amateur. Communications 68 (“Le Cinéma en amateur” ed. Roger Odin 1999): 47‑89.

A PhD dissertation:

SOMMER McGRATH, Larry. The Bergsonian Moment: Science and Spirit in France, 1874-1907. PhD dissertation. Johns Hopkins University, 2014.

The catalogue of an exhibition:

MOREL, Gaëlle, Sarah M. MILLER, and Terri WEISSMAN. Berenice Abbott. Exh. cat. Paris: Hazan & Jeu de Paume / Toronto: Ryerson Image Center, 2012.

An electronic source:

WILLIAMS, Jeffrey. “The Last Generalist: An Interview with Richard Powers.” Cultural Logic 2.2 (Spring 1999). http://eserver.org/clogic/2-2/williams.html (page accessed June 14, 2021).

A painting:

CONSTABLE, John. Stonehenge. Watercolour. 1836. Victoria and Albert Museum, London. Constable. By John Walker. Paris: Editions Cercle d’Art, 1979.

A film:

MANKIEWICZ, Joseph, dir. Eve. Paramount, 1955.

ARAU, Alfonso, dir. Like Water for Chocolate [Como agua para chocolate]. Screenplay by Laura Esquivel. Miramax, 1993.

Mention other details if they are relevant to your article.

A TV series (Mention the original broadcaster and airing dates. You can also cite the creator(s), and the title(s) of the episode(s) between quotes if required):

The Wire (HBO, 2002-2008). Created by David Simon and Ed Burns.

Mention other details if they are relevant to your article.

A video game (Mention the developer, the editor, the platform(s) and the release date(s)):

Outer Wilds (dev. Mobius Digital, ed. Annapurna Interactive. PC, XBox One, PlayStation 4, 2019).

Mention other details if they are relevant to your article.

Special cases:

Two publishers in one location:

BRUNET, François (ed.). L’Amérique des Images. Paris: Hazan & Université Paris Diderot, 2012.

One publisher in two locations:

EDWARDS, Elizabeth. The Camera as Historian: Amateur Photographers and Historical Imagination, 1885-1918. Durham & London: Duke University Press, 2012.

Two publishers in two locations:

CARTIER-BRESSON, Henri. Images à la sauvette / The Decisive Moment. Paris: Verve / New York: Simon & Schuster, 1952.

A collection in a publishing house:

Gallimard (Folio)

The names of American States, if it’s necessary, are written in full:

Cambridge, Massachusetts; Stanton, Virginia

For more specific cases please refer to the MLA Handbook for Writers of Research Papers.

Images

Images should be good quality, their resolution should be at least 300 dpi and ideally 1200 dpi. They should be sent separately, in tiff or jpg format. Please note that authors must obtain the right to reproduce the images. Authors indicate where they want the illustration to appear in their text by writing the caption where they want the image to appear, using the following: Figure 1. Artist's name. Title. Date. Place. ©. The caption may include other information such as the size of the work or the material used. The © refers to the copyright owner, the Museum that provided the image, the photographer who took the photo.

Figure 1. Henri Cartier-Bresson. “A Last Look at Peiping” (LIFE January 3rd, 1949), 16-17. © Fondation Henri Cartier-Bresson / Magnum Photos.

Figure 4. Max Beckmann. Air Attack. 1915. Etching, 19.7x14.6 cm. Sprengel Museum Hannover. © Sprengel Museum Hannover (photo Marco Falceri).

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