Italian Canadiana Publication Guidelines
Manuscripts and books reviews should be sent via e-mail attachment (Word preferred).
Contributors are requested to follow the style sheet for the preparation of manuscripts as indicated in this document.
It is a condition of publication that manuscripts submitted to the journal have not been published and will not be simultaneously submitted or published elsewhere.
By submitting a manuscript or manuscripts, the author(s) agree that copyright for their article is transferred to the Frank Iacobucci Centre for Italian Canadian Studies if and when accepted for publication. Authors of articles will receive two copies of the issue in which their article appears. Reviewers will receive only one copy.
The views expressed in the journal are exclusively those of the authors and do not necessarily reflect those of the editors or publishers or of the Iacobucci Centre for Italian Canadian Studies.
In submitting any work(s), the author releases Italian Canadiana, its editors, and publishers as well as the Iacobucci Centre for Italian Canadian Studies from any and all liability whatsoever, including but not limited to any copyright infringement.
Articles in the journal may not be quoted without written permission from the Editor of Italian Canadiana.
Contributions should not exceed 25 double-spaced pages in length. Submissions are evaluated by at least two readers.
This section will be devoted to Italian Canadian who have clearly distinguished themselves within the Italian Canadian community and the Canadian community at large. Contributions will be requested by the Editor, even though suggestions will be accepted. All material for this section â€“ not differently than scholarly papers â€“ will be refereed by two specialist readers. Contributions should not exceed 25 double-spaced pages in length.
This section will be devoted to poetry and short fiction on Italian Canadian issues or by Italian Canadian writers. All material for this section — not differently than scholarly papers — will be refereed by two specialist readers. Contributions should not exceed 25 double-spaced pages in length.
Timeline for completion: 90 days after receiving the book.
Content: book reviews must provide a concise summary of the contents of the book and must address whether or not the book is a valuable contribution to the field. As such, reviews should evaluate the usefulness of the book as well as make mention of who would find the book useful. Reviews should be written in a manner that is accessible to a general readership rather than to an academic audience.
Style: footnotes and references must be kept to a minimum. Include the title, author, place of publication, publisher with your review.
Length: reviews should not be longer than 600-1000 words (about two to four pages).
Author’s Information: include your institutional affiliation.
Incorporate all bibliographical information in the text of article. Do not use footnotes for basic bibliographical information.
Use this method when in “Works Cited” there are two works by the same author:
This attitude is summarized by Maley and Duff who define dramatic activities as “activities which give the students an opportunity to use his or her own personality in creating the material on which part of the language class is to be based.” (Maley and Duff, Drama Techniques in Language Learning 6; see also Maley and Duff “Drama Techniques in Language Learning” 151)
When the reference is obvious, use page only (the title will be in Works Cited under the author):
For McRae, for example, drama is only a part of the language course, which is “wise to restrict to short extracts, and, therefore, to limited class time.” (13)
When the author is not indicated:
Similarly restrictive is the following definition of play-acting in contrast with role-play; play acting
is not role play as the language is pre-determined and learned by heart. This means that the students need not to monitor the speech of others with a view of formulating their own contribution to the discussion. No mental process other than memorization is involved. It does not, therefore, resemble real speech situation. (Livingstone 7)
Use single space for long quotations:
This process is well summarized by Antonio Alessio:
In un dipartimento di drammaturgia ci si accosta a un testo teatrale con un’ottica e finalità totalmente diverse. Se non è escluso che il valore letterario di un testo possa determinarne la scelta, esso viene innanzitutto avvicinato secondo il grado della sua teatralità, di determinate qualità intrinseche che ne permettano la trasposizione dl linguaggio verbale a quello dell’immagine, del colore, del suono, in relazione all’effetto del prodotto scenico finale, tanto a livello di regia che di recitazione. Portato nel laboratorio registico un testo subisce una trasformazione alchimistica al punto che alla fine potrebbe apparire totalmente irriconoscibile rispetto al prodotto originale. (192)
With general reference it is not necessary to include a page:
It is necessary to note that at this initial stage the director’s “actorial” expectations for his/her students are not set so high as to be unreachable; indeed, research (Heath, 1993; Courtney, 1999) has shown that “high-caliber theater productions result from the most disadvantaged or inexperienced actors, provided there is good social cohesion among the practitioners.” (Moody 137)
Avoid useless footnotes:
Another main factor of this success could definitely be summed up with Maslow’s motivation theory, which states that real learning will take place and will be retained only if students are highly motivated (see also Richard-Amato, Rivers, Vigotzky, Whiteson). The theme of motivation is well presented and dissected by Maley and Duff in all its different facets:
Drama activities […] help to get rid of the difference and boredom that come from being forced to stay passive all the time. […] There is no place here for stereotyped responses, set-up discussions, pre-planned arguments or ‘free conversations’ in which everyone speaks and nobody listens [italics mine], or else nobody speaks and the teacher is left to quench the fire started by his or her own burning questions. ( Maley and Duff, “Drama Techniques in Language Learning” 157-159; also Maley and Duff, Drama Techniques in Language Learning 13)
Use of square brackets ‘[ ]’ to indicate a modified quotation:
The theme of motivation is well presented and dissected by Maley and Duff in all its different facets:
Drama activities […] help to get rid of the difference and boredom that come from being forced to stay passive all the time. […] There is no place here for stereotyped responses, set-up discussions, pre-planned arguments or ‘free conversations’ in which everyone speaks and nobody listens [italics mine], or else nobody speaks and the teacher is left to quench the fire started by his or her own burning questions. ( 157-159)
Di Franco, Fiorenza. Le commedie di Eduardo. Roma-Bari: Editori Laterza, 1984.
Two or more authors:
Di Franco, Fiorenza and Diana Slade. Le commedie di Eduardo. Roma-Bari: Editori Laterza, 1984.
Carter, Ronald (ed.) Language, Literature and the Learner. Creative Classroom Practice . New York: Longman, 1966.
Two or more editors:
Carter, Ronald and John McRae (eds.) Language, Literature and the Learner. New York: Longman, 1966.
Chapter in a text:
Alessio Antonio. “La parola nel testo teatrale.” In Italian Literature in North America . Pedagogical Strategies. Eds. John Picchione and Laura Pietropaolo. Ottawa: Canadian Society for Italian Studies, 1990, 192-200.
Article in a journal / periodical:
Colli, Gian Giacomo. “Il corpo che parla: la gestualità e l’italiano fra tradizione teatrale e didattica della lingua.” Italica 81.4 (2002), 536-550.
Article in a journal / periodical with a month or season indicated:
Bandura, Albert. “Self-Efficacy Mechanism in Human Agency.” American Psychologist 37 (February 1982), 122-148.
To indicate a particular edition:
Austen, Jane. Sense and Sensibility. Ed. Claudia Johnson. New York : Norton, 2001.
Richard-Amato, Patricia A. Making It Happen: Interaction in the Second Language Classroom: From Theory to Practice. 2 nd ed. New York : Longman, 1996.
Note to Contributors (expect for book reviewers)
Please include with your contribution a short biographical profile, as in the following sample:
Maddalena Kuitunen is a professor Emeritus of the University of Toronto. She has published articles on pedagogy and the modern Italian novel in North American and European academic journals. She is also the author of La narrativa di Giuseppe Antonio Borgese (1982) and From Caboto to Multiculturalism (1497-1997). She has co-authored with Julius Molinaro the History of Italian Studies at the University of Toronto (1991). She was among the founders of the Centre for Italian Canadian Studies in 1984 and of its journal Italian Canadian, where she published several articles. She has been involved in 14 issues of Italian Canadiana either as Editor, Co-editor or Guest Editor. When the Centre was named after Frank Iacobucci in 1995, she became its first Director until 1999.