Author(s) Title

Author(s)
TITLE OF THE PAPER
Subtitle as needed

Abstract: Enter a short abstract of your paper (5-7 lines). The abstract must be formatted as
follows: Times New Roman font; size 11; line spacing 1,5; justified text.

Heading

This template is formatted according to the editorial rules you should use for your
paper. You can write directly in it, deleting text while typing. This first chapter includes
the rules to follow. The next chapter is an example.
Indent the first line of each paragraph (1cm). The text should follow these rules:
Times New Roman; size 12; line spacing 1,5; justified text. Italicize foreign words, the
book titles and the journals. Avoid bold and underlines except for headings.
All quotations must be recognizable and you always have to cite sources. Put short
quotes (1-3 ll.) directly in the text, between quotation marks (“”). After each quote, cite
the source in brackets as follows: (Author’s Surname Year, page).
Long quotes (starting from 4 ll.) must be separated from the text. Leave a blank line
before the quote and another one after it. Quotation marks are not needed:

Long quotes must be formatted as follows: Times New Roman, dimension 11, line
spacing 1,5; justified text. In this case, the whole quotation must be indented (1cm),
not just the first line. Quotation marks are not needed. At the end, remember to cite
the source in the usual way (Author’s surname Year, page).

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 Author(s) Title

You can add footnotes to the text, in order to provide specific information, details,
insights etc. Number the notes in ascending order and insert the numbers before
punctuation, like this1.
In the first page, leave two blank lines between the title and the abstract and two blank
lines between the abstract and the first heading. Headings must be formatted as follows:
Times New Roman, size 13, bold type, line spacing 1,5. After headings leave one blank
line, and then start with the text. At the end of each chapter, leave two blank lines before
the following heading.
The paper should end with a list of works cited. Format each bibliographic entry
following the examples given at the end of this template. Put all entries in alphabetical
order.
The following paragraph is an example. (It is a short excerpt from an essay written by
M.-L. Ryan).

Heading

When we speak about the photographic camera, we tend to humanize it, by

regarding it as capable of subjectivity. The camera has a gaze; this gaze, to quote Susan
Sontag, can be “lenient or cruel” (Sontag 1973, 104). But this is only rhetoric; deep down
we know that the camera is only an instrument in the hands of the photographer; it
captures what is in front of it and it has no say in what it records or how it records it. If
there is a gaze, and if this gaze can be lenient or cruel, it is the gaze of the photographer
who frames and who arranges the scene to be recorded. Once the lens has been focused
on a scene, the working of the camera is a totally automatic, mechanical process. This
objective nature of photography has been duly noted by the theorists of the medium, even
by those who insist on its power to construct reality. Here is Sontag:

1
Footnotes provide information, details, insights etc. Do not use them for the sources of the quotes
(cite sources parenthetically in the text, as mentioned). Footnotes must be formatted as follows:
Times New Roman; size 11; line spacing 1; justified text.

2
 Author(s) Title

Photographs furnish evidence. Something we hear about, but doubt, seems proven
when we’re shown a photograph of it. […] A photograph passes for incontrovertible
proof that a given thing has happened. The photograph may distort; but there is
always a presumption that something exists, or did exist, which is like what’s in the
picture (Sontag 1973, 5).

And here is Barthes: “In Photography I can never deny that the thing has been there”
(Barthes 1981, 76). The semiotic theory of C.S. Peirce provides a simple explanation for
this existence-asserting power. A photograph is not only an icon linked to that which it
represents by a relation of similarity, like painting, it is also an index, linked to its object
by a causal relation. Just as there is no smoke without fire, there is no photo without
something in front of the camera that emits patterns of light.

References

BOLTER, J.D., GRUSIN, R. 1999. Remediation: Understanding New Media. Cambridge

(Mass.): Mit Press.
HERBERT-GOODALL, E. 2015. “Morphing Technologies, Changing Literacies: The Reshaping
of Narrative in a Digital World.” Storyworlds: A Journal of Narrative Studies 7/1: 1-20.
RYAN, M.L. 2010. “Fiction, Cognition, and Non-Verbal Media.” In M. Grishakova, M.L. Ryan
(eds.). Intermediality and Storytelling, 8-26. Berlin: De Gruyter.
SONTAG, S. 1973. On Photography. New York: Picador.
SPIEGELMAN, A. 1986. Maus: A Survivor’s Tale. I: My Father Bleeds History.
WENDERS, W. (dir.). 1973. Alice in den Städten (Alice in the Cities). GER.