Editorial Instructions

INSTRUCTIONS FOR AUTHORS AND STYLE GUIDE
Download the Instructions and Style Guide in pdf format  

STRUCTURE & WORDLIMITS

  • A paper should be compiled in the following order: information about the author including current affiliation, Orcid code and email; title of the paper; abstract; keywords; main text introduction, materials and methods, results, discussion; acknowledgments; declaration of interest statement; references; appendices (as appropriate); table(s) with caption(s); figures with captions.
  • Papers may be submitted in Word format with Harvard-style footnotes and a separate bibliography.
  • A typical paper for this journal should be 5.000-7.000 words, inclusive of tables, references, figure captions, footnotes.
  • The abstract should be 150-200 words long. Abstract cannot be part of the article and should be an unstructured
  • Please enter 3-6 keywords (single or phrases with no more than 3 words).
  • Figures should be high quality (min. 300 dpi). Authors should have the rights to use the photos.


STYLE GUIDE

The AUL FPEAP uses Harvard Referencing Style. This guide provides the most used citation types, for other cases please refer here: https://www.citethisforme.com/harvard-referencing


GENERAL POINTS

  • In-text citations are used when directly quoting or paraphrasing a source.
  • Bibliography is located at the end of the work and displays full citations for sources used in the assignment.
  • Citations are listed in alphabetical order by the author’s last name (including titles, if there is no authors name of the given work)
  • If there are multiple sources by the same author, then citations are listed in order by the date of publication.


IN-TEXT CITATIONS

One author: (Crombie, 1959) or Crombie (1959).

Examples:

  • Leonardo Fibonacci of Pisa learnt mathematics during his commercial trips to Northern Africa (Crombie, 1959).
  • Crombie (1959) claims that Leonardo Fibonacci of Pisa learnt mathematics during his commercial trips to Northern Africa.

Two authors: (Goddard and Barrett, 2015) or Goddard and Barrett (2015).

Three authors: (Jones, Smith, and Watson, 2011) or Jones, Smith, and Watson (2011).

More than three authors: (Jones et al., 2011) or Jones et al. (2011).

Multiple citations in text: (Jones, 2014; Smith, 2017; Watson, 2017).

With page numbers: (Crombie, 1959, p. 35) or (Crombie, 1959, pp. 35–49).

No author: if the author can’t be identified, alphabetize the source in the reference list by the first significant word in the title, and use the title in in-text citation: (Contemporary art, 2015).

Online sources without page numbers: (Hassan, 2013).

Online sources and no author (use website name): (Katolicki Uniwersytet Lubelski Jana Pawła II, 2020)

Online sources and no clear website name (use address): (Aerospaceweb.org, 2004).

Films: (The Eye and the Ear, 1945).

Interviews (use name of interviewed person): (Bowie, 1979).


BIBLIOGRAPHY

BOOKS

Single-authored books

  • Crombie, A. C. (1959). Medieval and Early Modern Science. Garden City NY: Doubleday.
  • Jencks, Ch. (1994). The Language of Post-Modern Architecture. 6th ed. London: Wiley-Academy.
  • Jencks, Ch. (2011a). The Story of Post-Modernism: Five Decades of the Ironic, Iconic and Critical in Architecture. London: John Wiley & Sons.
  • Jencks, Ch. (2011b). The Universe in the Landscape, Landforms by Charles Jencks. London: Frances Lincoln.

Two or three authors

  • Goddard, J. and Barrett, S. (2015). The Health Needs of Young People Leaving Care. Norwich: University of East Anglia, School of Social Work and Psychosocial Studies.

More than three authors

  • Young, H. D. et al. (2015). Sears and Zemansky’s university physics. San Francisco: Addison-Wesley.

Book with one author and editor or (and) translator

  • Adelard of Bath (1998). Conversations with His Nephew: On the Same and the Different, Questions on Natural Science, and On Birds. Translated by Ch. Burnett. Cambridge: Cambridge University Press.
  • Wittgenstein, L. (1969). On certainty. Edited by G. H. von Wright and translated by G. E. M. Anscombe. Oxford: Blackwell.
  • Hugo de Sancto Victore (1939). De Studio Legend. Edited by Ch. H. Buttimer. Washington DC: The Catholic University Press.

Chapters in books

  • McGrade, A. S. (1982). Rights, natural rights, and the philosophy of law. In Kretzmann, N., Kenny, A. and Pinborg, J. (eds.), The Cambridge History of Later Medieval Philosophy. Cambridge: Cambridge University Press, pp. 738–756.

Chapters in books where the editor is the author

  • Carroll, N. (2000). Interpretation, history and narrative. In Carroll, N., Beyond Aesthetics. Cambridge: Cambridge University Press, pp. 133–156.


JOURNAL ARTICLES

  • Rawls, J. (1995). Reply to Habermas. The Journal of Philosophy, 92 (3), pp. 132–180. https://doi.org/10.2307/2940843.
  • Hirsch, M. (2011). Pokolenie postpamięci. Borowski, M. (trans.). Didaskalia: Gazeta Teatralna, 105, pp. 28–36.


INTERVIEWS (JOURNALS, MAGAZINES)


MEDIA

Films

  • La Fille aux yeux d’or, 1961. [Film] Directed by J.-G. Albicocco. France: Madeleine Films.
  • The Eye and the Ear, 1945. [Film]. Directed by F. Themerson and S. Themerson. United Kingdom: Polish Film Unit.

Interviews (in person)


WEBSITES

Authored source: Last name, First initial. (Year published). Article title. Website name. Available at: URL [Accessed Day Mo. Year].


Whole page content: Website name (Year published). Page title. Available at: URL [Accessed Day Mo. Year].


Blog post: Last name, First initial. (Year published). Post title. [Blog] Blog name. Available at: URL [Accessed Day Mo. Year]


When no author is listed, use the following structure: Website name (Year published). Page title. Available at: URL [Accessed Day Mo. Year].


ILLUSTRATIONS

Captions should take this form: Fig 1. Author Name, Name of Work, Date. Medium or materials used plus dimensions. Location and name of collection. Photo credits.

  • 1. Eduardo Kobra, Rubinstein, 2014. Mural, 1700 x 2650 cm. Poland, Łódź, 18 Sienkiewicza St. Photo by Paweł Trzeźwiński.
  • 2. Tilly Kettle, Eliza and Mary Davidson, c. 1784. Oil on canvas, 127 x 101.9 cm. London, Dulwich Picture Gallery. Photo CC0.