All writ­ten sub­mis­sions should be sent to and copied to and Please include a sep­a­rate sheet with short bio­graph­i­cal and con­tact infor­ma­tion. Artists wish­ing to pub­lish with the jour­nal should first con­tact the edi­tors at the email address above. All writ­ten con­tri­bu­tions are sub­ject to anony­mous peer-review. If you are inter­est­ed in writ­ing a review or think-piece for elic­i­ta­tions, please con­tact the reviews edi­tor at

Down­load the Imag­i­na­tions Pub­li­ca­tion Process.

Down­load the Author Sub­mis­sion Guide­lines.

Down­load the Call for Guest Edi­tors.

Please review our Copy­right Infor­ma­tion before sub­mis­sion to Imag­i­na­tions.

Les soumis­sions doivent être envoyées à,, et dans un for­mat per­me­t­tant l'évaluation à l'aveugle par les pairs. Join­dre un doc­u­ment séparé con­tenant une courte notice bio-bli­ographique et vos coor­don­nées. Les artistes intéressés à con­tribuer ou pub­li­er dans Imag­i­na­tions sont priés de pren­dre d'abord con­tact avec le comité édi­to­r­i­al à l'adresse cour­riel ci-dessus. Toutes les con­tri­bu­tions écrites seront soumis­es à un proces­sus d'évaluation dou­ble par les pairs. Les per­son­nes intéressées à pro­pos­er des comptes ren­dus cri­tiques sont priées de s'adresser à Lau­ra Bisail­loin :

Télécharg­er Edi­teurs invités.

Cliquez sur ce lien pour télécharg­er la feuille de style: Feuille de style Imaginations

Pub­lish­ing in Imag­i­na­tions pro­vides con­trib­u­tors great vis­i­bil­i­ty and the poten­tial to con­tribute to an inter­dis­ci­pli­nary visu­al cul­tur­al stud­ies com­mu­ni­ty. Imag­i­na­tions pur­chas­es dig­i­tal object iden­ti­fiers (DOIs) for all arti­cles, and is indexed by major inter­na­tion­al data­bas­es includ­ing Aca­d­e­m­ic Search Elite, part of the EBSCO Dis­cov­ery Ser­vice. We fur­ther invest in Alt­met­rics track­ing tech­nolo­gies to bet­ter sup­port con­tribut­ing authors and artists by pro­vid­ing data on reach and impact. As a cour­tesy we ask authors to link to our jour­nal (when pos­si­ble) and to inform us about cita­tion instances. We are hap­py to share our Alt­met­rics with contributors.

Cur­rent­ly, Imag­i­na­tions pub­lish­es themed issues and also accepts gen­er­al sub­mis­sions on an ongo­ing basis in any language.

Imag­i­na­tions invites arti­cles that dis­cuss the his­tor­i­cal inher­i­tances of 20th cen­tu­ry dis­cours­es on and between images as they are in dia­logue with and artic­u­lat­ed in 21st cen­tu­ry cul­tur­al con­texts.  Poten­tial con­tri­bu­tions should inno­v­a­tive­ly reflect on the image. Gen­er­al sub­mis­sions might include the fol­low­ing: new tech­nolo­gies, inter­ac­tions between text and image, text as image, image and the self, dynam­ic and sta­t­ic images, omnipres­ence of screens (big and small), thinkers of the image, image across the dis­ci­plines and forms of thought (visu­al­i­ty, med­i­cine, sci­ence, urban stud­ies, polit­i­cal stud­ies, gen­der stud­ies, queer stud­ies, etc.).

Inter­est­ed artists, authors, and guest-edi­tors may con­tact Edi­tor-in-Chief Markus Reisen­leit­ner:


Imag­i­na­tions invites sev­er­al types of con­tri­bu­tions on an ongo­ing basis as part of guest edit­ed col­lec­tions or indi­vid­ual submissions.

  1. Research arti­cles (3000-6000 words with a min­i­mum of 3 qual­i­ty images);
  2. Fea­ture artist con­tri­bu­tion with accom­pa­ny­ing inter­view (con­tents of online instal­la­tion of fea­ture artist’s work vary and are negotiable)
  3. Com­par­a­tive book review (1500-3000 words with a min­i­mum of 2 qual­i­ty images);
  4. Elic­i­ta­tions Reviews of art shows, per­for­mance pieces, instal­la­tions, polit­i­cal events, and schol­ar­ly books—with visu­al cul­tur­al con­tent (500 words with a min­i­mum of 1 image, tak­en by the author if necessary).

Inter­est­ed artists, authors, and guest-edi­tors may con­tact Edi­tor-in-Chief Markus Reisen­leit­ner:

Any­one inter­est­ed in pub­lish­ing with Elic­i­ta­tions may con­tact Reviews Edi­tor Lau­ra Bisail­lon:

Please review the para­me­ters of our copy­right and license agree­ment before sub­mit­ting to Imag­i­na­tions or repur­pos­ing any of its material.

Author Guidelines

Imag­i­na­tions is com­mit­ted to fos­ter­ing the devel­op­ment of pro­duc­tive and inven­tive con­ver­sa­tion between visual/artistic com­mu­ni­ties and academic/scholarly com­mu­ni­ties, and to bring­ing new top­ics of dis­cus­sion to the aca­d­e­m­ic stage.

Arti­cles pub­lished with Imag­i­na­tions must inte­grate high qual­i­ty images with out­stand­ing aca­d­e­m­ic writ­ing. Images may include orig­i­nal or pub­lished art­works, pho­tographs, video clips, or any oth­er visu­al con­tent that is dig­i­tal­ly embed­d­a­ble.  Iden­ti­fy­ing and obtain­ing the rel­e­vant per­mis­sions for images used in Imag­i­na­tions arti­cles is the respon­si­bil­i­ty of the author.

The man­ag­ing edi­to­r­i­al team prefers the inclu­sion of orig­i­nal pho­to­graph­ic and fine art over repro­duc­tions such as screen shots. Although screen shots cer­tain­ly have their place, Imag­i­na­tions aims to cre­ate aes­thet­ic bal­ance and intrigue in each of its issues, and hopes to devel­op lines of inquiry that go beyond the already estab­lished tra­di­tions and meth­ods of visu­al art criticism.

Embed­ding visu­al mate­r­i­al direct­ly into the arti­cles ben­e­fits authors, as they can then avoid lengthy descrip­tions of works cen­tral to their argu­ments, and may focus instead on  more con­cise and rel­e­vant analy­sis. We encour­age all authors and artists wish­ing to pub­lish with Imag­i­na­tions to take risks with their writ­ing and/or art­works, and to stretch the lim­its of tra­di­tion­al publishing.

We encour­age our authors to obtain ORCIDs in order to enhance and pro­mote their online vis­i­bil­i­ty. ORCID is a open-source com­mu­ni­ty-based orga­ni­za­tion that pro­vides unique elec­tron­ic researcher iden­ti­fi­ca­tion codes to researchers across dis­ci­plines, sec­tors, and bor­ders. If you have not already reg­is­tered your­self for an ORCID, we strong­ly rec­om­mend that you do so at orcid​.org. As schol­ar­ly research and writ­ing is increas­ing­ly going online, dig­i­tal iden­ti­fiers such as ORCIDs can serve both to increase the author’s online vis­i­bil­i­ty and to help pub­lish­ers gath­er arti­cle-lev­el met­rics, which are essen­tial to grant appli­ca­tions and future fund­ing opportunities.

For ques­tions of style and for­mat­ting, please see our Author Sub­mis­sion Guide­lines.

Review Process

All artis­tic works and aca­d­e­m­ic arti­cles pub­lished by Imag­i­na­tions are first vet­ted by the man­ag­ing edi­to­r­i­al board. Once sub­mis­sions are pre­lim­i­nar­i­ly accept­ed, they under­go an anony­mous peer-review process pri­or to pub­li­ca­tion. Elic­i­ta­tions reviews are assessed by the Reviews Editor.

What is Elicitations?

On a rolling basis, Elic­i­ta­tions pub­lish­es reviews and reflec­tions on cur­rent events and pub­li­ca­tions in visu­al cul­ture com­mu­ni­ties. All reviews pub­lished with Elic­i­ta­tions are sub­ject to the same copy­right and licens­ing agree­ments that apply to Imag­i­na­tions.

Any­one inter­est­ed in pub­lish­ing with Elic­i­ta­tions may con­tact Elic­i­ta­tions Edi­tor Lau­ra Bisail­lon:

Être pub­lié dans Imag­i­na­tions offre à nos col­lab­o­ra­teurs une grande vis­i­bil­ité et l’opportunité de dévelop­per un réseau inter­dis­ci­plinaire d’études visuelles et cul­turelles. Imag­i­na­tions obtient des Dig­i­tal Object Iden­ti­fi­er (DOI) pour tous les arti­cles pub­liés et est réper­toriée dans des bases de don­nées inter­na­tionales d’importance telles que Aca­d­e­m­ic Search Elite et EBSCO Dis­cov­ery Ser­vice, en par­tie. De plus, nous avons investi dans des moyens tech­nologiques de comp­tage Alt­met­rics afin de soutenir nos artistes et auteurs le mieux pos­si­ble en leur four­nissant des don­nées sur l’impact et la dif­fu­sion de leurs arti­cles. Nous deman­dons aux auteurs quand l’opportunité se présente, de bien vouloir met­tre notre revue en lien et de nous informer de toutes cita­tions. Nous nous faisons un plaisir de partager nos Alt­met­rics avec  nos collaborateurs.

Actuelle­ment, Imag­i­na­tions pub­lie des édi­tions thé­ma­tiques et accepte des soumis­sions dans toutes les langues.

Imag­i­na­tions est à la recherche d’articles pro­posant une réflex­ion sur la manière dont l’histoire a lais­sé son empreinte sur les dis­cours dédiés à l’image, et plus spé­ci­fique­ment sur les dis­cours ancrés dans le XXe siè­cle. Nous nous intéres­sons égale­ment à la manière dont les images ont été pen­sées et pro­duites, en inter­re­la­tion les unes avec les autres, dans le temps et en lien avec les con­textes cul­turels du XXIe siè­cle. Les propo­si­tions de con­tri­bu­tion devront faire mon­tre d’une réflex­ion inno­va­trice sur le sujet. Sont bien­v­enues toutes propo­si­tions por­tant sur, mais  pas lim­ité à :l’intégration des nou­velles tech­nolo­gies, les inter­ac­tions entre texte et image, le texte en tant qu’image, les liens entre image, iden­tité et représen­ta­tions, les images dynamiques et sta­tiques, l’omniprésence de l’écran (« petit écran » et « grand écran »), les penseurs de l'image, l'image à tra­vers les dis­ci­plines et les courants de pen­sée (visu­al­ité, médecine, sci­ences, études de l'urbanité, sci­ences poli­tiques, études des gen­res, études queer, etc.).

Les auteurs, artistes et édi­teurs intéressés peu­vent con­tac­ter notre rédac­teur en chef, Markus Reisen­leit­ner:

Appel de communications permanent

Imag­i­na­tions sol­licite  la soumis­sion de plusieurs types de travaux tout au long de l'année:

1. Arti­cles sci­en­tifiques (3000-6000 mots com­por­tant au moins 3  images de qualité);
2. Œuvres d'un artiste en vedette, accom­pa­g­nées d'une entre­vue. (le con­tenu de l'installation en ligne de l'artiste peut vari­er et est négociable);
3. Cri­tique lit­téraire com­par­a­tive (1500-3000 mots accom­pa­g­nés d'au moins 2 images de qualité);
4. Cri­tiques d'expositions d'art, de per­for­mances artis­tiques, d'installations, d'évènements poli­tiques et de livres savants com­por­tant un con­tenu visuel (500 mots con­tenant au moins une image prise par l'auteur si besoin).

Si vous souhaitez soumet­tre une cri­tique lit­téraire com­par­a­tive exam­inée par des pairs, veuillez con­tac­ter la rédac­trice en chef d'Imag­i­na­tions, Markus Reisen­leit­ner:

Si vous souhaitez soumet­tre la courte cri­tique  d'un évène­ment ou d'une pub­li­ca­tion, veuillez con­tac­ter l'éditrice d'Elic­i­ta­tions, Lau­ra Bisail­lon:

Lignes directrices pour auteurs

Imag­i­na­tions est dévouée au développe­ment de con­ver­sa­tions pro­duc­tives et inven­tives entre les com­mu­nautés d’art visuel et les com­mu­nautés uni­ver­si­taires et à l’introduction de nou­veaux sujets sur la scène universitaire.

Les arti­cles pub­liés  dans Imag­i­na­tions doivent com­porter  images de grande qual­ité et excep­tion­nelle écri­t­ure uni­ver­si­taire. Les images peu­vent être des œuvres d’art inédites ou pub­liées, des pho­tos, des clips vidéo ou tout autre matériel visuel pou­vant être inté­gr­er élec­tron­ique­ment. Fournir une iden­ti­fi­ca­tion et obtenir les autori­sa­tions néces­saires pour les images util­isées dans les arti­cles pub­liés dans Imag­i­na­tions est la respon­s­abil­ité de l’auteur.

Le comité édi­to­r­i­al favorise l’inclusion des œuvres et pho­tos  orig­i­nales plutôt que des repro­duc­tions comme les cap­tures d’écrans. Bien que les cap­tures d’écrans aient leur util­ité, Imag­i­na­tions souhaite créer équili­bre  esthé­tique et intrigue dans cha­cune de ses pub­li­ca­tions et espère dévelop­per de nou­velles avenues de recherche allant au-delà des tra­di­tions et méth­odes de cri­tiques d’art visuel en place.

Inté­gr­er le matériel visuel directe­ment aux arti­cles est un béné­fice pour l’auteur, leur évi­tant de longues descrip­tions des œuvres cen­trales à leurs argu­ments et leur per­me­t­tant de se con­cen­tr­er sur une analyse plus con­cise et per­ti­nente. Nous encour­a­geons tous les auteurs et artistes désir­ant être pub­liés dans Imag­i­na­tions à pren­dre des risques avec leurs écrits/œuvres et à repouss­er les lim­ites tra­di­tion­nelles du monde de l'édition.

Nous encour­a­geons nos auteurs à obtenir un compte ORCID afin d’améliorer et de dévelop­per leur vis­i­bil­ité en ligne. ORCID est une organ­i­sa­tion com­mu­nau­taire d’accès libre à l’information qui offre des codes d’identification numérique uniques à des chercheurs dans tous les domaines, secteurs et de par le monde. Si vous ne pos­sédez pas déjà de compte ORCID, nous vous con­seil­lons vive­ment de vous en pro­cur­er un sur orcid​.org. Alors que la recherche et les écrits uni­ver­si­taires se mul­ti­plient en ligne, des ser­vices d'identification numérique tels que ORCID ser­vent à dévelop­per la vis­i­bil­ité des auteurs en ligne et aident les édi­teurs à col­lecter des sta­tis­tiques indis­pens­ables aux deman­des de sub­ven­tions et autres oppor­tu­nités de financement.

Pour toutes ques­tions de style et de for­mat, con­sul­tez notre guide styl­is­tique.

Processus de révision

Toutes les œuvres artis­tiques et les arti­cles uni­ver­si­taires pub­liés dans Imag­i­na­tions sont d’abord exam­inés minu­tieuse­ment par le comité édi­to­r­i­al. Les travaux accep­tés après cette sélec­tion prélim­i­naire sont soumis à une révi­sion par des pairs en anonyme avant leur pub­li­ca­tion. Les cri­tiques pub­liées dans Elic­i­ta­tions sont revues par l’éditeur en charge des critiques.

Qu'est-ce que Elicitations?

Elic­i­ta­tions pub­lie en con­tinu des cri­tiques et des réflex­ions sur des évène­ments courants et des pub­li­ca­tions des com­mu­nautés de cul­ture visuelle. Toutes les cri­tiques pub­liées dans Elic­i­ta­tions sont sujettes aux mêmes accords d’exploitation et de licence que les arti­cles pub­liés dans Imag­i­na­tions. Les cri­tiques pub­liées dans Elic­i­ta­tions ne reçoivent pas de DOI mais sont soumis­es à un comp­tage Altmetrics.

Toute per­son­ne souhai­tant être pub­liée dans Elic­i­ta­tions est invitée à con­tac­ter le rédac­teur d’Elic­i­ta­tions Lau­ra Bisail­lon:

A clean man­u­script is cru­cial for a time­ly and smooth pro­duc­tion process. The fol­low­ing guide­lines are meant to min­i­mize fric­tion and unnec­es­sary for­mat­ting issues.


Arti­cles can be sub­mit­ted in any cur­rent word proces­sor for­mat. If you plan to use an unusu­al word proces­sor (e.g. Mel­lel), please con­tact the editors.

Citation style

Imag­i­na­tions fol­low MLA 9 Style, unless oth­er­wise not­ed in this doc­u­ment. Superb guide­lines can be found at https://​owl​.pur​due​.edu/.


Abstracts should con­tain no more than 100 words and should be includ­ed in both French and Eng­lish. Please indi­cate if you will require translation.


Please sub­mit 3-5 key­words for your article.

When select­ing these, con­sid­er the fol­low­ing:

  • Choose spe­cif­ic terms that are not too broad
  • Con­sid­er using phras­es that that com­prise sev­er­al words
  • Try to use dif­fer­ent words than those in your title and con­sid­er gen­er­al­ly accept­ed alter­na­tive words instead
  • Ensure that you include the method­ol­o­gy or frame­work if your sub­mis­sion adheres to a rec­og­niz­able approach or technique
  • Use the offi­cial form of each key term
  • Select and terms you would use if you were search­ing for a paper on a sim­i­lar sub­ject and test them by con­duct­ing said search


  • Cap­i­tal­ize all of the major words in the title (e.g., Epis­te­mol­o­gy of the Clos­et).
  • Please include a French trans­la­tion of your title.
  • Sub­ti­tles should be sep­a­rat­ed from the main title by a colon.


Please be aware that for a clean man­u­script, it is irrel­e­vant what your text looks like in your word processor.

Almost all for­mat­ting you put in will need to be elim­i­nat­ed dur­ing the type­set­ting process, so any addi­tion­al for­mat­ting you put into the text only cre­ates addi­tion­al work for the production.

Specif­i­cal­ly, please do not for­mat your text by apply­ing font for­mat­ting to your body text, except for ital­ics, super­script, and bold char­ac­ters. Alter­na­tive­ly, you can indi­cate ital­ics by using enclos­ing *aster­isks*, super­script by enclos­ing caret ^super­script^, and bold by using dou­ble enclos­ing **aster­isks**.

Para­graph styles should be lim­it­ed to the fol­low­ing:

  • Head­ing 1 for the title of the article
  • Head­ing 2 for subtitles
  • Head­ing 3 for Sub-sub­ti­tles (if absolute­ly necessary)
  • Cap­tion for image captions
  • Block­quote for indent­ed longer quo­ta­tions (please use dou­ble quo­ta­tion marks in addi­tion to the indent. N.B.: This is a devi­a­tion from the MLA standard.)

No para­graph style for­mat­ting should be applied to your body text. (Note: In MS Word for Mac­in­tosh you can quick­ly check for such for­mat­ting by open­ing the Styles Pane and check­ing “Show direct for­mat­ting” at the bot­tom of the pane).

Please avoid for­mat­ting with white­spaces. Specif­i­cal­ly, there should be no tabs at the begin­ning of para­graphs. Peri­ods, ques­tion marks, or excla­ma­tion points should nev­er be fol­lowed by dou­ble spaces. As a mat­ter of fact, dou­ble or more spaces, tabs, or a com­bi­na­tion there­of, should be stripped from your text before you sub­mit it. Sim­i­lar­ly, there should be no dou­ble returns. There should nev­er be a space before the end of a para­graph or before a line break. (All these prob­lems can be quick­ly checked by using “Show/Hide hid­den char­ac­ters” and elim­i­nat­ed by a quick search/replace before you sub­mit your man­u­script.) Tabs should only be used for tables and avoid­ed in any oth­er context.

Ellipses are indi­cat­ed by the ellip­sis char­ac­ter enclosed in brack­ets […]. Please do not use three peri­ods, or peri­ods sep­a­rat­ed by spaces. (Note: The ellip­sis char­ac­ter can be typed by hold­ing down alt and typ­ing ; on the Mac­in­tosh, or by hold­ing down Alt and press­ing 0150 on the num­ber pad in Win­dows. (You can also set auto­cor­rect in your word proces­sor to do the substitution).

Please use long hyphens—without spaces on either side—in your text. Alter­na­tive­ly, you can use triple dash­es (XXX---XXX).

Tables should be for­mat­ted with either tabs or your text editor’s table func­tion. As always, please do not use spaces for formatting.


Author(s): When sub­mit­ting your revised file, please sub­mit only one doc­u­ment that con­tains the com­po­nents of the work in this order: 1) abstract (English/French); 2) Title (English/French; 3) Author Name | Affil­i­a­tion; 4) main text; 5) ref­er­ence list (if applic­a­ble); 6) image notes; 7) end notes.

The file con­tain­ing the revised man­u­script should be named as fol­lows: <imaginations_volume#_issue#_article#-lastname.filetype> for instance <imaginations_2_1_2–smith.docx>

Footnotes and Endnotes

You can use either foot­notes or end­notes, but please do not use both.

Fol­low these guide­lines:

  • Enter notes using the auto­mat­ic footnote/endnote func­tion in your word processor.
  • Note num­bers should begin with 1 and fol­low con­sec­u­tive­ly throughout.
  • In the text, note num­bers are super­script­ed. Where mul­ti­ple notes are attached to the same sen­tence, sep­a­rate the notes with a com­ma: 1, 2
  • Note num­bers appear after punc­tu­a­tion, as here.1
  • There is no space between the text and the note number.
  • Each note shall end with a period.

Use of Italics

Employ ital­ics for: titles of books, reports, names of journals/periodicals, terms not in Eng­lish (with the excep­tion of com­mon­ly used terms such as “et cetera” or “ad hoc”), emphasis.

Use of Punctuation

  • Always use the Oxford (ser­i­al) com­ma. For exam­ple: red, white, and blue.
  • The first word of quo­ta­tions that fol­low a colon should be cap­i­tal­ized: “Like this, for example.”
  • Use a com­ma after phras­es that are intro­duced with an adverb. For exam­ple, “Sur­pris­ing­ly, they had not con­sid­ered this alternative.”
  • Avoid use of “Scare quotes.” When they are used, they are to be encased in dou­ble-quo­ta­tion marks; when scare quotes are employed with­in quot­ed mate­r­i­al, they are to be encased in sin­gle quo­ta­tion marks. For exam­ple, “It is not cus­tom­ary to use the term ‘awe­some’ in such a context.”
  • Place any semi-colon, colon, ques­tion mark, or excla­ma­tion mark out­side of quo­ta­tion marks (e.g., Chris said my idea was “fan­tas­tic”!) unless that punc­tu­a­tion is part of quot­ed mate­r­i­al (In the e-mail, Chris said it was “a great idea!”).
  • Place any peri­od or com­ma inside of quo­ta­tion marks (excep­tion: in case of in-text cita­tion, the peri­od will be locat­ed at the end of the sentence).
  • Ellipses will be indi­cat­ed by the ellip­sis char­ac­ter enclosed in brack­ets (“[…]”) and shall be used to indi­cate omis­sions in a quotation.
  • Square brack­ets shall be used to indi­cate autho­r­i­al amend­ments to quot­ed material.
  • Use ‘em’ dash­es and close the space around them—like so.
  • The semi-colon may be used to: join close­ly relat­ed or oppo­si­tion­al inde­pen­dent claus­es; or, to join items in a list.

Use of Abbreviations

  • Use “e.g.,” “etc.,” and “i.e.,” only in text that is in paren­the­ses. In run­ning text, spell these out “for exam­ple,” “etcetera,” and “that is”
  • For abbre­vi­a­tions of loca­tions in notes and ref­er­ence lists use the two-let­ter postal style (i.e., use AB not Alb or Alberta).
  • How­ev­er, in run­ning text, spell out the full name of a coun­try, city or state unless used as an adjec­tive (e.g., “In the Unit­ed States” but “U.K. nationalism”).
  • Write out in full upon first use any abbre­vi­a­tions or acronyms (e.g., the Con­seil Européen pour la Recherche Nucléaire (CERN)).


Imag­i­na­tions uses Cana­di­an spellings (e.g., flavour; ana­lyze; grey); in direct quo­ta­tions do not change Amer­i­can, British etc. spelling to Cana­di­an spelling.

For pos­ses­sive names end­ing in “s” use ’s except in cas­es of well-known authors or fig­ures (i.e., Weiss’s vs. Dickens’).

Use of Languages Other than English or French

The lan­guage of the arti­cle should be Eng­lish or French. As this is an inter­dis­ci­pli­nary jour­nal, please try to keep dis­ci­pline-spe­cif­ic jar­gon to a minimum.

Quo­ta­tions of more than three words in lan­guages oth­er than Eng­lish or French must be cit­ed with­in the body of the text in trans­la­tion and, if the trans­la­tion is your own or if it is rel­e­vant to the analy­sis, in the orig­i­nal lan­guage in an end­note. Indi­cate in an ini­tial end­note if the trans­la­tions are yours.

At first men­tion of a non-Eng­lish or non-French source title in the text, please use the orig­i­nal title fol­lowed by the stan­dard trans­la­tion in paren­the­ses, or your own trans­la­tion should no English/French trans­la­tion exist. All sub­se­quent ref­er­ences use orig­i­nal title.


Write dates of birth and death as fol­lows: 1225-1274 (write all dig­its of the year and sep­a­rate with a hyphen).

Write inclu­sive dates of pub­li­ca­tion: 1973-1976 (do not trun­cate clos­ing dates).

Note that the part of speech deter­mines the dif­fer­ent ways the cen­tu­ry must be writ­ten:

  • 21st cen­tu­ry (n.); 21st-cen­tu­ry (adj.)
  • 17th cen­tu­ry (n.); 17th-cen­tu­ry (adj.)
  • mid-18th cen­tu­ry (n.); mid-18th-cen­tu­ry (adj.)

Decades are not to be abbre­vi­at­ed. Write 1960s, not 50s, 50’s or 1950’s unless it appears as such in quot­ed material.


Spell out whole num­bers one through ten as well as num­bers locat­ed at the begin­ning of a sen­tence. For exam­ple: sev­en, 79, 250 mil­lion, 1.6 billion.

In-Text Citations

The first time an author is cit­ed in run­ning text, refer to them by first and last name.

Include page num­bers for any and all quot­ed material.

Decide whether you will sum­ma­rize, para­phrase, or direct­ly quote the material—each of which require citation.

As a friend­ly reminder, when devel­op­ing your arti­cle or review, keep track of the nec­es­sary bib­li­o­graph­ic infor­ma­tion. Doing so helps expe­dite the eval­u­a­tion and pub­li­ca­tion of your article.

In-Text Cita­tion: Quotes of four lines and less (of your essay text) can be incor­po­rat­ed into a sen­tence with­in the main essay text. The essen­tial infor­ma­tion is the author’s last name and the page ref­er­ence for the quot­ed mate­r­i­al. The title of the ref­er­enced text is option­al, but rec­om­mend­ed. Here are some exam­ples of MLA in-text citation.

  • In their book They Say, I Say, Graff and Birken­stein declare: “since quo­ta­tions do not speak for them­selves, you need to build a frame around them in which you do that speak­ing for them” (41).
  • Graff and Birken­stein remark that “since quo­ta­tions do not speak for them­selves, you need to build a frame around them in which you do that speak­ing for them” (41).
  • In They Say, I Say, a quo­ta­tion sand­wich is explained: “since quo­ta­tions do not speak for them­selves, you need to build a frame around them in which you do that speak­ing for them” (Graff and Birken­stein 41).
  • On page 41, Graff and Birken­stein say, “since quo­ta­tions do not speak for them­selves, you need to build a frame around them in which you do that speak­ing for them.”

Block Quo­ta­tion: If the quot­ed text takes over more than four lines in your essay, then you will need to use a block quote.

Poet­ry: When quot­ing a pas­sage of poet­ry of few­er than four lines, use a slash (/) to indi­cate line breaks in the verse.


Cross-check your ref­er­ence list with your in-text cita­tions. Ensure that any­thing list­ed in the ref­er­ence list is in fact cit­ed in the text and that any­thing cit­ed in the text is list­ed in the ref­er­ence list.

The “Works Cit­ed” list is an alpha­bet­i­cal cat­a­logue of the works ref­er­enced (sum­ma­rized, quot­ed, or para­phrased) in your paper, essay, arti­cle, or review.

The article’s in-text cita­tion cor­re­sponds to the article’s Works Cit­ed List.

In-text cita­tion for­mat is as fol­lows: “Quote or para­phrase” (Author Page).

In the fol­low­ing sam­ples, note that the author and page infor­ma­tion is essen­tial, as the author’s last name serves as the link to more infor­ma­tion about the source in the “Works Cit­ed” list. Con­sid­er the fol­low­ing examples:

  • Accord­ing to Ruta Sepetys, “Those who sur­vived spent ten to fif­teen years in Siberia” (340).
  • In Between Shades of Gray, the sur­vivors are said to have “spent ten to fif­teen years in Siberia” (Sepetys 340).
  • As for a dura­tion, “Those who sur­vived spent ten to fif­teen years in Siberia” (Sepetys 340).

In the “Works Cit­ed” list, under the name Sepetys, the fol­low­ing infor­ma­tion can be located:

  • Sepetys, Ruta. Between Shades of Gray. Puf­fin, 2011.

Place­ment of Works Cit­ed List: Place the list at the end of the paper. The list begins on a new page, con­tin­u­ing the num­ber­ing of the essay. The title, Works Cit­ed, is cen­tered. Dou­ble-space between the title and the first entry.

Begin each entry at the left mar­gin; how­ev­er, if an entry is more than one line, then use hang­ing inden­ta­tion for­mat (indent each sub­se­quent line or lines a half an inch from the left mar­gin). Dou­ble-space the entire list, both between and with­in entries. Con­tin­ue the list on as many pages as necessary.

Arrange­ment: Arrange entries in alpha­bet­i­cal order.

Online Ref­er­ences: For Imag­i­na­tions (due to its mul­ti-media for­mat), the inclu­sion of links in the Works Cit­ed list (for online ref­er­ences) is rec­om­mend­ed, espe­cial­ly if a DOI link can be provided.


For sub­mis­sion: Images should appear in text in their appro­pri­ate locations.

Please keep in text images at a small size i.e., 500kb for submission.

If your arti­cle is accept­ed: You will be expect­ed to pro­vide high­er res­o­lu­tion elec­tron­ic ver­sions of the in text images (includ­ing video or sound) in a sep­a­rate file. For accept­ed arti­cles images need to be TIFF (pre­ferred) or JPEG with at least 300dpi res­o­lu­tion for colour/greyscale/black and white.

Videos must be MPEG4 for­mat and include screen shots (as per above) for use in Print and PDF ver­sions of the article.

Audio must be MP3 for­mat (128 KBPS or higher).
Image cap­tions should be added to each image. The cap­tion text should be below the image and pre­ced­ed by “Fig­ure X”, and the cap­tion should be giv­en the para­graph style Cap­tion.

Please include a sec­tion enti­tled “Image Notes” at the end of your doc­u­ment (fol­low­ing Notes and Works Cit­ed) with all references/sources or title infor­ma­tion for images, audio-clips, films clips used.

Be sure that all images, videos, and any oth­er mate­r­i­al used cor­re­spond to Cana­di­an “fair deal­ing” and the Uni­ver­si­ty of Alber­ta “fair deal­ing” pol­i­cy (see below for more copy­right information).

Copyright Information

Use of Third Par­ty Mate­r­i­al: All third-par­ty con­tent in any sub­mis­sion to Imag­i­na­tions must con­form to the Fair Deal­ing excep­tion in the Cana­di­an Copy­right or you must pro­vide copies of your copy­right permission.

Pub­li­ca­tion License Agree­ment: Upon accep­tance of your arti­cle, after it has under­gone a dou­ble-blind peer-review process, you will receive a con­tract to license the pub­li­ca­tion of your work under a Cre­ative Com­mons 4.0 Attri­bu­tion License (BY-NC-ND): https://​cre​ativecom​mons​.org/​l​i​c​e​n​s​e​s​/​b​y​-​n​c​-​n​d​/​4​.0/.

All third-par­ty mate­r­i­al used in your arti­cle must be con­form to the Cana­di­an Fair excep­tion in the Cana­di­an Copy­right Act or you must pro­vide copies of copy­right re-print­ing permissions—if these were not already pro­vid­ed as per the journal’s pro­to­col, at the time of submission.

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