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They help to make art history relevant and engage a global audience. You can choose from Dr. for these two blog posts Lauren Kilroy-Ewbank interested:
Contributors have a Ph.D. In a relevant discipline and significant teaching experience or in instances outside the traditional academic disciplines, other appropriate qualifications. In addition to the art historians, we regularly work with Ph.D.-Level scholars in areas such as archeology, conservation, history and material anthropology.
Send a quick introduction and a current CV to us:
We prioritize the works of art (or should) teach in Bachelor art history courses. Cooperation with the contribution of editors who have expertise in certain areas of art history have already identified many of these works of art (on our Trello card) so they can choose. Contributors can also prevent a new topic that are not listed on the Management Board. With one of our specialized areas, we are in contact with the corresponding contributing editor for coordination.
Ideally, we would like to offer you a video and an essay for every work of art we cover. If there is a work of art, which is already covered by a video, and you want to contribute an essay on the same topic (but it is not listed on the Trello card), please let us know.
We publish several types of essays, including objects of objects, overviews of historical periods or styles and thematic essays. At the end of this document, we have examples of these different content types to surf.
Normally not. If you have randomly have high quality photos you have taken or have permission to use them, we can include you (these are often especially helpful if the topic of the essay is presented in the curriculum). In addition, we estimate it when our contributing high-quality additional illustrations identify the attachment of the essay, such as cards, diagrams and other relevant resources.
In many cases, however, we already have photos, or we can easily find openly licensed images to expand their essay. We have more than a decade experience that the academic image research is for the online publication, and we like to work with them to make the illustrations as much as possible.
Twarthistory essays are considered by millions of learners from around the world. Our audience essentially consists of the Unterbaduat, the advanced placement (U. High School) art history and A-Level (u.K.), which makes your first art history class (be it a survey or a special course). Graduate students studying for their comprehensive exams also use Smart Houses, as well as museum visitors and other informal learners. We want our visitors to fall in love with our discipline so that we are looking for essays, so we are looking for essays that imitate the accessible, interpreting and experiencing narratives we tell in the classroom (and not original research).
SmartHistory is probably different from the font that you have done in the past (see our examples, especially the commented essays). Our essays are aligned (in terms of language and ideas) towards the beginning of art history. They are experience, classification, conversation and rapprochement. So the first lines of an essay cover what we call a "hook" to draw the learners, and let them know more.
Textbooks tend to have long, divided chapters, and they often refer to content in other parts of the text. SmartHistory, unlike a textbook, consists of modular resources that are easy for trainers and students in a variety of contexts.Our essays are usually words long and have to stand alone: ??we assume that the reader can not know anything about the topic at all, and has no other essay or video on our website. Everything in your essay must be closed in itself, and the definitions for special terms should be offered in the text (parenthetic or with a pop-up definition).
The primary audience of subnhistory consists of the students, most of which are not art history majors. In general, we want to offer the students well-recognized, current narratives of art history. As a result, we do not publish new scientific research. This has led us to develop a review process resulting from the traditional magazines and academic presses. For example, every attachment we publish in the art of Africa is reviewed by no less than three art historians, one with expertise in the art of Africa. However, this is an open assessment, as we sign our correspondence with the author.
Contributions to smart law were adopted by both tenure and funding committees and sabbathic committees. However, as submissions are not original research, the value of discipline will be awarded in the discipline and not for published research. Since Peer Review is closely tied to the publication of original research, this was not a problem for our contributors who tell us to contribute to smart grades because they want to make art history accessible to learners around the world, including those who may not Have access to Elite Colleges and Universities.
SmartHistory uses a modified version of the Chicago Manual of the Style Note Format. Below are examples of formatting for common species of references. Note that we "p." or "pp." before page numbers. We can help with questions about exceptions or non-standardized sources.
Andrew Wallace-Hadrill, Herculaneum: past and future (London: Frances Lincoln Limited, 2011).
Julie Solometo, "the context and the process of Pueblo murals in the historic era" kiva vol. 76, no. 1 (2010), PP. .
For a short reference to our style guide, a bookmark for the essy style checklist.
You can also refer to our examples of collective-protected essays as a guide.
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