de arte Template
Write in a clean editor, then format for de arte in one click — DocuGuru applies the official Taylor & Francis template with author–year references and exports a submission-ready PDF plus the editable LaTeX source. Free to start.
About the de arte format
de arte is a peer-reviewed journal published by Taylor & Francis, covering South African History and Culture, Art, Politics, and Modernism, Archaeology and Rock Art Studies.
| Publisher | Taylor & Francis |
|---|---|
| Reference style | Author–year (Chicago, T&F) Author–year — (Smith, 2023) in the text Smith, Ada, Ben Jones, and Cara Lee. 2023. "A Representative Article Title." de arte 12 (3): 45–58.
Formats any DOI in de arte style. No sign-up. |
| Publishes research in | South African History and Culture Art, Politics, and Modernism Archaeology and Rock Art Studies African history and culture studies Public Spaces through Art |
| ISSN | 0004-3389 |
| Citation impact (2-yr) | 0.02 |
| h-index | 10 |
| i10-index | 11 |
| Total citations | 855 |
| Top institutions publishing here | University of the Witwatersrand |
| Journal website | www.tandfonline.com |
| You get | A submission-ready PDF and the editable LaTeX source — ready to submit. |
Papers published in de arte per year
Citation impact of de arte by publication year
Citations each year’s papers have accumulated so far — the most recent years are still building up.
Most-cited papers in de arte
The title The African photographic archive creates the expectation of a large volume with detailed information of photographic archiving practices throughout the continent: in these terms, the information contained in this book is highly selective in relation to both geography and variety of archiving practices and, particularly, the involvement of the many states in the…
There are historical events that remain charged with trauma, thereby resisting the logic of causal progress conventionally ascribed to historical narratives. As obstacles to cohesive representations of history and national identities, these events remain ambiguous and problematic. Prompted by art historian and philosopher Georges Didi-Huberman’s proclamation “In order to know, we must imagine for ourselves”…
In The New Parthenon, as with her other films, Penny Siopis pieces together fragments of found footage of anonymous home videos, shot handheld on 8 or 16 mm film. The films are digitised first for sampling, but not digitally remastered, and are then combined with music and subtitles from various sources. These films narrate the…