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1. A c a d e m i c W r i t i n g f o r A r t H i s t o r y
S p r i n g S e m e s t e r 2 0 2 3
G r a d u a t e I n s t i t u t e o f A r t H i s t o r y
N a t i o n a l Ta i w a n N o r m a l U n i v e r s i t y

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Introduction
Writing Papers
Writing Theses
Primary Sources
Secondary Sources
Title Case
The Table of Contents
The Introduction
Organizing the Discussion
Formatting the Body Text
Formatting Paragraphs
Formatting Quotes
Punctuating Quotes
In-Text Information for Artworks
Inserting Figure References
Abbreviated Forms
Italicization
Dashes
The Conclusion
Footnotes and Endnotes
Bibliography
Citing Page Numbers
Spelling
Appendices
Captions
Academic Integrity
Select Bibliography
Research Resources
A c a d e m i c W r i t i n g f o r A r t H i s t o r y

4. Introduction
As a university student, you are largely free to
present an assignment or thesis in the way you
think best (see the section on academic integrity,
below, for what will not be accepted). However, in
academic writing for art history there are common
conventions that it will probably help you to know.
This guide demonstrates approaches to writing that
can be described as conventional good practice in
academic art history generally, as well as certain
practices specific to the Graduate Institute of Art
History at National Taiwan Normal University.
Ultimately, individual professors have their own
preferences, and conventions change over time. So,
if in doubt, talk with your professor.
Writing Papers
There are many kinds of course assignments, but
the most common is the classic essay paper, with
an introduction, body, conclusion, footnotes,
bibliography, and figures. A course paper of this
kind provides an opportunity for you to show you
have read and understood the key literature on your
topic, can identify the main points of difference
between authors, are able to analyse the evidence
and arguments independently, and can draw your
own conclusions reasonably.
Usually, the professor will provide topics for
course papers, although you may sometimes be
able to formulate your own topic, in discussion with
the professor. Topics for course papers may require
you to address a particular question that has been
debated in the field, to provide a broad historical
survey of an aspect of art history, to provide a
detailed case-study of a particular instance of an
artistic phenomenon, or another approach.
A key set of skills to be developed by an art
historian is the analysis of an artwork in formal,
technical, and iconographic terms, as well as
connecting an artwork to its cultural, social,
political, and economic contexts. To do this, one
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in your discussion, provide your reader with a
succinct description of each artwork, in terms of
its appearance and facture, before interpreting its
meaning by drawing connections between particular
aspects of the work and the circumstances and
culture in which it was made.
In the Institute, course papers should be 10–
20 pages long, not including the bibliography and
appendix, and should be presented as follows:
· a coversheet with the title of the University,
the title of the Institute, the title of the course, the
title of the assignment, your name, your student
number, your email address, and the date of
submission
· a table of contents listing the headings and
any subheadings in the paper, beside their page
numbers (without 'p.')
· pages with your text
· a bibliography
· BOBQQFOEJYXJUIƋHVSFTBOEUIFJSDBQUJPOT
Writing Theses
The topic of your thesis is determined in
consultation with your advisor (supervisor), taking
into consideration the available research resources
and their potential to yield new knowledge. Once
the topic is decided, the thesis is written in much
the same way as a course paper essay, but will
contain a much more thorough assessment of its
subject, with much more original research.
In the Institute, theses should be 70 pages or
more in length, not including the biblography and
appendices, and should be presented as follows:
· a title page with the title of the University,
the title of the Institute, the title of the course
component ('Master’s Degree Thesis Proposal' or
'Master’s Degree Thesis'), the title of the thesis, the
title and name of the advisor, your name, and the
month and year of completion. All of the above
are written in English and Mandarin, except for the
thesis title if it is written in English.
· a t a b l e o f c o n t e n t s l i s t i n g t h e
acknowledgments, abstracts, headings, and
subheadings in the thesis, using a numbering
system, such as 1., 1.1., 1.2., and so on, beside their
page numbers (without 'p.')
· acknowledgments
· abstract in English, with keywords
· abstract in Mandarin, with keywords
· BOVNCFSFEMJTUPGƋHVSFT PQUJPOBM
· a numbered list of tables (optional)
· pages with the introduction, body of the text,
and conclusion
· a bibliography, divided into primary sources,
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· BOBQQFOEJYDPOUBJOJOHUIFƋHVSFTBOEDBQUJPOT
· any other appendix, if required
· all of the above contents commercially bound.
1

5. Primary Sources
Without new investigation of primary sources, the
same information would be recycled endlessly,
and scholarship would not progress. That said,
the definition of a primary source is open to
interpretation. Traditionally, art historians have
listed archival documents (unpublished sources
of information) before a bibliography (published
sources of information). Arguably, though, any
source of information that is not a publication
can be considered a primary source, including
artworks, buildings, and landscapes. These may
contain texts—for example, a painting may have
an inscription and a film often has dialogue—or
they may contain symbols that can be read. In any
case, any image can be analysed semiotically, as a
kind of text. However, artworks are by convention
not listed as sources at the end of a paper or thesis,
while films may be listed in a filmography, after
the bibliography.
Published texts can also be primary sources,
when they are studied as cultural productions—for
2
Lorenzo di Matteo Morelli, Libro rosso or Libro di ricordanze e di debitori e di creditori di Lorenzo di Matteo di Morello
di Pagholo Morelli, dal 1463 a 78, 1463–1478, Archivio Gherardi Piccolomini d’Aragona, 194, fols 3–iii, Archivio di Stato di
Firenze (photo: Dr Alana O’Brien).
the nature of their content—including illustration,
decoration, and design, rather than being used
as sources of information on subjects outside
themselves.
In an art history course paper, the primary
sources used are usually artworks. After consulting
what art historians have written about an artwork
in books and articles, a student compares these
views with what they observe themselves in the
artwork. It is always best to study an artwork
directly, rather than in repoductions. However, for
course papers, this is often impractical.
In a thesis, there is a greater emphasis
on the use of primary sources, as the thesis
must make a novel contribution to knowledge
in the field. While it still may not be practical to
study all physical artworks directly, there is an
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to obtain new insights into their subject. Such
efforts may include studying archival documents,
historical photographs of artworks or buildings
documenting their changing appearance, or using
new methodologies.

6. 3
Secondary Sources
Secondary sources are publications, such as
journal articles, conference papers, book chapters,
monographs (a monograph is an entire book on
a single subject), and internet sources. It is good
practice to use a variety of secondary sources.
Ensure that recent sources are used, as well as
classic studies. Seek out high quality sources
written by specialists, and published by reputable
publishers, ideally through a peer-review process.
In particular, be wary of self-published texts.
Also, any modern source that does not identify
its author or authors by name would not usually
be considered an appropriate source for academic
writing.
In a graduate course paper, a student should
use enough secondary sources to demonstrate that
they are aware of the key views in the literature
on their subject. There is no rule about how many
sources should be used, but a rule of thumb
might be that the fewer sources you use, the more
comprehensive in their coverage of the subject they
need to be.
In a graduate level thesis, similar guidelines
apply, except that there is a much greater
expectation that the student has consulted the
majority, if not all, of the recent publications on
their subject.
Your search to find the relevant literature
can begin with a standard Google search, followed
by a Google Book search. The website www.
academia.edu provides many articles and some
chapters free of charge. Naturally, you should try
a variety of keyword searches in a library catalog,
to find its print holdings on your topic. Most
universitiy libraries have a separate 'discovery'
search, which covers print holdings and electronic
subscriptions. The footnotes and bibliographies in
UIFTPVSDFTZPVƋOEXJMMJEFOUJGZGVSUIFSSFMFWBOU
sources.
A course paper will address the key
literature on its subject, at appropriate points.
Whereas, in a thesis, it is usual to include
a separate section with a literature review
describing the key publications on a subject over
time, identifying any important differences of
opinion between authors, specifying whether one
view has come to be widely accepted and why, and
identifying any debates remaining to be resolved
and questions remaining to be answered. Your
new research should take a position in relation to
what has been written on the topic before.
Hugh Hudson,“A Processional Cross Attributed to Bernardo Daddi and His Workshop,” Art Journal of the National Gallery
of Victoria, vol. 51, 2012, pp. 9–15 and 91, cover (left) and p. 9 (right).

7. Title Case
In a title, heading, or subheading, capital letters
TIPVECFVTFEGPSUIFƋSTUMFUUFSPGUIFƋSTUBOEMBTU
words, nouns, pronouns, possesive pronouns, verbs,
any word after a colon or em-dash, and Roman
numerals.
The Table of Contents
A short text, such as an essay or article, does
not need a table of contents. However, it is the
tradition at this Institute that papers have a table
of contents. It should be presented on a separate
page, and can be formatted as follows:
Table of Contents
1. Introduction 1
2. Heading 2
3. Heading 5
4. Heading 8
6. Conclusion 12
7. Bibliography 13
Appendix: Figures 15
For a thesis, it should be presented in much the
same way, but with an abstract in English and
Mandarin, acknowledgments, and subheadings.
You may have as many headings, subheadings, and
appendices as required.
Table of Contents
Abstract in English i
Abstract in Mandarin ii
Acknowledgments iii
1. Introduction 1
2. Heading 4
2.1. Subheading 9
2.2. Subheading 18
3. Heading 25
3.1. Subheading 30
3.2. Subheading 39
4. Conclusion 68
5. Bibliography 72
Appendix I: Figures 77
Appendix II: Other (if required) 87
4
The Introduction
The introduction to a paper is typically one
paragraph, while in a thesis it will be longer. The
introduction identifies the topic, gives the reader
an indication of how you intend to analyse it,
and makes the reader want to read on, through
an evocative description of the problem, or an
explanation of its importance in art history.
Organizing the Discussion
It helps the reader follow your discussion if it has
a logical overall structure. A common approach is
to use a chronological arrangment of the material.
Another is based on contrasts between different
points of view in the literature, analysing each in
turn. If analysing a single work of art or building,
one might begin with the largest features,
discussing smaller ones in turn.
Formatting the Body Text
The body text should be in 12 point font, with 1.5
line spacing (21 points), and in Times New Roman
font, or a similar font. Insert page numbers at
bottom center or bottom right.
Formatting Paragraphs
Each paragraph should contain a single idea.
When your discussion moves on to a new aspect
of the topic, start a new paragraph. However,
paragraphs should not be too short, or too long. In
most cases, a paragraph should be longer than a
few sentences, but much shorter than a page.
Here is a model of how to format
paragraphs:
Title, Heading, or Subheading Here
5IFƋSTUQBSBHSBQIBGUFSUIFUJUMF BIFBEJOH PSB
subheading begins after a blank line, and is aligned
ƌVTIMFGULorem ipsum dolor sit amet, consectetur
adipisicing elit, sed do eiusmod tempor incididunt
ut labore et dolore magna aliqua. Ut enim ad
minim veniam, quis nostrud exercitation ullamco
laboris nisi ut aliquip ex ea commodo consequat.
Duis aute irure dolor in reprehenderit in voluptate
velit esse cillum dolore eu fugiat nulla pariatur.
Excepteur sint occaecat cupidatat non proident,
TVOUJODVMQBRVJPƍDJBEFTFSVOUNPMMJUBOJNJEFTU

8. laborum.
The next paragraph starts with an indent,
and has no blank line above it. Lorem ipsum
dolor sit amet, consectetur adipisicing elit, sed do
eiusmod tempor incididunt ut labore et dolore
magna aliqua. Ut enim ad minim veniam, quis
nostrud exercitation ullamco laboris nisi ut aliquip
ex ea commodo consequat. Duis aute irure dolor in
reprehenderit in voluptate velit esse cillum dolore
eu fugiat nulla pariatur. Excepteur sint occaecat
cupidatat non proident, sunt in culpa qui officia
deserunt mollit anim id est laborum.
The next paragraph starts with an indent,
and has no blank line above it. Lorem ipsum
dolor sit amet, consectetur adipisicing elit, sed do
eiusmod tempor incididunt ut labore et dolore
magna aliqua. Ut enim ad minim veniam, quis
nostrud exercitation ullamco laboris nisi ut aliquip
ex ea commodo consequat. Duis aute irure dolor in
reprehenderit in voluptate velit esse cillum dolore
eu fugiat nulla pariatur. Excepteur sint occaecat
cupidatat non proident, sunt in culpa qui officia
deserunt mollit anim id est laborum.
Formatting Quotes
Quotes should be used sparingly. Use a quote
when an author’s wording is so appropriate that it
is difficult to express the idea more succinctly, or
XIFOUIFRVPUFJUTFMGQMBZTBTJHOJƋDBOUQBSUJOUIF
discussion, and is worthy of anaylsis. Every quote
must have a footnote. Ideally, one should cite the
original publication for a quote. It is acceptable to
cite a republiction of a quote by another author
XIFOUIFPSJHJOBMQVCMJDBUJPOJTJNQPTTJCMFUPƋOE
In this case, your footnote should read: 'As quoted
in' followed by the citation for the source you
found it in.
Here is a model of how to format quotes:
Lorem ipsum dolor sit amet, consectetur adipiscing
elit, sed do eiusmod tempor incididunt ut labore
et dolore magna aliqua. A short quote is included
in the body of a paragraph, with quotation marks,
like this: 'This is a short quote, of one or two lines
length.'1
Lorem ipsum dolor sit amet, consectetur
adipisicing elit, sed do eiusmod tempor incididunt
ut labore et dolore magna aliqua. Ut enim ad
minim veniam, quis nostrud exercitation ullamco
laboris nisi ut aliquip ex ea commodo consequat.
Lorem ipsum dolor sit amet, consectetur
1. Footnote citation.
5
adipisicing elit, sed do eiusmod tempor incididunt
ut labore et dolore magna aliqua. Ut enim ad
minim veniam, quis nostrud exercitation ullamco
laboris nisi ut aliquip ex ea commodo consequat.
A long quote is separated from the body of the
paragraph by blank lines, before and after, is inset
left and right, is in a smaller font size, and does not
have quotation marks, like this:
This is a long quote, of two or more lines in
length. This is a long quote, of two or more
lines in length. This is a long quote, of two
or more lines in length. This is a long quote,
of two or more lines in length. This is a long
quote, of two or more lines in length. This
is the long quote, of two or more lines in
length.2
5IFTBNFQBSBHSBQIDPOUJOVFTƌVTIMFGU QSFDFEFE
by a blank line. Lorem ipsum dolor sit amet,
consectetur adipisicing elit, sed do eiusmod tempor
incididunt ut labore et dolore magna aliqua. Ut
enim ad minim veniam, quis nostrud exercitation
ullamco laboris nisi ut aliquip ex ea commodo.
Punctuating Quotes
The use of single quotation marks is increasingly
more common than double. If using single
quotation marks at the beginning and end of a
quotation, double quotation marks may be used
inside these, for a title or a quote-within-a-quote.
The only punctuation that should be added inside
a quote is a period or a comma before the final
quotation mark, if required for your sentence
structure. For example, add a period before the
ƋOBMRVPUBUJPONBSL JGUIFRVPUFJTBUUIFFOEPG
your sentence.
In-Text Information for Artworks
It is common practice, the first time any artwork
is mentioned, to identify the collection or in situ
location, and the city, either in the sentence, or
separately in brackets immediately after the title of
the work.
Example: Donatello’s David with the Head of
Goliath (Museo Nazionale del Bargello, Florence) is
believed to have been commissioned by Cosimo de’
Medici.
2. Footnote citation.

9. 6
Abbreviated Forms
If you refer to a person repeatedly, the first time
you mention them, give their full name, and
thereafter use only their surname.
Example: Erwin Panofsky (1892–1968) is regarded
as one of the pioneers of the iconographic method.
Although some of his interpretations have been
challenged by later authors, Panofsky’s approach is
TUJMMJOƌVFOUJBM
Italicization
Iconographic titles of artworks are written in
italicized title case.
Example: Jan van Eyck’s $SVDJƇYJPO-BTU+VEHFNFOU
diptych is housed in the Metropolitan Museum of
Art in New York.
Non-iconographic titles of artworks just take title
case.
Example: The Ghent Altarpiece is dated 1432.
Non-English language words are italicized, unless
they are in quotations marks or are proper nouns.
Example: Impressionist landscape painters often
worked en plein air.
Stressed words: words can be stressed though
italicization.
Example: Scientific analysis of an artwork can
TPNFUJNFT help determine its attribution, but
much depends on the quantity and quality of the
available comparative evidence.
Dashes
Dash: a dash, also called a hyphen, is used to link
prefixes with words, especially where the same
letter appears twice in succession, and in creating
an adjectival phrase.
Examples: She is the pre-eminent authority on
nineteenth-century Indigenous Australian art.
En-dash: an en-dash is used to link two numbers
(Apple keyboard shorortcut is “option+dash”).
Examples: '1900–1999' and 'pp. 1–40.'
Em-dash: an em-dash is used to separate phrases
(Apple keyboard shortcut is 'shift+option+dash').
Example: The exhibition is regarded as
groundbreaking—at least in terms of its pioneering
use of the 'white cube' exhibition design
approach—although it also had its detractors.
1. Paul Klee, #MBDL$PMVNOTJOB-BOETDBQF, 1919,
watercolor and ink on paper mounted on cardboard,
24.1 × 31.4 cm, Metropolitan Museum of Art, New York,
acc. no. 1987.455.1.
Inserting Figure References
When you discuss a key artwork in your writing,
you can refer the reader to an illustration by
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this figure reference immediately after the first
time you refer to the artwork, which can be in the
middle of a sentence, or you may put it at the end
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Example: Paul Klee (1879–1940) was a pioneer of
Modernist abstraction. In his watercolor Black
$PMVNOTJOB-BOETDBQF (Metropolitan Museum
of Art, New York) some objects are recognizable,
such as the ionic columns on the right, a doorway
or gate on the left, the sky, and the ground (Fig.
1). However, the overall image is broken up by
non-representational, geometric fields of pure
colour. This allows the artist to accentuate poetic
contrasts of colours and form, and to produce an
ambiguous, dream-like image.

10. The Conclusion
The conclusion of a paper is typically between one
and a few paragraphs long, while in a thesis it is
between one and a few pages. In both cases, the
conclusion brings the discussion to a close, ideally
with a pithy or elegant summation of the position
your argument has led the reader to. A conclusion
should not introduce new material into the
discussion, although it is possible to suggest ways
the topic could be further studied in the future.
Footnotes and Endnotes
Every course paper and thesis at the Insitute
should have footnotes, or endnotes if you prefer.
Artworks: Insert a footnote for any key artwork,
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be illustrated. The content of the footnote is
presented in the same format as a caption.
Sources: Insert a footnote after every quotation
and after every part of your text using information
that is not common knowledge. The footnote
number usually goes directly after the final
punctuation mark in a sentence, but can be
JOTFSUFEFBSMJFSJOUIFTFOUFODF JGHSFBUFSTQFDJƋDJUZ
is required. The text in the footnote is put in a
smaller font size than that of the body text, and is
given single line spacing.
The first footnote for a source provides
the same publication details as the bibliography,
except there is no need to reverse the order in an
author’s name, and the specific page reference is
given.
Example: 5. Claire Bishop, Artificial Hells:
Participatory Art and the Politics of Spectatorship,
London: Verso, 2012, pp. 55–60.
In subsequent footnotes for the same source, only
include the author’s surname, the number of the
footnote in which the citation is given in full, and
UIFTQFDJƋDQBHFOVNCFSPSOVNCFST
Example: 10. Bishop (as note 5), p. 15.
In Microsoft Word, it is possible to insert
automatically updating footnote cross-references,
as follows:
1. In your text, insert a footnote that you wish to
contain a cross-reference to an earlier footnote.
In the text of the present footnote, place the
cursor where you want the cross-reference to
appear, go to the 'References' tab, and select
the 'Cross-reference' menu option.
2. The 'Cross-reference' window will appear.
3. In the 'Reference type' drop-down menu,
choose 'Footnote.'
4. In the 'Insert reference to' drop-down menu,
choose 'Footnote number.'
5. Select the footnote you wish to cross-reference
from the list displayed.
6. Click on 'Insert.'
7. The cross-reference will automatically update
JOUIFƋMF CVUUPNBLFJUVQEBUFPOUIFTDSFFO
you need to click on the 'Print' option, although
ZPVEPOPUOFFEUPBDUVBMMZQSJOUUIFƋMF
Personal communications: Information
kindly provided by Name Surname, personal
communication, date, period.
Example: 1. Information kindly provided by Dr
Allison Holland, personal communication, 1 July
2019.
Bibliography
The bibliography contains every source cited in the
footnotes (excluding personal communications),
as well as any other source read but not cited. If
there are primary sources (excluding works of art),
these are listed under a separate subheading in the
bibliography, before the secondary sources. Primary
sources are listed in alphabetical order by city,
and then by the name of the institution or owners
that house them. Secondary sources (including
internet sources) follow in a single list, arranged in
alphabetical order by the authors’ surnames. When
you cite more than one publication by the same
author, list their publications in chronological order,
and replace the author or authors’ names with
three en-dashes in the second or further entry.
Archival document: City Where the Archive Is
Located, Name of the Institutional or Personal
Owner, Author (if known), Title of the Document,
date or approximate date of the document,
Collection Name within the Archive If There Is
One, shelfmark or inventory number, part of the
document or folio number or numbers or page
7

11. number or numbers, if citing an individual source
bundled together with others, period.
Example: Florence, Archivio di Stato di Firenze,
Ledger of the Confraternity of Saint Peter Martyr,
early 1400s, Corporazioni Religiose Soppresse dal
Governo Francese (102), 298, fol. 11r.
Monograph with one author: Author’s Surname,
First Name, Book Title, number of edition if not
the first, Place of publication: Publisher, year of
publication, period.
Example: Bishop, Claire, Artificial Hells:
Participatory Art and the Politics of Spectatorship,
London: Verso, 2012.
Monograph with two authors: Author’s
Surname, First Name, and Second Author’s First
Name Surname, Book Title, number of edition if
OPUUIFƋSTU 1MBDFPGQVCMJDBUJPO1VCMJTIFS ZFBS
of publication, period.
YBNQMF0CSJTU )BOT6MSJDI BOETBE3B[À
8BZTPG$VSBUJOH, New York: Farrar, Straus, and
Giroux, 2016.
Entire edited book: Author’s Surname, First
Name, (ed.), Book Title, number of edition if not
the first, Place of publication: Publisher, year of
publication, period.
Example: Thompson, John M.A., (ed.), Manual of
$VSBUPSTIJQ(VJEFUP.VTFVN1SBDUJDF, second
edition, New York: Butterworth Heinemann,
2012.
Chapter in an edited book: Author’s Surname,
First Name, 'Title of Chapter,' in: Surname, First
name, (ed.), Book Title, Place of publication:
Publisher, year of publication, page range, period.
Example: Chi, Chi-Jung June, 'How Exhibitions
Flow: Governments, Museums, and Special
Exhibitions in Taiwan,' in: Kawashima, Nobuko,
and Hye-Kyung Lee (eds), Asian Cultural Flows:
Cultural Policies, Creative Industries, and Media
$POTVNFST, Singapore: Springer, 2018, pp. 93–112.
Entire exhibition catalog: Editor’s or Author’s
Surname, First Name, or Corporate Name if
no individual is specified, YIJCJUJPO$BUBMPHVF
Title, exh. cat., Museum that held the exhibition,
exhibition dates, any other museum that hosted
the same exhibition, exhibition dates, Place of
publication: Publisher, year of publication, period.
Example: Queensland Art Gallery and Gallery of
Modern Art, Apt9: The 9th Asia Pacific Triennial
PG$POUFNQPSBSZSU, exh. cat. Queensland Art
Gallery and Gallery of Modern Art, 24 November
2018–28 April 2019, Brisbane: Queensland Art
Gallery and Gallery of Modern Art, 2018.
Entry in an exhibition catalog: Author’s Surname,
First Name, 'Title of the Entry,' in: Surname, First
Name, (ed.), YIJCJUJPO$BUBMPHVF5JUMF, exh. cat.,
Museum that held the exhibition, exhibition
dates, any other museum that hosted the same
exhibition, exhibition dates, Place of Publication:
Publisher, year of publication, page range, period.
Example: Campbell, Caroline, with a contribution
by Graeme Barraclough, “1 Chest and spalliera with
the arms of Lorenzo Morelli and Vaggia Nerli (The
Morelli Chest), 1472; 2 Chest and spalliera with the
arms of Vaggia Nerli and Lorenzo Morelli (The Nerli
Chest), 1472,” in: Campbell, Caroline, (ed.), -PWFBOE
.BSSJBHFJO3FOBJTTBODF'MPSFODF5IF$PVSUBVME
8FEEJOH$IFTUT, exh. cat., The Courtauld Gallery,
Somerset House, London, 12 February–17 May
2009, London: Paul Holberton Publishing, 2009,
pp. 69–79.
Journal article: Author’s Surname, Name, 'Title of
the Article,' in: Title of the Journal, volume number,
issue number if there is one, season if there is one,
year, page range, period.
Example: Lin, Yung-Neng , 'Importance–
Performance Analysis of the Taipei Fine Arts
Museum’s Services,' in: .VTFVN.BOBHFNFOUBOE
Curatorship, vol. 24, issue 2, 2009, pp. 105–21.
Film: Director’s Surname, First Name, (role), Title,
Distributor, date (n.b. further details, such as the
actors’ names, may also be provided if relevant),
period.
Example: Weir, Peter, (director), 1JDOJDBU)BOHJOH
3PDL, British Empire Films, 1975.
Internet source: Author’s Surname, First Name,
'Title of the Text,' in: Title of the Website, date of
8

12. 9
publication, URL, date sighted, period.
Example: Angeleti, Gabriella, 'Nan Goldin’s Anti-
opioid Activist Group Storms New York Museums:
Pain Held Demonstrations at the Guggenheim and
the Met over the Weekend,' in: The Art Newspaper,
10 February 2019, https://www.theartnewspaper.
com/news/nan-goldin-s-anti-opioid-activist-
group-storms-new-york-museums, sighted 12
February 2019.
Citing Page Numbers
Use the abbreviation 'p.' for a single page.
example:
p. 9
Use the abbreviation 'pp.' for a page range.
example:
pp. 10–11
For a page range in the hundreds, where the first
page number and the second page number begin
with the same digit, omit the first digit in the
second number.
example:
pp. 233–34
Spelling
At the Institute, American spelling has traditionally
been preferred over British spelling, although either
is acceptable, if used consistently.
Appendices
5SBEJUJPOBMMZBUUIF*OTUJUVUF UIFƋHVSFTJOBDPVSTF
paper or thesis are put in the first appendix, in
numerical order. Give each figure a caption with
the name of the artist, or names of the artists if
there are more than one, the title of the artwork
in italicized title case if the title is iconographic
(e.g. 5IF-BTU+VEHFNFOU), otherwise just in title
case (e.g. The Ghent Altarpiece), followed by the
date (approximate if necessary), the medium, the
dimensions (height by width), the collection name,
the collection location, and the accession number,
if there is one. For further details about captioning,
follow the advice in the section 'Notes for works of
art' on p. 7.
In a thesis, further appendices may be
used to provide the reader with key supporting
documentation, such as a translation of a text
too long to go in the body of the thesis, or a
transcription of a long archival document.
Captions
Wherever possible, key artworks in a discussion
should be illustrated, with the caption providing
more detailed information about the artwork:
the artist’s First Name and Surname, Title of
Artwork, date or approximate date, medium or
media, dimensions (height × width), Collection
or Location, City, and accession number where
there is one. Iconographic titles of artworks
are written in italicised title case (e.g. 5IF-BTU
+VEHFNFOU), otherwise just in title case (e.g. The
Ghent Altarpiece). If there is no conventional or
applicable title you can use 'Untitled.' For artworks
outside museum collections, give the name of the
physical location if in situ, or the name and location
of the private collection if known. For an artwork
in a museum collection, give the full name of the
museum as it appears in its publications, such
as on its website, followed by the city in which
the museum is located. If the work is still in the
possession of the artist, you can write 'Collection
of the Artist.'
Examples:
1. Damien Hirst, 4UBOEJOHMPOFPOUIF1SFDJQJDF
BOE0WFSMPPLJOHUIFSDUJD8BTUFMBOEPG1VSF5FSSPS,
1999–2000, 236.0 x 871.0 x 11.0 cm, glass, stainless
steel, steel, aluminium, nickel, bismuth and cast
resin, coloured plaster and painted pills with dry
transfers, private collection.
2. Paolo Uccello, RVFTUSJBO.POVNFOUGPS4JS+PIO
Hawkwood, 1436, mural painting, 820 × 515 cm
(with the later, painted frame), Cattedrale di Santa
Maria del Fiore, Florence.
3. Donato di Niccolò di Betto Bardi, called
Donatello, David with the Head of Goliath, mid-
1430s–1440s, bronze and gilding, 158.0 cm high,
Museo Nazionale del Bargello, Florence.

13. 10
4. Robert Mapplethorpe, Untitled, 1973, six dye
diffusion transfer prints (Polaroids) in painted
plastic mounts and acrylic frame, 27.6 x 28.7 x 6.7
cm overall, Solomon R. Guggenheim Museum,
New York, acc. no. 93.4276.
Note that, by convention, in a course paper or
thesis, where an image was obtained need not be
specified, except for any archival images or the
student’s own photographs, which information
can be put in brackets at the end of the caption.
Example:
5. Vincenzo Scamozzi, Villa Molin, Mandria
(Padua), 1597, facade (image: the author).
Academic Integrity
The use of another person’s words or ideas must
always be acknowledged. When work submitted
by a student containing unacknowledged use
of another author’s words or ideas, such as the
copying of a sentence without quotation marks
and a footnote, or paraphrasing at length without
BGPPUOPUF JTJEFOUJƋFE JUXJMMOPUCFBDDFQUFEGPS
assessment. In this case, the student can resubmit
the assignment with proper acknowledgment, to
be marked on a pass or fail basis.
Once any work has been awarded a grade
in a university course or program, it should not be
submitted for assessment or awarded a grade in
any other course or program.
It is fine, and indeed beneficial, to obtain
feedback on drafts of your work from a range of
specialists, including professors and academic
editors. Any specific information provided
in feedback can be recorded as a personal
communication in a footnote, while general editing
assistance can be recorded in acknowledgments.
Select Bibliography
Bailey, Stephen, DBEFNJD8SJUJOH)BOECPPLGPS
International Students, third edition, London and
New York: Routledge, c. 2011 (NTNU Library).
Carrier, David, 1SJODJQMFTPGSU)JTUPSZ8SJUJOH,
University Park PA: Penn State University Press,
1991 (NTNU Library, also holds the 2004 Mandarin
language edition).
Chandrasoma, Ranamukalage, DBEFNJD8SJUJOH
and Interdisciplinarity, Newcastle upon Tyne 2010
(NTNU Library).
Galikova, Silvia, DBEFNJD8SJUJOH4FMFDUFE5PQJDT
JO8SJUJOHBODBEFNJD1BQFS, Frankfurt am Main:
Peter Lang GmbH, 2016 (NTNU Library).
Gibaldi, Joseph, and the Modern Language
Association of America, .-4UZMF.BOVBMBOE
(VJEFUP4DIPMBSMZ1VCMJTIJOH, third edition, New
York: Modern Language Association, 2008 (NTU
Library).
Hudson, Suzanne, and Nancy Noonan-Morrissey,
5IFSUPG8SJUJOHBCPVUSU, Belmont, CA:
Harcourt College Publishers, c. 2002 (NTNU
Library).
Iversen, Margaret, and Stephen W. Melville, 8SJUJOH
Art History: Disciplinary Departures, Chicago and
London: The University of Chicago Press, c. 2010
(NTNU Library).
Luey, Beth, (ed.), 3FWJTJOH:PVS%JTTFSUBUJPOEWJDF
GSPN-FBEJOHEJUPST, Berkeley CA: The University
of California Press, c. 2004 (NTNU Library).
Nelson, Robert S., and Richard Shiff (eds), Critical
5FSNTGPSSU)JTUPSZ, second edition, Chicago: The
University of Chicago Press, 2003 (NTNU Library).
Osmond, Alex, DBEFNJD8SJUJOHBOE(SBNNBS
for Students, London and Thousand Oaks CA: Sage
Publishing, 2013 (NTNU Library).
Roberts, Carol M., The Dissertation Journey: A
1SBDUJDBMBOE$PNQSFIFOTJWF(VJEFUP1MBOOJOH
8SJUJOH BOE%FGFOEJOH:PVS%JTTFSUBUJPO, Thousand
Oaks CA: Corwin, c. 2004 (NTNU Library).
Turley, Richard Marggraf, 8SJUJOHTTBZT(VJEF
GPS4UVEFOUTJOOHMJTIBOEUIF)VNBOJUJFT, London
and New York: Routledge, 2000 (NTU Library).

14. 11
Research Resources
National Taiwan Normal University
Library. 129, Section 1, Heping East
Road, Da’an District. The Library has an
extensive collection of print and electronic
monographs and journals on all aspects of
art history and museology, in English and
Mandarin.
National Taiwan University Library. 1,
Section 4, Roosevelt Rd, Da’an District.
NTNU students can apply online for entry
and borrowing privileges at this Library
using NTNU student cards.
National Central Library. 20, Zhongshan
South Road, Zhongzheng District. Anyone
may apply at the front counter for a card
to use the Library, on presentation of a
QBTTQPSU MJFO3FTJEFOU$FSUJƋDBUF PSPUIFS
proof of identity.
https://www.metmuseum.org/toah/. The
Metropolitan Museum of Art’s Heilbrunn
Timeline of Art History provides a large
number of essays discussing artworks and
artists, as well as diagrammatic cultural
chronologies.
https://www.moma.org/learn/moma_
learning/glossary/. The website of the
Museum of Modern Art in New York
provides a glossary of art historical
terminology, mostly relating to art from
the nineteenth century to the present.
https://rkd.nl/en/collections/explore. The
website of the RKD–Netherlands Institute
for Art History provides a database with
images of, and information about, mostly
Western works of art, as well as biographical
information on artists.
https://www.lightboxlib.org. The website
for Lightbox Photo Library, a Taipei not-
for-profit photography research and
discussion centre, focussing on Taiwanese
p h o t o g r a p h y, b u t e n c o m p a s s i n g
international photography as well.
www.academia.edu Many international
academics post full-text copies of their
publications, or previews or titles, on this
website. It is also possible to leave messages
for authors on the website.
https://www.theartnewspaper.com. The
leading English language source for news
on visual art museums and exhibitions
internationally. Notably, it publishes annual
rankings for museum and exhibition
attendances.
https://theindex.princeton.edu. Princeton
University’s The Index of Medieval Art
provides a database of Medieval art mainly
from Western Europe and Byzantium, but
also some Mediterranean and Near Eastern
cultures.

16. HWH, February 2023.