Introduction...1 Presentation...1 In text citations...2 Example...2 Footnotes...3 Appendices...3 Bibliography...3 Sample entries:...

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1 ACADEMIC REFERENCING Guidance for students in 2011/12 CONTENTS WITH QUICK LINKS Introduction...1 Presentation...1 In text citations...2 Example...2 Footnotes...3 Appendices...3 Bibliography...3 Sample entries:...3 Books... 3 Edited collection... 3 Translated edition... 3 Chapter in collection... 3 Journal article... 4 A book by a corporate author (e.g. an organisation or a government department)... 4 Play... 4 Production/Art work... 4 Poem... 4 Newspaper... 4 An act of parliament... 4 A Green/White paper... 4 Film/TV/Radio Lectures... 4 Interviews... 4 Thesis/dissertation... 5 Website... 5 Example of a bibliography at the end of an assignment:... 5 Introduction These guidelines should be followed for all relevant written work submitted at CSSD, including portfolios, presentations, writing within films, for example. It is implicit within most assessment criteria that work follows these conventions and will be marked accordingly. Presentation Work should be word-processed (except sections of portfolios). Number all pages. Margins should be wide enough for marker s comments. Lines should be double spaced (or single and a half spaced) if it is percentage weighted work. Footnotes should be numbered numerically and placed at the bottom of the page. Assignments should be easily accessible to the reader in terms of binding and covers. The final page should be a Bibliography which includes full bibliographic reference to the sources used and cited in the essay. The School uses the Harvard method of citation for bibliographic references. Please use this method in all written work, using the guidelines below. 1

2 In text citations When written, all titles of books, plays, journals, films, TV programmes etc. should be italicised (not in " " marks). Quotations of more than 3 lines should be indented at each end and followed by an indication of their source: author s last name, date of publication and page number/s. Quotation marks are not used for these indented quotations that are more than three lines. (Indented quotations are always single spaced, not doubled.) Quotations of less than three lines should be incorporated into the flow of the text and you do put these inside quotation marks. Use square brackets [ ] to indicate your insertions into the quotation. Three full stops... shows part of the original text has been omitted by you. Give the author's last name, the date of the publication and the page reference after each and every quotation, except in the case of plays where line references will do. Put the date after each author referred to in brackets ( ), describing the publication date of the source, except in the sole case of Shakespeare plays when the title alone will suffice. If you are citing a quotation within another text, your reference would read, for example: (Hall in Giddens 1990: 54). The Hall text would not appear in the bibliography. If you are citing an idea or concept rather than an exact quotation, the reference should be included (see Inglis citation in the example below). Referencing a website in the text should follow the systems laid down for referencing a text e.g. (Burka 1993). It is sometimes not possible to put a page reference. If you are using a lecturer s ideas, these should be referenced in the same way a text is. If you are using a quotation that a lecturer has used, you should cite it as (Quilter 2006: 324 in Cookson: ) where Cookson is the lecturer. Always use the date of publication of the edition of the text that you are actually using. The following example includes quotations of over and under three lines and a citation of a concept. Example Greiner (1955) makes tentative comparisons between film-making and other subjects. She is clearly anxious about the status of popular media in the context of the curriculum, despite her confidence in the educational value of such activities: The preliminary stages [in composing a story] should be carefully worked out steps and have a considerable bearing on the study and practice of English and Art. The subsequent stages should take into account these steps. (Greiner 1955: 7-8) Later she attempts to argue that films are in some way equivalent (as discursive forms, we might say) to drama, the novel, poetry, television and radio. Juxtaposing this argument, there are others who would not agree: The film stands alone as an art form. (Quilter 2006: 256) Perhaps here we are seeing the shift in thinking that is symbolic of a postmodern critique of film (Inglis 2002: 67-72). Please remember that text citations are included in the wordcount. 2

3 Footnotes As a general rule, put important matters into the text and omit related items. Footnotes are the place to explain: research problems; conflicts in the testimony of experts; matters of importance that are not central to your discussion; credit to people and sources not mentioned in the text; other pertinent tangential matters. They are not the place to put the reference. This is done in the main body of the text (as demonstrated in the example above). Footnotes are single spaced. Please remember that footnotes are included in the wordcount. Appendices You may wish to use appendices. This is the place for lengthy additional information that is not immediately pertinent to your argument but supports your work. For example: transcripts of sections of interviews; DVDs, art work or equivalent that accompany the assignment; summaries of a line of thought that you have referred to. To describe it in detail in your essay may be an unhelpful use of wordcount but you could choose to describe it in an appendix; extracts from important documents; examples of questionnaires used. Appendices should be labelled A, B, and so on. They can be single spaced. Please remember that appendices are not included in the wordcount. Bibliography This should be laid out alphabetically by author s last name (and not in sections as it is here). The basic format is: author, date, title, place of publication, publisher. This will vary with, for example, website references (see below). Sample entries: Books Giddens, A. (1990) The Consequences of Modernity, Cambridge, Polity. Edited collection Hirschop, K. & Shepherd, D. (eds.) (1989) Bakhtin and Cultural Theory, Manchester, Manchester University Press. Translated edition Boal, A. (1992) Games for Actors and Non-Actors, (trans. A. Jackson) London, Routledge. Chapter in collection Kirshenblat-Gimblett, B. (2002) Performance Studies in Bial, H. (ed.) The Performance Studies Reader, London and New York, Routledge: [The page numbers are for the whole chapter.] 3

4 Journal article Bigum, C. & Green, B. (1993) Aliens in the Classroom, Australian Journal of Education, Vol. 37, No. 2: [Where a journal article is accessed online, add the website reference after the full journal reference indicating that you accessed it online and add the date accessed. See website reference below for date accessed information.] A book by a corporate author (e.g. an organisation or a government department) National Campaign for the Arts (1998) Theatre in crisis: the plight of regional theatre, London, National Campaign for the Arts. Play Shakespeare, W. (1953) Macbeth. Shakespeare: Twenty three plays and the sonnets, T.M. Parrott (ed.), New York, Scribner s. Production/Art work Royal Shakespeare Company (2007) Antony and Cleopatra, (W. Shakespeare) Novello Theatre, London, Slater, E. The Made Bed, Tate Gallery, London, Jan-April, Poem Eliot, T.S. (1952) The Love Song of J Alfred Prufrock, The Complete Poems and Plays, New York, Harcourt. Newspaper Walters, D. (1991) Redefining Art from the Heart of Africa, Christian Science Monitor, : Or Fight Against Root Causes of Violence, Editorial, USA Today, : 10 An act of parliament Great Britain (2004) Children s Act Chapter 31 London, HMSO. A Green/White paper Department for Education and Skills (2003) The future of higher education, Cm London, HMSO. Film/TV/Radio. Warner Bros. (1991) Robin Hood: Prince of Thieves. The Commanders: Douglas MacArthur, New York, NBC-TV, Wyndham, J. (1957) The Midwich Cuckoos, (adapted by D. Rebellato) BBC Radio 4, Lectures Brown, R. (2005) The Pleasures of Silence, Lecture, CSSD, Interviews Teale, P. (2001) Interview discussing women directors in contemporary theatre, (see transcript, Appendix B). 4

5 Thesis/dissertation Abbey, K. (2005) To know or not to know: an investigation into the transpersonal aspect of the therapeutic relationship, Unpublished MA dissertation, Central School of Speech and Drama. Website Citing online resources can be particularly tricky. You need to try to give the same information as with any other source, although it may not be given on the website; plus you need to give a couple of additional things. As with all bibliographic references, you are identifying the precise location for a reader. You must identify the exact location within the site, so give the full url (the address of the exact page you are citing) after the title of the page or article. As web pages change frequently, you also need to include the date you accessed the page, at the end of your citation. In example one, the date of the creation of the webpage is not available; the access date is all that could be given. Example one: Wood, D. The history of the Embassy Theatre, (accessed ). Where possible you should give the date of publication of the page, (as opposed to the date on which you accessed it) which you should insert between the title of the article and the url, as in example two. And where possible you should give the title of the overall work (which may be the name of the website) after the name of the page or article you are citing. Give this in italics as if it was the title of a book, as in example two. Example two: Burka, L. P. A Hypertext History of Multi-User Dimensions, MUD History, 1993, ). You will often find that an online resource does not give the name of its author. When this is the case you should look for an authoring organisation, as in example three. Example three: The University of Nottingham Centre for English Language Education (2005) Study Skills, Virtual Self Access Centre, (accessed ). Example of a bibliography at the end of an assignment: Auge, M. (1995) Non-Places, Oxford, Blackwell Verso. Chaudhuri, U. (1994) There Must Be a Lot of Fish in That Lake: Towards an Ecological Theatre, Theatre, Vol. 25: Derrida, J. (1996) Archive Fever: A Freudian Impression, (trans. E. Prenowitz) Chicago, University of Chicago Press. Foucault, M. (1986) Of Other Places, Diacritics, Vol. 16: Kaye, N. (2000) Site Specifics: Performance, Place and Documentation, London, Routledge. Kershaw, B. (2000) The Theatrical Biosphere and Ecologies of Performance, NTQ, Vol. 62:

6 Mason, B. (1992) Street Theatre and Other Outdoor Performances, London, Routledge. Open University (1999) Reading the Landscape, Programme D103, BBC, 15th February. Read, A. Estate: Performance, Architecture, Location, (accessed ). Rushdie, S. (1992) Imaginary Homelands: Essays and Criticism , New York, Viking Penguin. Schechner, R. (2002) Performance Studies: An Introduction, London, Routledge. Thomson, P. (2002). Theatre and Research, Researching Drama and Theatre in Education conference paper, University of Exeter, 10th April. Please remember that the bibliography is not included in the wordcount. THESE GUIDELINES CANNOT COVER EVERY EVENTUALITY. PLEASE ADAPT THIS GENERAL FRAMEWORK FOR ITEMS NOT COVERED ABOVE, REMAINING CONSISTENT THROUGHOUT YOUR ASSIGNMENT. THESE CONVENTIONS TAKE PRECEDENCE OVER ANY OTHERS FOR THE DURATION OF YOUR DEGREE. 6