Student Guide to Referencing When presenting written work you must ensure that you have acknowledged your sources fully and accurately. This guide informs you how to: reference quotations using footnotes present a bibliography English Studies students are required to present quotations and references according to the conventions given below; failure to present quotations and references correctly will undermine the quality of your work and adversely affect your mark. Failure to reference quotations fully and accurately may result in charges of plagiarism (please see section on Plagiarism in your Programme Handbook). You should use this guide in conjunction with the English Studies Section Guide to the Presentation of Submitted Work. For further guidance on referencing see Joseph Gibaldi, MLA Handbook for Writers of Research Papers (New York: Modern Languages Association of America, 2003). Quotations and footnotes When quoting from a primary or a secondary source, you must reference your source by providing the following details in a footnote: the name of the author the title of the work full publication details (see examples below) the number of the page from which you are quoting Note: Microsoft Word will automatically insert and number footnotes: if using Microsoft Word 2007, click on References on the ribbon and then the Insert Footnote button.. Referencing a primary source (e.g. a novel, play or poem) Novel When quoting from a primary source, give full details of that source and the page from which you are quoting in a footnote. In his depiction of the magicians, Rushdie suggests that reality is not fixed or stable : The magicians were people whose hold on reality was absolute; they gripped it so powerfully that they could bend it every which way in the service of their arts, but they never forgot what it was. Salman Rushdie, Midnight s Children (London: Picador, 98) 399.
Play When discussing a play, give full reference details of the source from which you are quoting; when quoting from that source, you must also identify the location of the quote by giving details of the Act, Scene and Line. NB: you must reproduce the text as it is laid out in the original. Aristocratic values, which privilege birth and rank, are called into question by DeFlores in Middleton and Rowley s The Changeling: DeFlores: Look but into your conscience, read me there. Tis a true book, you ll find me there your equal. Push, fly not to your birth, but settle you In what the act has made you, y are no more now; You must forget your parentage to me. Y are the deed s creature (The Changeling, III, iv, 32-37) Thomas Middleton and William Rowley, The Changeling, Renaissance Drama, ed. Arthur F. Kinney (Oxford: Blackwell, 999). Poem When discussing a poem, give full reference details of the source from which you are quoting; when quoting from that source, you must identify the location of the quote by giving the line number or numbers (where these are given in your source). NB: you must reproduce the text as it is laid out in the original. In his poem The Idea of Ancestry Etheridge Knight conveys the importance of a sense of heritage: Each fall the graves of my grandfathers call me, the brown hills and red gullies of the mississippi send out their electric messages (lines 22-24) Etheridge Knight, The Idea of Ancestry, Call and Response: The Riverside Anthology of the African American Literary Tradition, ed. Patricia Liggins Hill, (Boston: Houghton Mifflin, 988). 2. Referencing a secondary source (i.e. a critical work) When quoting from a secondary source, give full details of that source and the page from which you are quoting in a footnote. a. Referencing a source by a single author: Peter Barry, Beginning Theory: An Introduction to Literary and Cultural Theory (Manchester: Manchester University Press, 2002) 25. b. Referencing a chapter in an edited collection: Stephen Greenblatt, Marlowe and the Will to Absolute Play, New Historicism and Renaissance Drama, ed. Richard Wilson and Richard Dutton (Harlow: Longman, 994) 63. 2
c. Referencing an article in a journal: Jean-Marie Benoist, The fictional subject, Twentieth Century Studies 6:4 (97) 88. 3. Referencing a source more than once If you make more than one quotation from the same source, you may abbreviate the reference given in your footnote. The footnote reference for the first quotation would be presented in full: Graham Allen, Intertextuality (London: Routledge, 2000) 5. Further quotations can then be presented in the following abbreviated form: Allen 62. 4. Presenting quotations additional guidance a. Where a quotation of more than four lines is given indent the quotation from both right and left margins. In such instances there is no need to enclose the quote in speech marks: Bennett and Royle have drawn attention to the ways in which the Freudian concept of the uncanny can be applied to the study of literature: On the one hand, uncanniness could be defined as occurring when real, everyday life suddenly takes on a disturbing literary or fictional quality. On the other hand, literature itself could be defined as the discourse of the uncanny: literature is the kind of writing which most persistently and most provocatively engages with the uncanny aspects of experience, thought and feeling it makes the familiar strange, it challenges our beliefs and assumptions about the world and about the nature of reality. Andrew Bennett and Nicholas Royle, An Introduction to Literature, Criticism and Theory (Hemel Hempstead: Harvester Wheatsheaf, 995) 34. b. Where a quotation is integrated into your sentence enclose direct quotations in speech marks: Freud drew attention to the the uncanny effect of leaving the reader in uncertainty. Sigmund Freud, The Uncanny, The Penguin Freud Library 4: Art and Literature, ed. Albert Dickson (London: Penguin, 990) 347. c. Where no direct quotation is given and you wish to either paraphrase a work or acknowledge the influence of a secondary work without making a direct quotation, you might do so in the following way: Michel Foucault has drawn attention to the ways in which sexuality is constructed through the discourses of Christianity, medical science, pedagogy and the law. 3
See Michel Foucault, The History of Sexuality: An Introduction (London: Penguin, 976). Presenting references in a Bibliography You must give a Bibliography at the end of your essay; the Bibliography lists all primary and secondary sources referenced in the course of your essay. The Bibliography should also list secondary sources which have influenced your argument but which have not been quoted directly. Your Bibliography should be divided into two lists: Primary Sources (listing the novels, plays, poems, films etc you are analysing) and Secondary Sources (listing all critical works). Entries must be listed alphabetically. Please note the presentation of references in a Bibliography differs from the presentation of references in a footnote: the author s surname must be given first and the details of the reference are punctuated by full stops rather than commas when referencing an article from a journal the full page range must be given Note: You must acknowledge material taken from the internet. When referencing articles and other material accessible online via the internet you must specify the pathway for access. Sites may not be permanent and so the date the site was visited needs to be given. Examples of Primary Sources a. Novel: Hornby, Nick. About a Boy. London: Penguin, 998. b. Film: It s a Wonderful Life. dir. Frank Capra, USA, 946. c. Television Drama: Ally Mc Beal. USA, Fox, 997-2002. Examples of Secondary Sources a. Secondary source by a single author: Allen, Graham. Intertextuality. London: Routledge, 2000. b. Chapter in an edited collection: Greenblatt, Stephen. Marlowe and the Will to Absolute Play. New Historicism and Renaissance Drama. Ed. Richard Wilson and Richard Dutton. Harlow: Longman, 994. c. Article in journal: Rodas, Julia Miele. Tiny Tim, Blind Bertha and the Resistance of Miss Mowcher: Charles Dickens and the Uses of Disability. Dickens Studies Annual 34 (2004) 5 97. d. Website: Landow, George. The Dead Woman Talks Back: Christina Rossetti's Ironic Intonation of the Dead Fair Maiden. The Victorian Web. http://www.victorianweb.org/authors/crossetti/gpl.html (24th June 200). 4
Sample Bibliography Primary Sources Waters, Sarah. Affinity. London: Virago, 999. Secondary Sources Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York and London: Routledge, 999. Fink, Janet and Katherine Holden. Pictures from the Margins of Marriage: Representations of Spinsters and Single Mothers in the mid-victorian Novel, Inter-War Hollywood Melodrama and the British Film of the 950s and 960s. Gender & History :2 (999) 233-255. Geroux, Ellen. Prisons in Aurora Leigh. The Victorian Web. http://www.victorianweb.org/authors/ebb/6a6.html. (24th June 200). King, Jeanette. The Victorian Woman Question in Contemporary Feminist Fiction. London: Palgrave Macmillan, 2005. Kucich, John and Dianne F. Sadoff, eds. Victorian Afterlife: Postmodern Culture Rewrites the Nineteenth Century. Minneapolis: University of Minnesota Press, 2000. Owen, Alex. The Darkened Room: Women, Power, and Spiritualism in Late Victorian England. London: Virago, 989. Prins, Yopie. Greek Maenads, Victorian Spinsters. Victorian Sexual Dissidence. Ed. Richard Dellamora. Chicago: University of Chicago Press, 999. Vicinus, Martha. Independent Women: Work and Community for Single Women: 850-920. London: Virago, 985. 5