Department of Performing Arts & English Referencing Guidelines for Students Referencing is a way of acknowledging that you have used the ideas and written material belonging to another author. It applies to what you have watched, listened to or looked at, including electronic sources such as websites. The Department uses the Harvard referencing system. Why do it? Accurate referencing demonstrates that you have undertaken appropriate reading and also helps your lecturer to locate the sources of information you have used. Failure to acknowledge another writer s work or ideas will be considered plagiarism (literary theft). In a 2003 study, 46% of Loughborough University students thought that including reworded sentences from books, journals or lectures in an assignment without acknowledging the original author was acceptable (Stubbings & Brine, 2003, p. 43). They were wrong. To paraphrase without referencing the original source is an academic offence. Proper and consistent referencing is an important aspect of achieving academic standards in your work and you may lose marks for failing to reference properly. So, it is important to note all the sources you use when researching your assignment. Where do you put this information? References should be included in all kinds of assignments essays, portfolios, posters, presentations and dissertations. - in the body of the text Whenever you refer to someone else s work, either directly or indirectly, indicate whose work that is. This applies equally to quotations or paraphrasing into your own words. For direct quotations, the relevant page number is also needed. It is not enough just to put a reference at the end of the paragraph; you need to let the reader know where your use of a source begins and ends. - at the end of the assignment A reference list including the full details for all the references (discussed, quoted or paraphrased) should be provided. The list should be left-aligned and in alphabetical order (according to author). A bibliography is a separate list of sources that informed your work but are not referenced in the body of your text. Do not create separate lists according to source type. However, each type of resource has its own specific layout that must be followed scrupulously (as illustrated below). What should you include? The basic principle is that you should cite enough information for the reader to locate the source in the future. If there are more than three authors, you do not need to list them all: list the first author followed by et al. 1 1 Books Always use the title page and the copyright page, rather than the book s cover to find these details. (i) Author(s) (surname followed by initial) (ii) Year of publication in round () brackets (iii) Book title (in italics, in sentence case) : Subtitle separated by colon (iv) Edition of book (abbreviate to edn. ; don t include the edition number if it is the 1 st edition) 1 The Latin expression et al means and others. Use this for both the in-text reference and in the list of reference at the end of your work.
(v) (vi) Place of publication: (the first named if there is more than one place) Publisher Cottrell (2003, p.133) recommends that you use your own words, even if you don t think you write well they count for more than copied text. Performances originate from a variety of sources, such as written texts or works of visual art (Schechner, 2006, p. 226). Cottrell, S. (2003) The study skills handbook. 2nd edn. Basingstoke: Palgrave Macmillan. Schechner, R. (2006) Performance studies: an introduction. 2nd edn. London: Routledge. Books with an editor or chapter in an edited book (i) Author(s) of chapter (iii) Title of chapter, followed by in (iv) Name of editor(s) (abbreviated to ed. or eds. if more than one) (v) Book title (in italics, in sentence case) : Subtitle separated by colon (vi) Edition of book (abbreviate to edn. ; don t include the edition number if it is the 1 st edition) (vii) Place of publication: (the first named if there is more than one place) (viii) Publisher (ix) Chapter page numbers Begam (2007, p. 186) argues that Joyce s political engagement operates at the aesthetic level. Begam, R. (2007) Joyce s Trojan Horse: Ulysses and the aesthetics of decolonization, in Begam, R. and Valdez Moses, M. (eds.) Modernism and colonialism: British and Irish literature, 1899-1939. Durham, N.C.: Duke University Press, pp. 185-208. 1.2 Electronic books (i) (ii) (iii) (iv) (v) (vi) (vii) Author(s) (Year of publication) Book title (in italics, in sentence case) : Subtitle separated by colon E-book supplier (e.g. Netlibrary, Taylor & Francis) [Online] Available at: URL (Accessed: date month year) Since the early 1960s women have been involved in performance art and have worked to liberate the body marked female from the confines of patriarchal delimitation (Schneider, 1997, p. 11). Schneider, R. (1997) The explicit body in performance. Netlibrary [Online]. Available at: http://0-www.netlibrary.com.brum.luton.ac.uk/ (Accessed: 14 November 2007).
2 Journals Print journals (i) Author(s) (surname followed by initial) (iii) Title of article (iv) Title of the journal (in italics, in Title Case) (v) Volume number (issue number), page numbers (pp. ) Hawkins (2006) argues that Dante s contribution to theology. Hawkins, P. (2006) All smiles: poetry and theology in Dante, PMLA, 121 (2), pp. 371-387. Electronic editions of print journals (e.g. from databases such as International Index to Performing Arts) (i) Author(s) (surname followed by initial) (iii) Title of article (iv) Title of the journal (in italics, in Title Case) (v) Volume number (issue number), page numbers (pp. ) (vi) Name of database / electronic journal supplier (see Note field on Catalogue page) (vii) [Online] (viii) Available at: URL of collection (ix) (Accessed: date month year) Price (1990, p. 324) argues that Bausch s Tanztheatre explores the construction of gender from the standpoint of both radical and materialist feminism. Price, D. (1990) Women and/in drama: the politics of the body: Pina Bausch s Tanztheater, Theatre Journal, 42 (3), pp. 322-331. International Index to Performing Arts [Online]. Available at: http://0-iipa.chadwyck.com.brum.luton.ac.uk/home.do (Accessed: 14 November 2007). 3 Newspaper articles (print and electronic) (i) Author(s) (iii) Title of article (iv) Name of newspaper (in italics, in Sentence case) (v) Date and month of publication (vi) Page number(s) (p. or pp. ; only include page numbers for print articles) If using an electronic version of an article, add the following to the above information: (vii) [Online] (viii) Available at: URL (ix) (Accessed: date month year) The preponderance of reality TV shows featuring competitors vying for a place in West End musicals has led to a rise in theatre attendance (Byrne, 2008).
Byrne, C. (2008) Reality TV shows create boom in theatre attendance, The Independent, 18 January, p. 22. OR, IF USING ELECTRONIC VERSION: Byrne, C. (2008) Reality TV shows create boom in theatre attendance, The Independent, 18 January [Online]. Available at: http://0-www.lexisnexis.com.brum.luton.ac.uk/uk/legal/home/ home.do?rand=0.2525892476402214 (Accessed: 7 February 2008). 4 Lecture materials from BREO (i) (ii) (iii) (iv) (v) (vi) (vii) Lecturer or Author(s) (Year of publication) Title of lecture (in quotation marks) Name of unit/module (in italics, in Sentence case) [Online] Available at: URL of BREO (Accessed: date month year) The aim of politically correct language is to create a more inclusive vocabulary (Walsh, 2008). Walsh, C. (2008) Week 16: Free speech and political correctness. Language, ideology and power [Online]. Available at: http://breo.beds.ac.uk (Accessed: 2 May 2008). 5 Organisational or personal Internet sites If you cannot identify the originator or date of a webpage, you should reconsider whether the information is of reliable quality. (i) Author(s) 2 (iii) Name of webpage (in italics, in Sentence case) (iv) Available at: URL (include the web page s full address, not just the generic website) (v) (Accessed: date month year) Many graduates from creative disciplines such as dance are self-employed, in part because of the creative freedom this offers (Burns, 2007, p. 6). DV8 s artistic policy emphasises the company s attempts to break down the barriers between dance, theatre and personal politics (DV8 Physical Theatre, 2008). Burns, S. (2007) Mapping dance: entrepreneurship and professional practice in dance higher education. Available at: http://www.palatine.ac.uk/files/publications/723.pdf (Accessed: 27 March 2008). DV8 Physical Theatre (2008) About DV8: artistic policy. Available at: http://www.dv8. co.uk/about.dv8/artistic.policy.html (Accessed: 27 November 2007). 2 Use the date the page was updated (preferably), created or copyrighted. If no publication date is given, write (No date).
6 Audio visual materials videos & DVDs (i) Title of film/programme (in italics) (ii) (Year of distribution) (iii) Director (iv) [DVD] or [videocassette] (v) Place of distribution: Distribution Company. In Michael Hoffman s recent adaptation of Shakespeare s play (A Midsummer Night s Dream, 2002) A Midsummer Night s Dream (2002) Directed by Michael Hoffman [DVD]. Los Angeles: 20th Century Fox Home Entertainment. For DVD copies of television programmes (in reference list): Dance for the camera: the snowball effect (1998) Directed by Brett Turnball [DVD] BBC 2, 15 January. 7 Live performances Dance and Theatre Dance performances: (i) Composer or choreographer (ii) (Year of Premier) (iii) Title (in italics) (iv) Location. Date seen in square [ ] brackets. The production updates Bizet s opera Carmen to 1960s America (Bourne, 2000). Bourne, M. (2000) The Car Man. [Sadler s Wells Theatre, London. 11 July 2007]. Theatre performances: (i) Title (in italics) (ii) by Author name (iii) (Year of performance) (iv) Directed by (v) Location. Date seen in square [ ] brackets. The production used video screens on stage to display both pre-recorded and live images (Richard II, 2005). Richard II by William Shakespeare (2005) Directed by Trevor Nunn. [The Old Vic Theatre, London. 15 September].
8 Secondary referencing Please note that secondary referencing is a useful technique, but should only be used infrequently. It is good practice to consult the original text whenever possible. It is acceptable to use secondary referencing when an author refers to another author s work and the primary source is not available (for example, because the primary source is very old). Let it be first of all by their presence that objects and gestures establish themselves (Alain Robbe-Grillet, quoted in Banes, 1987, p. 43) Barish, cited by Poole (1995), remarks that Puritan can often be used as a shorthand term for much anti-theatrical writing. Banes, S. (1987) Terpsichore in sneakers: post-modern dance. Hanover, N.H.: Wesleyan University Press. Poole, K. (1995) Saints alive! Falstaff, Martin Marprelate, and the staging of Puritanism, Shakespeare Quarterly, 46 (1), pp. 47-75. How do I find out more about referencing? If you are confused about referencing in an assignment, talk to your lecturer or contact your subject librarian for help. Alternatively, consult Cite them right (Pears & Shields, 2005), a useful guide to Harvard Referencing. There are copies of this guide in Polhill Library. Reference list Pears, R. & Shields, G. (2005) Cite them right: The essential guide to referencing and plagiarism. New edn. Newcastle-upon-Tyne: Pear Tree Books. Stubbings, R. & Brine, A. (2003) Plagiarism and the role of the library, CILIP Update, 2 (12) pp. 42-44. Acknowledgement: Based on the referencing guide for the University of Bedfordshire Faculty of Health and Social Sciences, created by Hilary Johnson (Health Studies Librarian), Dawn Haysom (Academic Liaison Librarian) and Susan Malherbe (Lecturer) (June 2006, updated June 2007). This version created by Jacqueline Belanger (Academic Liaison Librarian), April-May 2008.