Style Sheet, IEAS, 2008

8/9/2019 Style Sheet, IEAS, 2008

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Style SheetStyle SheetStyle SheetStyle SheetStyle SheetStyle SheetStyle SheetStyle Sheet

INSTITUTE OF ENGLISH

& AMERICAN STUDIES

UNIVERSITY OF SZEGEDSzeged

2008


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This Style Sheet

was compiled and designed by

GYRGY E. SZNYI

The text was revised by members of the Institute

including English and American visiting professors.

Special thanks for the section on linguistics to

Anna Fenyvesi, Istvn Kenesei, and Don Peckham,and to the editors of the

Hungarian Journal of English and American Studies

(University of Debrecen)

for their compressed Style Sheet which is included in

Appendix 6.4.

Word processing by

WordPerfect for Windows 8.0,

using Times Roman (TT) typeface.

Fifth, greatly revised edition, second impression.

Gy.E. Sznyi; SZTE IEAS, 2008, 2004, 2002, 1998, 1992

Institute of

English & American Studies (IEAS)

UNIVERSITY OF SZEGED (SZTE)

SZEGED Egyetem u. 2. H-6722 HUNGARY

Tel/fax: 36-62-544 259

e-mail:

web site:


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CONTENTS

PREFATORY REMARKS TO THE STUDENT . . . . . . . . . . . . . . . . . . . . . . 8

1 WRITING ABOUT LITERATURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91.1 Representing the Literary Text . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

1.1.1 copying paraphrase summary . . . . . . . . . . . . . . . . . . . . 101.2 Replying to the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

1.2.1 imitation and parody adaptation . . . . . . . . . . . . . . . . . . . . 101.3 Explaining the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

1.3.1 description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111.3.2 analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111.3.3 interpretation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

1.4 Deciding What to Write About . . . . . . . . . . . . . . . . . . . . . . . . . . . 131.4.1 having something to say . . . . . . . . . . . . . . . . . . . . . . . . . . . 131.4.2 choosing a topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131.4.3 considering your audience . . . . . . . . . . . . . . . . . . . . . . . . . . 141.4.4 choosing a genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

1.5 From Topic To Rough Draft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141.5.1 gathering evidence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141.5.2 organizing your notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151.5.3 developing an argument . . . . . . . . . . . . . . . . . . . . . . . . . . . 151.5.4 writing the first draft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

1.6 From Rough Draft To Completed Paper . . . . . . . . . . . . . . . . . . . . 161.6.1 Revising . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

2 FORMAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172.1 Typing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172.2 Proofreading and Correcting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172.3 Parts of the Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

2.3.1 title page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182.3.3 the preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192.3.4 table of contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192.3.5 list of illustrations / tables . . . . . . . . . . . . . . . . . . . . . . . . . . 192.3.6 the text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202.3.7 the reference matter or back matter . . . . . . . . . . . . . . . . . . . 20

2.4 Fastening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21


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3 CITATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

3.1 Citation versus Quotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

3.2 Plagiarism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

3.3 Required Citation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

3.4 Adding Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

3.4.1 footnotes, endnotes, and parenthetical references . . . . . . . . 23

3.4.2 unknown authors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

3.4.3 well-known works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

3.5 Format of Footnotes and Parenthetical References . . . . . . . . . . . . 25

3.6 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

3.6.1 general form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

3.6.2 bibliographical entries compared with notes . . . . . . . . . . . . 273.7 Citation / Reference Consistency . . . . . . . . . . . . . . . . . . . . . . . . . . 27

3.8 Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

3.8.1 books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

3.8.2 articles in journals/magazines . . . . . . . . . . . . . . . . . . . . . . . 31

3.8.3 citing other media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

3.8.4 citing the internet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

3.8.5 multiple references . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

3.8.6 multiple publications by the same author . . . . . . . . . . . . . . 36

4 OTHER FORMAL REQUIREMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . 38

4.1 Underlining and Quoting Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

4.2 Quotations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

4.2.1 short verse quotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

4.2.2 longer verse quotations, block quotations . . . . . . . . . . . . . . 39

4.3 Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

4.4 Punctuation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

4.4.1 punctuation after quotation . . . . . . . . . . . . . . . . . . . . . . . . . 414.5 Omission . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

4.6 Interpolation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

4.7 Some More Useful Remarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

4.7.1 hyphen and dash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

4.7.2 dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

4.7.3 style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42


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5 HANDBOOKS FOR COMPOSITION . . . . . . . . . . . . . . . . . . . . . . . . . . 44

6 APPENDICES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456.1 Most Important Changes in this New, Revised Edition . . . . . . . . . 45

6.2 A Sample Reference List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

6.3 Special Requirements for Papers in Linguistics . . . . . . . . . . . . . . 48

6.3.1 structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

6.3.2 references . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

6.3.3 examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

6.3.4 figures and tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

6.3.5 phonetic transcription . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

6.4 The MLA-basedHJEAS Style Sheet . . . . . . . . . . . . . . . . . . . . . . . 526.5 Sample title pages for Major Papers and MA Theses . . . . . . . . . . 57

6.5.1 major paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

6.5.2 MA thesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

7 CREDITS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59


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PREFATORY REMARKS TO THE STUDENT

In these pages style refers not to literary or writing style but

to style of presentation, customary or editorial style. Aiming at

economy, consistency, and attractiveness, the conventions of

editorial style attend to the readers convenience and help the

swift, accurate exchange of ideas. Bear in mind, for example, that

your instructor reads a great number of essays each year. Ones

that are badly typed or hand-scribbled make this task much

harder, and the shabby look of the paper may overshadow its

internal merits. The following rules can be quickly learned and

are widely accepted in the English-speaking world as well as by

Hungarian publishing conventions.

While studying this Style Sheet , you should also remember

that various institutions, publishing houses, major periodicals as

well as scholarly associations have their own style sheets. The

present one, having been developed at the Institute of English & American Studies of SZTE, represents a golden mean among

several conventions. When you prepare your papers for this in-

stitute, follow the rules below, however, you should be aware that

these rules are conventional and not universally accepted. At

some point it is useful to get to know other conventions, other

style manuals. Where to look for and what to look at is suggested

in the list of sources at the end of this publication. Appendix 6.4

is also meant to facilitate this goal. Furthermore, students should

find it useful to look into leading journals of cultural studies and

linguistics to see the conventions used and the differences among

them.


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1.1 Representing the Literary Text

1.1.1 COPYING PARAPHRASE SUMMARY

Since writing about literature is using words about words, what words shouldyou use? It seems that the best way of representing a text is to copy it. It would

be absurd to copy a whole short story instead of expressing your opinion about

it; however, often it is convenient to copy sentences or passages from the original

work. In other cases it may also be useful to copy other writers opinions, about

your topic. If you do not want to copy every word exactly as you find them in

your source, you can reproduce a slightly changed, condensed version of it. This

is what we call paraphrase and summary. If you look away from the text for awhile and then write down the same thoughts but in your own words, you are

writing a paraphrase. If you shorten the paraphrase to those elements that youthink are the most improtant ones, you develop a summary. What is the use of

these procedures? Paraphrasing is like making a translation; summarizing means

selecting and emphasizing and, so thus, interpreting. By looking at your

paraphrase or summary, your instructor can test whether you have really

understood what you were reading.

1.2 Replying to the Text

1.2.1 IMITATION AND PARODY ADAPTATION

While paraphrase is something like translation a faithful following of the

original text but in different words and summary is the faithful reduction of the

matter, there is another kind of writing about literature that faithfully follows the

manner and matter of a literary text, but which does so with a different purpose.

It is called imitation. You may be able to learn a good deal about writing andreading by trying your hand at imitation. It is also important to recognize if a

literary work is an imitation of another work. TheAeneid, for example, may besaid to be an imitation of the Odyssey, and, in a very different way, so might

James Joyces Ulysses.

A special case of imitation is done with ironic purposes, when the writer wants

to use the manner or matter of another work and, at the same time wants to make

fun of the model he is imitating. This is called parody.


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1.3 Explaining the Text

1.3.1 DESCRIPTION

If you want to introduce a work, you may want to summarize it, or rather, de-scribe it. This latter procedure concentrates, for example, on the form of the stan-

zas, the lines, the rhyme scheme of a poem; the acts, scenes, settings, time lapses

of a drama; or possibly the chapters, books, and structure of a novel. In addition

to these you can describe the style, diction (word choice), the sentence structure,

the characters, and so on.

1.3.2 ANALYSIS

A description of a work or passage rarely stands alone as a piece of writing

about literature. It is, instead, a tool, a means of supporting your point or opinion.Description is normally part of an analysis, which means to break somethingdown into its parts to discover what they are and, usually, how they function in

or relate to the whole.

1.3.3 INTERPRETATION

The most complex form of replying to the text is developing an interpretation.

The next few points will explain how to create and organize your interpretation.

1.3.3.1 Principles and Procedures

Interpretation, or the expression of your conception of a literary work and itsmeaning, involves an initial general impression supported and often modified by

analysis of the particulars. It involves looking at the whole, and again the part,

then again the whole, in a series of approximations and adjustments. This proce-

dure has something in common with the logic of a critical essay: an essay should

present the overall theme and support that generalization with close analyses of

the major elements of that text. Often the end result will be a fuller and more re-

fined statement of the original theme.

1.3.3.2 Reading and Theme Making

When you read, you are continuously having certain expectations which are

either fulfilled by the text, or you are surprised by unexpected elements to which

you have to adjust yourself. Reading is anticipation of theme and effect,

projecting and modifying understanding and response. During this process you

not only understand the text better and better, but you also develop certain themes

which concern you for some reason. In the course of an analysis it is always


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important to clarify the theme of the interpretation. Normally you cannot deal

with everything in connection with a text, you have to select, either driven by

your interest, or, in a less fortunate case, by guidelines set by your instructor.

Speaking about reading, you also have to remember that the more you read a textthe more sophisticated views you gain, and often your re-reading brings very

different results from your previous reading.

1.3.3.3 Opinions, Right and Wrong

Just as each of your own separate readings are different, similarly, one readers

fullest and final reading, interpretation will differ somewhat from anothers.

There are various approximate readings of varying degrees of acceptability, va-

rious competent, good readings, not just one single right reading. This does not

mean, however, that any reading is correct. On the basis of cultural traditions andliterary conventions, the user community of a text can decide whether an

interpretation is still acceptable or simply wrong. How this decision making

actually happens is still a mystery, although literary theoreticians, psychologists,

and sociologists are working on explaining it.

1.3.3.4 Reader and Text

It is sometimes difficult to say exactly what a piece of literature says, not

because it is vague or meaningless, but because it is too specific and meaningful

to paraphrase in any language but its own. Interpretations try to approximate and,at the same time, explain the meaning of the text, however, it is practically im-

possible to determine what the meaning of the text is, as no one can look at it

without his/her own preconceptions, biases, and the filter of cultural traditions.

Because of the subjectivity of the reader, which cannot be eliminated, the first

task is to get notto the authors original intention, but to the general statement

that the work itself makes, its theme or thesis. The full meaning of a work for you,

the reader, is not only its theme but the precise language of the text and your own

applicable experiences including reading experience and imagination. Wecould say that the meaning is what the text implies for you. This meaning is

obviously not a total meaning, as other readers may understand the given work

differently.

Your role in producing a meaning from the text does not free you, please note,

from paying very close attention to the precise language of the text. You cannot

impose a meaning on the text, although it is very difficult to decide to what extent

a reading is interpretation, re-creation, or violation of the original. The literary

work is meaningful, that is, full of meanings, but it is the reader who produces


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each particular meaning from the work, using the work itself, the language of the

community and of the work, and his or her own experience and imagination. As

readers trying to understand the unique perception of the author, we must translate

the text as best as we can into terms we can understand for ourselves. We try notto reduce the text to our own earlier, limited understanding but to stretch our

minds and feelings toward its vision.

1.4 Deciding What to Write About

1.4.1 HAVING SOMETHING TO SAY

Deciding what to write about what approach to use, what questions to ask

seems like the first step in the process of writing a paper about a work ofliterature. It is not. Ideally, before that, you have to have confidence that you have

something to say. Even if you cannot choose your topic because it was given to

you by your instructor, through reading and preparation you have to bring

yourself to such a state when you feel yourself mature and ready for writing. The

first step in building your confidence is getting close enough to the work to feel

comfortable with it.

1.4.2 CHOOSING A TOPIC

When you have finished the first reading, think about your first impressions.Then read the work again and after that try to write a longer statement, a summary

or paraphrase, as explained above. Take a break, do something else, then go back

to your assignment and try to choose your topic. You can reconsider your state-

ment, which, perhaps in a revised form, might become your thesis.

The next step is to convert your personal feelings into an objective statement

about the work, a statement that will mean something to someone else.

1.4.3 CONSIDERING YOUR AUDIENCEWhile preparing for writing, one of the most sensitive issues is to know clearly

who you are writing for. Who is your audience? At the university, in most cases,

it will be your instructor who represents a kind of average scholarly audience. If

your paper is a presentation, you should also think of your classmates, student

colleagues who are not as well informed as your instructor. Be careful not to be

insulting and explain the obvious, but also do not assume that your reader/listener

has noticed every detail you have discovered after several readings. The aim is to

inform and convince your reader, not to impress them or frighten them away.


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1.4.4 CHOOSING A GENREIn connection with thinking of your audience, considering your assignment,

and weighing the purpose of your intended writing, a key issue is choosing yourgenre. Will it be an informative review or a detailed analysis revealing your indi-vidual opinion? Are you expected to present others views in a summarizing man-ner, or do you have to be critical of those? Is your goal to produce easy and at-tractive reading, or do you rather want to document every statement of yours witha system of quotations and footnotes? You will have to choose the genre of yourwriting accordingly, and this decision will only be correct if you know wellenough what the received conventions and parameters of the chosen critical genreare.

1.5 From Topic To Rough DraftOnce you have decided on a topic and a genre, the process of planning and

execution is fairly straightforward. But it can also be time consuming and frust-rating. There are three basic steps in the planning process: gathering evidence,sorting it, and, finally, developing it into a convincing argument.

1.5.1 GATHERING EVIDENCEGathering evidence involves: reading the text! taking notes! re-reading the

text!

checking your notes!

collecting information from other sources (otherworks by the author, or works clarifying the background, the life of the author,or explaining the work in question)! taking further notes! feedback on the textonce again.

No one can tell you exactly how to take notes. Good notetaking is a highlyindividualized skill; in our modern times techniques range from ancient card sys-tems to computerised databases. Practice will teach you which method is the mostuseful and comfortable for you.

1.5.2 ORGANIZING YOUR NOTESThe notes you have taken will become, in the course of writing, almost the

whole content of your paper. The only remaining task is to give that content theform and shape that will make it appealing and persuasive. It is best to start withputting down, on a fresh sheet of paper, your main points of intended argument-ation. Putting your points in order is something of a guess at this point: you maywell want to re-order them before you begin to write. With the help of your notecards you can modify, extend, or change your points. Do not be surprised if youhave a large number of left-over note cards after the first outline. You may find


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a place for those ideas later, or you will simply do without them. There is alwaysmore raugh material than what appears in the end product.

Before you actually start writing, you may want to develop a more elaborateoutline, incorporating your examples and including topic sentences for each pa-ragraph.

1.5.3 DEVELOPING AN ARGUMENTOnce you have decided on your major points and assembled your evidence,

you have to decide how you are going to present your argument and how you aregoing to presentyourself.

It has been said that all good papers should be organized in the same way: (1)Tell the readers what you are going to tell them. (2) Tell them what you want to

tell them. (3) Tell them what you have told them. This summary refers to the ne-cessity of a careful introduction, a body of argument, and a conclusion. Of course,while being well organized and clear, you have to avoid looking simple mindedand repeating the same things all over again.

1.5.4 WRITING THE FIRST DRAFTIt is now time to set pen to paper (to sit down to your typewriter, or to boot

your computer). The main thing is to get started right with a clear first sentencethat expresses your sense of direction and catches the attention of your reader.

Another important principle is to keep writing. If you seem to get stuck, do notspend hours staring idly at the paper looking for suitable words, instead skip thatpart and return to the problematic point later.

Keep writing and rewriting until you complete a draft you think you can livewith. Write The End at the bottom and set it aside. Enjoy yourself for a while,try not to think of the revisions you will do tomorrow.

1.6 From Rough Draft To Completed Paper

1.6.1 REVISING review your work and rewrite after the second revision!This final stage of the process is the most important of all, and it is so easy to

mismanage! This effort can raise a mediocre paper to an excellent one: there is aworld of difference between a bunch of ideas that present a decent interpretationand a coherent, persuasive essay that will stir your readers to a nod of agreementand shared pleasure of insight.

The two most important things are (1) not to allow yourself to be too easily sa-tisfied; (2) to allow yourself enough time for revisions. The first thing involves


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the courage to cut and throw away ideas and completed passages, the secondwarns you about leaving recovery and maturation time between the first draft andthe revision. It is extremely useful to have a previewing reader, your roommate,for example, who can pinpoint those parts of your paper which you think are clearand brilliant but which are actually obscure for the outsider. Never decide that aproblem can best be solved by hoping that your reader will not notice.

In the extremely important process of revision, here are a few points to watchout for: organization (logic of argumentation) use of evidence (enough examp-les? are they really the best ones?) sentence structure (do you understand every-thing when you reread your own text?) word choice (do you understand all yourwords? is the terminology correct? what about style, repetitions, clumsy expres-sions?) conciseness (try to eliminate all useless, complicated statements, senten-

ces).With practice, you will learn to watch carefully for the kinds of mistakes youare most likely to commit. Everyone has individual weaknesses and flaws. Hereare some of the most common things you should try to avoid: haste pre-tentiousness boredom randomness imprecision universalism vagueness

wandering impatience. On the other hand, make sure to: begin early complete your analysis before you begin to write plan outline limit your

subject argue prove be clear be varied rewrite type proofread proofread again read it one more time!


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2 FORMAT

2.1 TypingPrint only on one side of white paper, A4' in size. Keep some margin (at least

2 cms) on both sides of the sheet. Choose a typeface (size of letters) which isneither too bit, nor too small, just comfortable to read (such as Times New Roman12). Set the line spacing in such a way that you write no more than 28-32 lines oneach page. Keep this wider space throughout the text (it is very important for yourinstructor to have enough space for corrections and comments!), except forblock-quotations and footnotes, where you should employ single spacing.

2.2 Proofreading and CorrectingCheck the draft from which you type (or your first printout) for spelling, pun-

ctuation, subject-verb agreement, and accuracy of quotations and notes. Once thepaper is printed, check it again, and if you do not have a chance to reprint it withthe corrections, write them in ink above the line. Remember, hand-written cor-rections are better than typos! In assessing major papers and MA theses, uncor-rected mistakes can result in your work being returned for resubmitting.

Since reading on the screen is tiring and inaccurate, it is advisable to makecorrections on a printed draft copy, then to enter your corrections on the computerand print the text once again.

2.3 Parts of the PaperThe word paper here means a variety of genres from seminar papers to MA

theses and PhD dissertations, as well as articles and books. A paper has threemain parts: the front matter, or preliminaries; the text; and the reference matter or

back matter. In a longer paper each of these main parts may consist of severalsections.

As for pagination (page numbering), the preliminaries are numbered withlowercase Roman numerals (i, ii, iii, iv, v), while the main text and the backmatter are numbered with consecutive Arabic numerals (1, 2, 3, 4, 5). Thenumbers can be placed either in the upper right corners, or at the bottom of eachpage, centered. If you write a longer dissertation and want to print it double side,i.e. on both sides of the paper as in a book, you should place the page numbers inthe upper corners alternating between left and right.


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You may also want to add a header (repeating the chapter title at the upper

edge of the paper on every page). Header placements and various pagination

styles are easily achieved by using word processing programs. The following

table shows page number and header positions:

2 Header

3

Header 1,2

3

1 = Page number, upper right corner2 = Page number, alternating upper corners3 = Page number, bottom, centered

2.3.1 TITLE PAGE

The title page usually includes the name of the author, the title of the paper,the title of the seminar for which it was written and the date of composition

(Fall/Spring, 1997). In the case of theses, the name of the supervising professor,

the name of the university, the place where the university is located and the year

when the thesis was written are added. In the title capitalize first letters of prin-

cipal words, and treat the names of works that appear in your title as you would

when they appear in your text. For title patterns of major papers and MA theses

see theAppendices.

2.3.2 ACKNOWLEDGEMENTS

In the acknowledgements the writer thanks mentors, supervisors and col-leagues, lists the individuals and institutions that supported the research, and

gives credit to works cited in the text for which permission to reproduce has been

granted. Acknowledgements are optional, and are generally used only in MA and

PhD theses. Acknowledgements can be incorporated in the preface, too (see next

point).


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2.3.3 THE PREFACE

In the preface you may explain the motivation for doing the study, the back-ground of the project, the scope of the research, and the purpose of the paper. The

preface may include acknowledgements if the section of acknowledgements isomitted. Remember that the preface is not an integral part of your main text, and

that is the reason why you separate it by numbering this section with Roman

numerals.

2.3.4 TABLE OF CONTENTS

The Table of Contents, sometimes headed simply as Contents, lists all theparts of the paper except the title page, the eventual dedication and epigraph

(motto). If the chapters are grouped in parts, the generic headings (e.g. PART I)

and their titles (e.g. HISTORIOGRAPHY OF THE SUBJECT) also appear in the con-tents. Subheadings appear in one of various chapter numbering styles, the most

common being the legal and outline styles. You can also design your own

numbering style:

LEGAL NUMBERING OUTLINE NUMBERING USER DEFINED

1 PART I. PART I. PART

1.1 Chapter A. Chapter 1. Chapter

1.1.1 Subheading 1. Subheading (1) Subheading1.1.1.1 Level four a. Level Four (a) Level Four

2.3.5 LIST OF ILLUSTRATIONS/TABLES

A paper or thesis may contain illustrations, figures, tables, diagrams. These

should be listed in a List of Illustrations or Tables where you give the illus-tration, figure, or table numbers in Arabic numerals, then, after an indentation (1-

1.5 cms) reproduce their caption (subtitle). With a dot leader or without, you canadd the specific page number where they occur. Double space between captions,

single space within.

2.3.6 THE TEXT

The main body of the paper is usually separated into well-defined divisions,

such as parts, chapters, sections, and subsections (seeTable of Contents, above).

In order to acknowledge your sources you may include parenthetical references,

and/or foot/endnotes (see Citation and Quotation, below) in the text.


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2.3.6.1 The Introduction

The first chapter of the main text is usually the Introduction. Note that the In-troduction differs from the Preface in that it is an integral part of the main text and

serves as a general outline or introduction to the topics to be discussed later.

2.3.6.2 The Conclusion

The last chapter should serve as a conclusion, summarizing the main findingsof the paper and pointing to avenues of investigation which could develop the

present work further. The conclusion should reflect back on the introduction and

assess to what extent the original plans have been fulfilled in the study.

2.3.6.3 Notes for Major Paper and MA thesis writers

There is no need to start a Major Paper with a formal Preface, and it is not es-sential even for an MA thesis. This front part, on the other hand, may be very use-

ful in a larger work, such as a PhD dissertation. The Introduction and Conclusion,

however, are essential in Major Papers and MA theses, too. It may be crucial for

the evaluation of the thesis that the Introduction clearly sets the goals of the inves-

tigation and straightforwardly orientates the reader about the logic of the up-

coming chapters. Similarly, the Conclusion ought to round off the work in such

a way that the achievement is clearly summarized.

2.3.7 THE REFERENCE MATTER OR BACK MATTER

An Appendix, although by no means an essential part of every paper, is a use-ful device to make available to the reader material related to the text but not sui-

table for inclusion in it. For example, it may contain tables too detailed for text

presentation, a large group of illustrations, technical notes on method, copies of

documents not generally available to the reader, case studies too long to be put

into the text, and sometimes figures or other illustrative materials. If the paper

deals with the linguistic or literary analysis of a larger body of text which would

not fit in the main text, this corpus can also be reprinted in an appendix. Note theirregular plural for appendix: appendices!

If you choose endnotes rather than footnotes (certain publishers require thesein submitted manuscripts), the notes will belong to the reference or back matter

part of the work.

The Bibliography or Reference List is the last, or last but one, part of thepaper, depending if you create an index, or not. Instructions for the layout of thispart are detailed under Citation below (in sections under 3.5).


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In longer works it is useful to create an Index, which is an alphabetical list ofnames, placenames, important keywords and concepts throughout the text, with

references to page number(s) where mention is made of these. Before word proce-

ssing programs have become common, it was very tiring and complicated tocreate an index using card-notes based on the finished, typed copy of the paper.

Word processing programs, such as Winword and WordPerfect, however, can

easily create indices (this is the irregular plural of index!) and they update these

if you rearrange your text. Consequently, it might be very elegant and impressive

if you create an index for your MA or PhD thesis. An index is, naturally, unne-

cessary in shorter pieces of writing, such as seminar or major papers.

2.4 FasteningDo not fold the paper; use a cover or binder only with longer works. If it is a

seminar paper, just fasten it with one paper clip or with a staple in the upper left

corner. Major Papers have to be submitted in two soft cover bound copies, and

MA theses in one hard-bound and two soft cover bound copies. Remember, that

you also have to provide the electronic version of your work on a disk.


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3 CITATION

Citation is a necessary and useful aspect of any scholarly work. By it you, one

the one hand, identify those ideas which are not your own original thoughts, on

the other hand you can prove your being informed about scholarly literature

related to the subject. Consequently, citation is both a matter of honesty and a

measure of your professional preparation.

3.1 Citation versus QuotationWhen you borrow an idea, there are two paths to follow: (1) Express it in lan-

guage that is thoroughly your own and then acknowledge the borrowing with a

note or reference. This is calledcitation. (2) Indicate your indebtedness to the ac-tual words of your source whether a single word, a phrase, or a passage by en-

closing it in quotation marks and acknowledge your debt with a note/reference.

(Extended passages require block-quotation rather than quotation marks.) This is

quotation proper. From this you ought to conclude that not only verbatimquotations have to be acknowledged with references, but much more general use

of borrowed ideas, too. You may refer to general indebtedness as well as a parti-cular one:

l In this paper I use Roma Gills edition of Mar-lowes Doctor Faustus (London: Ernest Benn, 1971,The New Mermaids). Individual citations cannot in-dicate fully my reliance on Gills commentary.

3.2 PlagiarismPlagiarism is the use of another authors ideas or words as if they were ones

own. This is expressly forbidden in any academic writing! Besides, if this practiceis revealed, there will be serious consequences: your work may be sanctioned

with complete rejection and honored with a failing grade.

3.3 Required CitationGive the source of each item borrowed, whether from a literary text or a se-

condary work. Each new borrowing, even from a source already cited, requires

acknowledgement. The principle is very old: give credit where credit is due.


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Besides, your instructor needs to know the edition of a literary work you have

used. Morover, a fact or opinion that you have unearthed may interest him/her

highly and s/he may wish to follow it up.

3.4 Adding Notes

3.4.1 FOOTNOTES, ENDNOTES, AND PARENTHETICAL REFERENCES

The most important rule is that your citation should be accurate and conse-

quent! Citation can follow two kinds of format: (foot/end)notes and paren-thetical references, but you can also combine the two. A note is a numbered pas-sage separated from the body of your main text. It gives complete information

about your source, and, additionally it can contain your remarks that would notfit perfectly in the main text. The note can be placed either at the bottom of your

page (this is a footnote), or at the end of your essay (this is called an endnote).Some editorial style sheets require endnotes, however, in the case of a paper or

a thesis footnotes are more convenient to the assessor or reader. If for some

reason you decide to create endnotes, separate the section of your notes from the

main text by the heading, NOTES.Notes should be numbered consecutively within the text using superscript Ara-

bic numerals. Double space between notes, single space within.

A (foot)note includes author, full title, editor, place of publication, publisher,

and date of your source. It usually includes a page number or a line number, too.

2 Lynn White, jr. Death and the Devil. In Ro-bert S. Kinsmann ed. The Darker Vision of the Rena-issance (Berkeley: University of California Press,1974), 28-9.

A parenthetical note is a short reference enclosed in parentheses and incor-

porated without a number in the text of your paper. It refers in brief to a source

already cited once in full; or to an item in your bibliography/reference list at theend of your paper. Parenthetical citations take the form of (Author Date, page-

page). E.g.:

(White l974, 28-9)

Note that Author means the authors last name, Date is the date of publication

as listed in the bibliography of your paper.


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In papers using parenthetical references and reference lists, notes take the form

of longer content notes, including longer remarks combined with parentheticalreferences:

3

See White (1974, 28). I do not agree, however,with all his arguments. I find the description ofdeath rituals in Jung (1988, 74-81) more convin-cing.

3.4.2 UNKNOWN AUTHORS

For any work with an unknown author you should use the name of the editor.

If there is no editor indicated either, you should choose a short title to be used in

place of the authors name. Full description in a note:

4

The Works of the British Poets XXX: Poems ofCollins and Gray, and Falconer and Day(London: J.Sharpe, 1808), 30.

The parenthetical reference will look like this:

(British Poets 1808, 30)

3.4.3 WELL-KNOWN WORKS

If you refer in passing to a well-known, readily available work (e.g. the Bible,

the Oxford English Dictionary, Shakespeares works, etc.) identify it not with afull footnote citation but with a parenthetical reference. To permit this shorthand

citation a work must have a principle of internal reference that does not change

from edition to edition (chapters, verses, lines). A few examples of short forms:

(Genesis 5.3-4) Book of Genesis from The Bible,Chapter 5, verses 3-4. (Bible-re-ferences are neither underlinednor put in quotation marks.)

(Luke 24.39) The Gospel of Luke from theBible, Chapter 24, verse 39.(Symp. 175 a-b) Platos Symposium, sections l75

a-b.(FQ 6.2.11.8-9) Spenser, The Faerie Queene, Book

VI. Canto ii, stanza 11, lines8-9.

(2H6 3.2.80-3) Shakespeare, The Second Part ofKing Henry the Sixth, Act III,Scene ii, lines 80-83.


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(PL 6.329) Milton, Paradise Lost, Book VI. line329.

(OED III) The Oxford English Dictionary,the third definition of a word,for example in a reference likethe following: A standard meaningof perspective in these yearswas magnifying glass (OED III).

Mark, that periods are preferred to separate larger and smaller units (act.scene.

line; book.line; stanza.line; chapter.verse) and all the numbers should be Arabic,

as opposed to the combination of Roman and Arabic numerals.

3.5 Format of Footnotes and Parenthetical ReferencesNumber footnotes consecutively throughout your text. The numeral, typedslightly above the line, goes after an item to be acknowledged andafter any pun-

ctuation following that item.

As for parenthetical references: when you refer to a source without quoting

from it, or when you run on a quotation in your text, place the parenthetical note

at the end of the sentence, always before the period (fullstop), but after any quo-

tation marks. The end of a sentence without parenthetical reference is the follow-

ing:

She was just eighteen, two years older than me,and by far the most popular of all the young girlsin Louisville.

With parenthetical note:

. . . girls in Louisville (Fitzgerald, Gatsby,81).

3.6 BibliographyA bibliography is indispensable if in your text you use shortened, parentheticalreferences. In a longer paper, even with footnotes, a separate bibliography may

also be required. Separate the list of your sources from the main text with the

heading:

LIST OF WORKS CITED orREFERENCES orBIBLIOGRAPHY, etc.


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Note that a bibliography is a list of works cited in your text, not a list of works

consultedin the course of your research. List works alphabetically according to

the last name of the author!

3.6.1 GENERAL FORM

There are two basic types of bibliographies: (1)Bibliography and (2) Refer-ence list. The latter is found in works using parenthetical references, while theformer in works in which the footnotes give full description of sources. The main

difference between the two categories is that in reference lists the date follows im-

mediately the name of the author (just like in the short, parenthetical references),

while in bibliographies the date is indicated after the name of the publisher (or

after the place of publication if the listing of publishers is omitted).

Both in reference-list and in bibliography entries use a period after each mainsegment of an entry.

Reference list:

Last name, First name. Date. Title. Place: Pub-lisher.Eliot, T.S. 1920. The Sacred Wood. Essays on Poetry& Criticism. London: Methuen.

Bibliography:

Last name, First name. Title. Place: publisher,date.Eliot, T.S. The Sacred Wood. Essays on Poetry &Criticism. London: Methuen, 1920.

Remember that in linguistics there are slightly different conventions for bibliogra-

phical description. Study the Appendix on special requirements for papers in lin-

guistics.

3.6.2 BIBLIOGRAPHICAL ENTRIES COMPARED WITH NOTES

A bibliographical entry is similar to a full note in that it includes much of thesame material arranged in much the same order. Differences between the two in

the way of presenting this material stem from differences in purpose and place-

ment. The purpose of a bibliographical entry is to list a work in full bibliographi-

cal detail, while that of a note is primarily to inform the reader of a particular loc-

ation page, section, or other segment.

In a note, the authors full name is given in the natural order; in a bibliographi-

cal entry, the family name is given first. This is needed for easy recognition of the


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alphabetical order of entries. (When there are two or more authors, only the name

of the first is given in reverse order in the bibliography!)

Whereas commas and parentheses are used in a note, periods (full stops) are

used in a bibliographical entry at the end of each main part: authors name title and facts of publication. Bibliographical references to periodicals, however, re-

tain the parentheses around the dates of publication (see samples, below).

Page numbers are listed in bibliographies only if the item is part of a larger

work: a chapter in a book, or an article in a periodical. When given, page numbers

must indicate both the beginning and the end of the text referred to. In footnotes,

on the other hand, the pages of the whole article / chapter are not given, only the

page from which the quotation / citation is taken.

3.7 Citation / Reference ConsistencyA very important rule for Major Paper and MA thesis writers is that the cit-

ations in the text and the reference list should strictly correspond to each other.

That means that all the cited works have to be listed in the bibliography / refe-

rence list, and, at the same time, no item of the bibliogrpahy can pass without a

mention in the text. Consequently, in Major Papers and MATheses it is not a

regular procedure to list Works Consulted to demonstrate the background of the

finished work. The reason for this strict rule is pedagogical: it would be very easy

to produce extensive reference lists from electronic library catalogues andbibliographies from the Internet. A writer of a thesis, however, has to prove closer

and more thorough familiarity with sources than that.

There is nevertheless a partial way to bypass this rule. Notes called pano-ramic notes are permitted in theses. Such a note looks like this:

2 For the background of John Keats life I con-sulted Colvin 1918; Gittings 1985; and Pter 1989.

The sources mentioned in the panoramic note will have to be included in the Re-

ference List:

Colvin, Sidney. 1918. John Keats. His Life and Po-etry. His Friends, Critics and After-Fame (2nded.). London: Macmillan.

Gittings, Robert. 1985. John Keats (repr.). Har-mondsworth: Penguin.

Pter, gnes. 1989. Keats vilga. Budapest: Eurpa(rk vilga).


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Using panoramic notes is a good way to demonstrate your background know-

ledge in a structured and meaningful way and is more than just decorating your

bibliography with extra items.

3.8 Examples

In this section of samples, the following abbreviations are used:

N = [foot/end]note; B = bibliographical entry;

PR = parenthetical reference; RL = reference list;

CR = cross reference.

Compare carefully the differences among the different samples and use always the

appropriate form.

3.8.1 BOOKS

3.8.1.1 Single Author

N 2 Charles Webster, From Paracelsus to New-ton. Magic and the Making of Modern Science(Cambridge: Cambridge University Press, 1982),54.

B Webster, Charles. From Paracelsus toNewton. Magic and the Making of Modern

Science. Cambridge: Cambridge UniversityPress, 1982.

PR (Webster 1982, 54)RL Webster, Charles. 1982. From Paracelsus to

Newton. Magic and the Making of Modern Sci-ence. Cambridge: Cambridge University Press.

3.8.1.2 Two Authors

N 2 Brian W. Kerningham and Dennis Ritchie,The C Programming Language (New York: Barnes

& Noble, 1978), 186.B Kerningham, Brian W. and Dennis Ritchie.The C Programming Language. New York: Barnes& Noble, 1978.

PR (Kerningham & Ritchie 1978, 186)RL Kerningham, Brian W. and Dennis Ritchie.

1978. The C Programming Language. New York:Barnes & Noble.


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3.8.1.3 Several Authors

N 2 Martin Greenberger et al., Networks forResearch Education (Cambridge, Mass.: HarvardUniversity Press, 1989), 24.

B Greenberger, Martin et al. Networks for Re-search Education. Cambridge, Mass.: HarvardUniversity Press, 1989.

PR (Greenberger et al. 1989, 24)RL Greenberger, Martin et al. 1989. Networks

for Research Education. Cambridge, Mass.: Har-vard University Press.

3.8.1.4 Editor as Author

N 2 Max Marwick, ed., Witchcraft and Sorcery

(Harmondsworth: Penguin, 1982), 36.B Marwick, Max ed. Witchcraft and Sorcery.

Harmondsworth: Penguin, 1982.PR (Marwick 1982, 36)RL Marwick, Max ed. 1982. Witchcraft and Sor-

cery. Harmondsworth: Penguin.

If there are two editors, you use the eds. abbreviation instead of ed.. In case

of more than two authors, write et al., eds.. Remember that in linguistics you

should avoid the et al. abbreviation all authors and editors have to be listed.

3.8.1.5 Separately Titled Volume in a Multivolume Work with a General Title

and Editor

N 2 Gordon Ray, ed., An Introduction to Lit-erature (Boston: Houghton Mifflin, 1959), vol.2, Hubert Hefner, The Nature of Drama, 47-9.

B Ray, Gordon ed. An Introduction to Litera-ture. Vol. 2. Hubert Hefner. The Nature ofDrama. Boston: Houghton Mifflin, 1959.

PR (Ray 1959, 2: 47-9)

PR/CR (Hefner 1959, 47-9)RL Ray, Gordon ed. 1959. An Introduction to

Literature. Vol. 2. Hubert Hefner. The Natureof Drama. Boston: Houghton Mifflin.

RL/CR Hefner, Hubert. 1959 = Ray 1959, vol. 2.3.8.1.6 No author given

N 2The Lottery(London: J. Watts, 1732), 20-5.

B The Lottery. London: J. Watts, 1732.


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PR (The Lottery1732, 20-5)RL The Lottery. 1732. London: J. Watts.

3.8.1.7 Citing unpublished PhD dissertations or MA theses

N 2 Istvn Barabs, The Spiral Castle. TheMage and the Gyre: W.B. Yeats and the OccultTradition (unpublished MA thesis, Szeged:JATE, 1993), 16.

B Barabs, Istvn. The Spiral Castle. TheMage and the Gyre: W.B. Yeats and the OccultTradition. Unpublished MA thesis. Szeged:JATE, 1993.

PR (Barabs 1993, 16)RL Barabs, Istvn. 1993. The Spiral Castle.

The Mage and the Gyre: W.B. Yeats and the

Occult Tradition. Unpublished MA thesis. Sze-ged: JATE.

3.8.2 ARTICLES IN JOURNALS/MAGAZINES

3.8.2.1 Article in a collection

N 2 Catherine Belsey, Towards CulturalHistory in Theory and Practice, in KiernanRyan ed., New Historicism and CulturalMaterialism. A Reader(London: Arnold, 1996),83.

B Belsey, Catherine. Towards CulturalHistory in Theory and Practice. In KiernanRyan ed. New Historicism and CulturalMaterialism. A Reader. London: Arnold, 1996,82-92.

PR (Belsey 1996, 83)RL Belsey, Catherine. 1996. Towards Cultural

History in Theory and Practice. In KiernanRyan ed. New Historicism and Cultural Mate-rialism. A Reader. London: Arnold, 82-92.

CR Belsey, Catherine. 1996. In Ryan 1996, 82-92.

Remember that in a note, each main segment is separated by a comma (the one

after the title of the article falls within the quotation marks) and in the bibliogra-

phy, by a period. Another important rule: in notes and parenthetical references

you should indicate only that page number which corresponds to your borrowed

information; in a bibliography or a reference list you have to give the numbers of

the beginning and closing pages of the article. For rules of using italics and quot-

ation marks, see below (4.1).


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The cross-reference form in the above example is useful when you cite several

essays from the same collection. In this case there is no need to repeat the data of

the book every time, instead, you should make a separate entry for the collection

under the name of the editor (see 3.6, 3.8.1.4) and refer all article citations to thatitem.

3.8.2.2 Article in a journal

N 2 Maria Margaroni, From Medusas Gaze tothe Myth of Narcissus: Textual Jouissance andTheoretical Hubris, European Journal ofEnglish Studies 1 (1997): 74.

B Margaroni, Maria. From Medusas Gaze tothe Myth of Narcissus: Textual Jouissance and

Theoretical Hubris. European Journal ofEnglish Studies 1 (1997): 73-86.PR (Margaroni 1997, 74)RL Margaroni, Maria. 1997. From Medusas Gaze

to the Myth of Narcissus: Textual Jouissanceand Theoretical Hubris, European Journal ofEnglish Studies 1: 73-86.

Note that in references to periodical articles you do not put the whole publi-

cation information in parentheses, only the year of publication. This date has to

be preceded by the volume number. Note, that in reference lists the date is moved

after the name of the author and only the volume number is given after the titleof the journal. Between the journal title and the volume number there is no pun-

ctuation!

For the situation when a volume has several issues a year and they are not pa-

ginated consecutively, the issue number follows the volume number, separated

by a period (see the next point).

3.8.2.3 An article in a journal that pages each issue separately

N 2 Frederick Barthelme, Architecture, Kan-sas Quarterly13.3-4 (1981): 77.B Barthelme, Frederick. Architecture.

Kansas Quarterly13.3-4 (1981): 70-81.PR (Barthelme 1981, 77)RL Barthelme, Frederick. 1981. Architecture,

Kansas Quarterly13.3-4: 70-81.


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3.8.2.4 An article from a monthly periodical with no issue numbers

N 2 Mark Snyder, Self-Fulfilling Stereo-types, Psychology TodayJuly 1982: 68.

B Snyder, Mark. Self-Fulfilling Stereo-types. Psychology TodayJuly 1982: 67-70.

PR (Snyder 1982, 68)RL Snyder, Mark. 1982. Self-Fulfilling Ste-

reotypes, Psychology TodayJuly: 68.

The same rule applies to weekly papers and daily newspapers. When citing

those, give full date of publication: e.g. 21 June 1994. If there is no volume

number, the date should not be put in parentheses. With large size newpapers give

the section, too: The New York Times 21 June 1994: C3.

3.8.3 CITING OTHER MEDIA

3.8.3.1 Radio and television programs

N 2 Show Business, CNN 30 December 1997:17.30.

B Show Business. CNN 30 December 1997:17.30.

PR (Show Business 1997)RL Show Business. 1997. CNN 30 December:

17.30.

If you are citing several tv or other media programs from a relatively short period(as if in the above example you cited several issues of Show Business from

1997), you can complete the parenthetical reference with the full date.

3.8.3.2 Films

N 2 Milos Forman dir., Amadeus, written byPeter Schaeffer, The Saul Zaentz Company,1986.

B Forman, Milos dir. Amadeus. Written by

Peter Schaeffer. The Saul Zaentz Company, 1986PR (Forman 1986)RL Forman, Milos dir. 1986. Amadeus. Written

by Peter Schaeffer. The Saul Zaentz Company


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3.8.3.3 Recordings

N 2 G.F. Handel, Hush Ye Pretty WarblingQuire, aria from Acis & Galatea, in The Ar-nold Dolmetsch Years, program 7: Music by Pur-cell, Handel, etc., producer Ann Mann (London:I.M.P. Ltd., 1992; Allegro Records PCD 1030).

B Handel, G.F. Hush Ye Pretty WarblingQuire. Aria from Acis & Galatea. In The Ar-nold Dolmetsch Years. Program 7: Music by Pur-cell, Handel, etc.. Producer Ann Mann. London:I.M.P. Ltd., 1992; Allegro Records PCD 1030.

PR (Handel 1992)RL Handel, G.F. 1992. Hush Ye Pretty Warbling

Quire. Aria from Acis & Galatea. In The Ar-nold Dolmetsch Years. Program 7: Music by Pur-

cell, Handel, etc.. Producer Ann Mann. London:I.M.P. Ltd.; Allegro Records PCD 1030.

3.8.4 CITING THEINTERNET

The general rule for Internet citations is to follow book or periodical article

citations but in addition to the publication data the URL address is also needed.

This is the information referring to the web site from where the text is called up

on the screen. In programs like NetScape Navigator, the URL address can be easi-

ly read.

When citing internet sources, your should treat them as printed texts where af-ter the author/title information the contextual name electronic journal, home

page, discussion group should also be given. If the information is of periodical

nature, do not forget about issue number and your date of access.

3.8.4.1 Article in an electronic journal

N 2 Derek Hirst, Making All Religion Ridi-culous: The Polemics of Toleration, 1667-1673, Renaissance Forum 1.1 (1996), avai-

lable: http://www/hull.ac.uk/Hull/EL_Web/renforum/v1no1/hirst.htm, access: 7 January 1998.B Hirst, Derek. Making All Religion Ridi-

culous: The Polemics of Toleration, 1667-1673. Renaissance Forum 1.1 (1996). Avai-lable: http://www/hull.ac.uk/Hull/EL_Web/renforum/v1no1/hirst.htm. Access: 7 January1998.

PR (Hirst 1996)RL Hirst, Derek. 1996. Making All Religion

Ridiculous: The Polemics of Toleration, 1667-1673. Renaissance Forum 1.1. Available:


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http://www/hull.ac.uk/Hull/EL_Web/renforum/v1no1/hirst.htm. Access: 7 January1998.

3.8.4.2 Information from a home page, no author givenN 2 Heirs of Rome: the Shaping of Britain AD

400-900, in Exhibitions at the British Lib-rary, available: http://portico.bl.uk/exhibitions/exhibitions/html, access: 5 November1997.

B Heirs of Rome: the Shaping of Britain AD400-900. In Exhibitions at the British Lib-rary. Available: http://portico.bl.uk/exhibitions/exhibitions/html. Access: 5 November1997.

PR (Heirs of Rome... 1997)RL Heirs of Rome: the Shaping of Britain AD400-900. In Exhibitions at the British Lib-rary. Available: http://portico.bl.uk/exhibitions/exhibitions/html. Access: 5 November1997.

Note that if there is no publication date given in the parenthetical reference the

date of access should be given.

3.8.5 MULTIPLE REFERENCES: QUOTING/CITING A QUOTATIONWhen you cite/quote somebody who is quoted by somebody else, you should

include both works in your bibliography / reference list.

N 2 Janice Rossen, Philip Larkin: His Life andWork (New York: Harvester, 1989), 126, quotedby Istvn D. Rcz, Agnosticism, Masks and Mo-nologues in Philip Larkin, Hungarian Journalof English and American Studies 1.2 (1995):112.

B Rossen, Janice. Philip Larkin: His Life and

Work. New York: Harvester, 1989.Rcz, Istvn D. Agnosticism, Masks and Mo-nologues in Philip Larkin, Hungarian Journalof English and American Studies 1.2 (1995):93-121.

PR (Rossen 1989, 126 in Rcz 1995, 112)RL Rossen, Janice. 1989. Philip Larkin: His

Life and Work. New York: Harvester.Rcz, Istvn D. 1995. Agnosticism, Masks

and Monologues in Philip Larkin. HungarianJournal of English and American Studies 1.2:93-121.


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3.8.6 MULTIPLE PUBLICATIONS BY THE SAME AUTHOR

Reference to a second work by the same author takes this form:

B Yates, Frances A. The Art of Memory.

London: RKP, 1966.---- The French Academies in the 16th Cen-tury. London: RKP, 1947.

RL Yates, Frances A. 1947. The French Aca-demies in the 16th Century. London: RKP.---- 1966. The Art of Memory. London: RKP.

Do not repeat the name of the author, type four hyphens or two dashes instead.

Note, that in a bibliography you arrange the works alphabetically according to

their title, in a reference list arrange them chronologically, according to their year

of publication.

When an authors cited works include more than one published in a single

year, their titles are arranged alphabetically, the dates being marked with a letter

as follows:

B Fabiny, Tibor. Literature and Emblems. NewAspects in Shakespeare Studies. In Fabiny ed.1984, 7-57.

---- Veritas Filia Temporis: The Icono-graphy of Time and Truth and Shakespeare. InFabiny ed. 1984, 215-73.

---- ed. Shakespeare and the Emblem.Szeged: JATE, 1984.PR (Fabiny 1984a; Fabiny 1984b; Fabiny

1984c)RL Fabiny, Tibor. 1984a. Literature and Em-

blems. New Aspects in Shakespeare Studies. InFabiny 1984b, 7-57.

---- 1984b. Veritas Filia Temporis: TheIconography of Time and Truth and Shake-speare. In Fabiny 1984b, 215-73.

---- ed. 1984c. Shakespeare and the Emblem.Szeged: JATE, 1984.

Books edited by an author should follow those that are individual works (mono-

graphs).


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4 OTHER FORMAL REQUIREMENTSAND SUGGESTIONS

4.1 Underlining and Quoting TitlesIt is important to note that in certain situations you need to enhance parts of

your reference-information, especially titles. The means of enhancing is to ita-licize the text in question. If your typewriter or printer is incapable of producingitalics (slanted letters), use underlining instead. Normally you do not use the twoin combination.

Italicize titles of published works, books, periodicals, pamphlets, plays,

movies, and long poems (for example, TennysonsIn Memoriam); and also titlesof unpublished dissertations and theses. Enclose in double quotation marks ( )titles of chapters and sections of books, journal articles, short stories, essays,songs, short poems (Frosts Dust of Snow), and shorter unpublished works.

Italicize foreign words / phrases that are not considered English: laissez faire(= the principle of free trade),Neue Sachlichkeit(= new objectivity), mutatismutandis (= more or less), etc. It is not necessary to italicize persona, or leit-motif, since both are part of the English critical vocabulary. If you wish to referto a word as a word, the usual practice is to put it in single quotation marks (as

leitmotif above).Double quotation marks are used for quotations, definitions, and titles ofshort works. Single marks are used for quotations within quotations. (Thispractice in British / American usage is sometimes the opposite.)

4.2 QuotationsQuote accurately! Reproduce the exact wording, spelling, and interior capital-

ization and punctuation of the original. If the original text contains italicizedwords, follow italics or indicate them by underlining.

Make sure to introduce quotations, do not just drop them into the text. Makeeach quotation part of one of your sentences! At the same time do not insert along quotation in the middle of one of your own sentences, since the sentence willbreak in half before and after the quotation.

4.2.1 SHORT VERSE QUOTATIONIf you quote a word or phrase no more than two lines enclose it in quot-

ation marks and run it on as part of your text. Line division is indicated by aspaced solidus (slash: / ) and you retain the initial capital letter in the new line:


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Macbeth accuses Ross and Angus of dressing him inborrowed robes (1.3.109).

Although Hotspur remains defiant, Glendower turns

to the matter of dividing the kingdom: Come, hereis the map. Shall we divide our right / Accordingto our threefold order taen? (1H4 3.1.69-70).

4.2.2 LONGER VERSE QUOTATIONS, BLOCK QUOTATIONSReproduce a longer passage more than two lines as verse. Separate it

block-fashion from your text: type it single-space, but triple-space before and af-ter; indent it more than you would the first line of a new paragraph usually 1 cmmore that paragraph indents. Omit quotation marks at the beginning and at theend; if the quotation begins in mid-line, follow suit:

that hath beenCoold a long age in the deep-delved earth,Tasting of Flora and the country green,Dance, amd Provencal song, and sunburnt mirth

(Ode to a Nightingale 2.1-4).

You can arrange longer prose quotations similarily, in block-quotation form.In connection with giving the exact location of quotations from well-knownworks, check again 3.4.3.

4.3 Abbreviations

The following list contains abbreviations commonly used in papers. Note thatexpressions of foreign origin are italicized/underlined. Note the sometimes un-usual ways of indicating plural in abbreviations (e.g. MSS manuscripts).

App. appendix (pl. apps. appendices); art. article;

bk. book (pl. bks. books);

ca. circa, approximately; cf. confer, compare;ch. chapter (pl. chs. chapters); col. co-lumn;

dept. department;ed. edition, editor, edited by (pl. eds. edi-

tors); e.g. exempli gratia, for example; et.al. et alii, and other [authors]; etc. etctera, and so forth;

fig. figure (pl. figs. figures);ibid. ibidem, in the same place; idem the same

[author]; i.e. id est, that is;

MS manuscript (MSS manuscripts);


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n.d. no date; n.p. no place, no publisher; no. number (pl. nos. numbers);

op. cit. opere citato, in the cited work;p. page (pl. pp. pages);passim here and

there [in the same work]; pt. part (pl. pts. parts);

q.v. quod vide, which see [in the referredwork];

sc. scene; [sic] so, thus (calling attentionto something unusual, surprising);

trans. translator, translated by;viz. videlicet, namely; vol. volume (pl. vols.

volumes); vs. versus, against.

The words act, line, and table should neverbe abbreviated.

Remember that if you refer to the same author in the same sentence, you donot repeat his name in the citation, write idem instead. If you cite from the samebook, do not repeat all the publication data, just write the authors last name andadd op. cit. If you cite from the same page as in your immediately previousreference, do not repeat publication data, write only ibid.. Ibid. since it refersto the same page in your immediately preceding reference should never gotogether with a page number! You can use these abbreviations in parentheticalshort references, too: (op.cit., 28); (ibid.).

4.4 PunctuationA colon (:) usually indicates an equivalence, stated or implied, between what

precedes and what follows it. Use a colon to introduce lists, passages to whichyou refer, and the like. A semicolon (;) marks a greater break in the continuity ofa sentence than that indicated by the comma, however, never use a semicolon tointroduce a quotation. Also, outside of lists, semicolons are only used betweentwo independent clauses. Question marks are rarely used in scholarly writing, andexclamation marks only exceptionally.

4.4.1 PUNCTUATION AFTER QUOTATIONThe punctuation following the quotation belongs to your own sentence, not to

the quotation. Change the punctuation of the original, if necessary, to suit the re-quirements of your own sentence. In American usage, afinal comma or periodalways precedes closing quotation marks, whether it is part of the quoted text ornot. Question marks and exclamation points precede quotation marks if they arepart of the quoted text, follow if they pertain to the entire sentence of which the


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quotation is a part. Semicolons and colons follow quotation marks. Note the fol-lowing examples:

The slogan of the police in most countries isWe serve and protect.

Every sensible philosophical investigationstarts with the question, Who am I? BUT Should weaccept Jeffersons concept of a natural aristoc-racy among men?

We can remember Churchills famous exclamation:Never again! BUT Beware of believing every emptycommitment, such as Our top priority is the satis-faction of our customers!

The chairman made the point that he should putan end to all corruption; then he ended the meet-ing with a gracious smile.

4.5 OmissionNever omit material from a quotation if the omission changes its meaning or

its tone. If you wish to omit words within a quotation, indicate the omission bythree spaced periods . . . , or three periods in brackets or parentheses: [. . .], (. . .).Space is needed betwween periods but not between the brackets and periods.

4.6 InterpolationIf you insert a word within a quotation e.g. a name for a pronoum , encloseit in square brackets:

As professor Gomme writes: He [the writer] mustwrite, as it were, against the public potentiallyso willing to do him the wrong kind of honour.

4.7 Some More Useful Remarks

4.7.1 HYPHEN AND DASHUse a hyphen in an adjectival compound. Use a dash to mark a break in sense

or structure. Word processing programs have typographical dash-characters (,), however a dash can also be indicated by a hyphen spaced before and after ( -), or two unspaced hyhens (--).

He is an eighteenth-century man at least, helooks like one--living in the twentieth century.


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4.7.2 DATESThe British/Canadian form for dates is accepted in American publications, too:

Date Month Year (no commas are used within this form, unless the day is includ-ed):

11 July 1954 but Tuesday, 11 July 1954.Americans would, however, prefer the followingform:July 11, 1954

Inclusive years are cited in their shortest possible form: 1589-90; 1972-6. You in-dicate decades in the following way: in the 1780s (= in the eighties of the 18thcentury). In running text do not use numerals for referring to centuries: in theeighteenth century.

4.7.3 STYLEParallel structures: clarity increases geometrically with the use of parallel

structures:

NOT A successful paper has a precise title, a the-sis which has been thought out in advance, or-ganization that makes sence, and a statementof conclusion.

BUT A successful paper has a precise title, acarefully conceived thesis, coherent organi-zation, and a clear conclusion.

Gratuitousness: avoid it!

NOT As the well-known English playwright, WilliamShakespeare, says in his famous play, Hamlet. . .

BUT As Horatio says in Hamlet: . . .

Impersonal constructions: introductory phrases like There is, It is clear that. . . are occasionally valuable, however, use them only sparingly. Use the activevoice! The passive voice is rarely valuable, it is an old fashioned superstition thatyou should use it in scholarly writing. Never conceal your own personality; dareto write I think. . ., In my opinion. . ., and even I disagree. . .

Make your title descriptive! The title of an essay focuses the readers expectat-ions and it is therefore important. It should describe the contents of the essay asprecisely as possible, and it should also say something about your approach.

NOT Shakespeares HamletBUT Politics and Love in Shakespeares Hamlet.NOT The Tenants AnalyzedBUT Malamuds The Tenants and the Problems of

Ethnic Writers in America.


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5 HANDBOOKS FOR COMPOSITION

Everyone writing about literature ought to have within their reach a dictionary,

a thesaurus, a handbook of mythology, a Bible, and, finally, something on Poetic

forms and literary terminology. Below is a list of reference books which the stu-

dents should be familiar with at least from library shelves:

Orszgh, Lszl. Angolmagyar nagysztrHornby, A.S. Oxford Advanced Learners Dictionary

of Current EnglishThe Oxford English DictionaryThe Oxford Dictionary of English EtymologyRogets ThesaurusAlexander. Essay and Letter WritingReaske. The College Writers Guide to the Study of

LiteratureThe Concise Oxford Dictionary of English LiteratureThe Oxford Dictionary of QuotationsThe Oxford Dictionary of ProverbsCrowells Handbook of Classical LiteratureThe New English BibleAbrams. A Glossary of Literary Terms

In todays world of computerized word processing students should also fami-

liarize themselves with the spellchecking and thesaurus functions of their prog-

rams but never forget about the fact that nothing can be more deceiving than

blindly relying on automated spellchecking. Nothing substitutes for final proof-

reading done by hand on the printed page.


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6 APPENDICES

6.1 Most Important Changes in this New, Revised Edition

6.1.1 The comma or the period that closes the quotation is inside the closingquotation mark, unless the citation is followed by a parenthetical note,which has to precede the comma or the period (see section 4.4.1). Thecomma and the period are needed after the parenthesis even if punctuationmarks other than the comma or period close the quotation inside theclosing quote:

Than fly to others that we know not of? (Ham.,3.1.82).

6.1.2 In case ofomissions (. . .) and extra space is needed between the periods.There is no space, however, between the brackets / parentheses and thefirst and last periods (cf. 4.5).

6.1.3 In notes as well as in theReference List(Works Cited, or Bibliography)editors are abbreviated ed. or eds., however, they are not placed withinparentheses any more. E.g.:

Fabiny, Tibor ed. 1984. Shakespeare and the Emb-lem. Szeged: JATE (Papers in English and Ameri-can Studies 3).

Underdown, David. 1985. The Taming of the Scold:The Enforcement of Patriarchal Authority inEarly Modern England. In Anthony Fletcher andJohn Stevenson, eds. Order and Disorder in EarlyModern England. Cambridge: Cambridge UniversityPress, 116-36.

6.1.4 In reference lists each bibliographical item counts as a full paragraph. Con-sequently it must be closed by a period, no matter whether the last elementis a publisher, date, or page number (as in the examples above).

6.1.5 If you cite multiple publications by the same author, check point 3.8.6 forclarifications.

6.1.6 When you refer to a person who is the editor of a book or journal, theabbreviation ed. will not be place in brackets, nor will it be preceded bya comma.


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6.2 A Sample Reference List

Belsey, Catherine. 1985. Disrupting Sexual Dif-

ference: Meaning and Gender in the Comedies. InJohn Drakakis ed. Alternative Shakespeares. Lon-don: Methuen.

Berry, Herbert. 1987. Shakespeares Playhouses.New York: AMS Press (AMS Studies in theRenaissance 19).

Davis, Natalie Z. 1978. Women on Top: SymbolicSexual Inversion and Political Disorder in EarlyModern Europe. In Barbara Babcock ed. The Re-versible World: Symbolic Inversion in Art andSociety. Ithaca, NY: Cornell University Press,147-9.

----. 1979. Les cultures du peuple. Rituels, sa-voirs et rsistances au 16esicle. Paris: Aubier(Collection historique).

Doran, Madeleine. 1954. Endeavors of Art: A Studyof Form in Elizabethan Drama. Madison: The Uni-versity of Wisconsin Press.

Fabiny, Tibor ed. 1984. Shakespeare and the Emb-lem. Szeged: JATE (Papers in English andAmerican Studies 3).

Ferguson, M. et al., eds. 1986. Rewriting theRenaissance: The Discourse of Sexual Difference

in Early Modern Europe. Chicago: The Universityof Chicago Press.Gher Istvn. 1991. Shakespeare-olvasknyv. T-

krkpnk 37 darabban. Budapest: Szpirodalmi /Cserpfalvi.

Goldberg, Jonathan. 1992. Sodometries. Stanford:Stanford University Press.

Gosson, Stephen. 1579. The Schoole of Abuse, Con-teining a Pleasaunt Invective against Poets,Pipers, Plaiers, Jesters, and such like Cater-pillers of a Commonwealth. London (STC 12097).

Greenblatt, Stephen. 1988. Shakespearean Negoti-ations: The Circulation of Social Energy in Re-naissance England. Berkeley: University of Cali-fornia Press.

Harvey, Elizabeth D. 1992. Ventriloquized Voices.Feminist Theory and English Renaissance Texts.London: Routledge.

Hibbard, George ed. 1981. The Elizabethan Theatre.Port Credit, Ontario: P.D. Meany.

Hic mulier or the Man-Woman / Haec Vir or the Wo-manish-Man. London, 1620. Repr. Ilkley, York-shire: The Scholar Press, 1973.


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Howard, Jane E. 1994. The Stage and SocialStruggle in Early Modern England. London:Routledge.

Ingram, Martin. 1985. Ridings, Rough Music andMocking Rhymes in Early Modern England. InBarry Reay ed. Popular Culture in Seventeenth-Century England. New York: St. Martins Press,166-97.

Jardine, Lisa. 1983. Still Harping on Daughters.Women and Drama in the Age of Shakespeare. Sus-sex: Harvester.

Jardine, Lisa. 1996. Reading Shakespeare Histori-cally. London: Routledge.

Kernodle, George R. 1944. From Art to Theatre.Form and Convention in the Renaissance. Chicago:The University of Chicago Press.

Levine, Laura. 1986. Men in Womens Clothing: An-titheatricality and Effeminization from 1579 to1642". Criticism 28: 121-43.

McLuskie, Kathleen. 1987. The Act, the Role, andthe Actor: Boy Actresses on the ElizabethanStage. New Theatre Quarterly3: 120-30.

Makkai Lszl & Hankiss Elemr. 1965. Anglia azjkor kszbn. Budapest: Gondolat (Eurpa NagyKorszakai).

Orgel, Stephen. 1996. Impersonations. The Perfor-mance of Gender in Shakespeares England. Cam-bridge: Cambridge University Press.

Park, Clara. 1980. As We Like It: How a Girl canbe Smart and Still Popular. In Carol Neely etal. eds. The Womans Part: Feminist Criticism ofShakespeare. Urbana: The University of IllinoisPress.

Reese, M.M. 1980. Shakespeare. His World and HisWork (1953). London: Edward Arnold.

Shakespeare, William. 1972. sszes drmi. Buda-pest: Magyar Helikon (Helikon Klasszikusok).

Stubbes, Philip. 1583. The Anatomy of Abuses. Lon-don (STC 23376).

Szkely Gyrgy. 1972. Angol sznhzmvszet a XVI-XVII. szzadban. Budapest: Gondolat (Eurpai An-tolgia).

Szilassy Zoltn. 1984. Emblems Stage, Dramaturgy(Preliminary Notes to an Iconographic/Iconolo-gical and Iconoclastic Approach to the Shake-spearean Theatre. In Fabiny 1984, 337-53.

Trkny Szcs Ern. 1980. Kzvlemny-bntets.In Ortutay Gyula et al., eds. Magyar nprajzilexikon. Budapest: Akadmiai, 3: 332-3.


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Traub, Valerie. 1992. Desire and Anxiety: Circula-tions of Sexuality in Shakespearean Drama. Lon-don: Routledge.

Underdown, David. 1985. The Taming of the Scold:The Enforcement of Patriarchal Authority inEarly Modern England. In Anthony Fletcher andJohn Stevenson, eds. Order and Disorder in EarlyModern England. Cambridge: Cambridge UniversityPress, 116-36.

Vkony Attila. 1996. Variations on a Theme:Cross-dressing on the Shakespearean Stage. Un-published MS, Szeged: JATE.

Wickham, Glynne. 1963. Early English Stages 1300to 1660. Vol. 2, Part I: 1576 to 1660. London:Routledge.

6.3 Special Requirements for Papers in Linguistics

6.3.1 STRUCTURE

It is important to present ideas in an ordered manner. Structure your paper in

the following way: section titles are given for the Introduction and the Con-clusion or Summary; the furthe subdivision of the paper into sections and sub-sections is up to the author. It is useful to give short and clear section titles. Num-

ber all sections consecutively in the decimal system as illustrated (legal outline

style, see above, in 2.3.4), but always give a title, i.e. never have a numberwithout a title. Section and subsection titles should be underlined (or italicized).

1 Introduction

Here you outline the topic or the problem and the main structure of your argu-

ments and point at the general conclusion at the end.

2.1 Section title

This is the place to present the problem you address in detail, and a survey of

the relevant literature. If you analyze a number of independent problems, devote

separate (sub)sections to them.

2.1.1 Subsection title

...

2.1.2 Subsection title


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Grammatical morphemes are given in capitals, notional words/morphemes insmall case with hyphens between the morphemes in the example and the gloss.Abbreviations are customary, such as PL = plural, or SG = singular, but writersmay make up their own, provided a list of abbreviations is appended to the paper.

Tense markers always precede person/numbersuffixation in Hungarian, cf. olvas-t-unk read-PAST-1PL

Note the use of various typographical devices: examples are underlined (orita-licized), meanings are in single quotes, direct citations are in double quotes.

6.3.3.2 Examples separated from the body of textIf the example is either longer/more than a single phoneme, morpheme, word

or a short phrase, or it is referred to, analyzed, or discussed in any other way inthe paper, it should be given as separated from the body of text and numberedstarting from (1) for the first example.

(1) The cat is on the mat.(2) The mat is under the cat.Examples (1) and (2) are paraphrases of oneanother.

In the case illustrated above lower case letters can subdivide one set of

examples.(3) a. The cat is on the mat.(3) b. The mat is under the cat.Examples (3a-b) show a paraphrase relation, inwhich neither sentence can be syntactically derivedfrom the other.

If glosses are to be added to the example, they are given in three separate lines,of which the first one contains the example itself, the second the morpheme-by-morpheme glosses aligned with the corresponding morphemes of the example,

and the third line the sense translation in (single) quotes.(4) A macska a sznyeg-en le-het.

the cat the mat- be-SUPERESSIVE POSS.PRES.3SG

The cat may be on the mat.

Note that grammatical morphemes (e.g. case, tense, etc.) are capitalized in thegloss, and whenever they correspond to morphemes in the example, they are hy-phenated, while if they occur only in the glosses, dots (= periods) separate them.


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6.3.4 FIGURES AND TABLESTables and figures, such as tree diagrams, are also to be numbered con-

secutively as if they were examples. Lines should be either indicated by slantlines or clearly drawn. Unanalyzed parts of the structure can be given under tri-angles.

6.3.5 PHONETIC TRANSCRIPTIONStudents writing papers in morphology and/or phonology ought to use the In-

ternational Phonetic Alphabet (X, k,,, (, etc.) wherever relevant to the prob-lems considered. If the symbols cannot be printed (on a computer printer or atypewriter), the symbols themselves or the diacritics accompanying the printablesymbols should always be added by hand.

6.4 The MLA-basedHJEAS Style SheetThe MLA (Modern Language Association of America) is the most important

umbrella association of the humanities in the USA. The MLA Style Sheet wasoriginally compiled in 1951 for literary and linguistic scholars who publish inlearned journals. By today the many times revised and updatedMLA Style Sheetand theMLA Style Manual have been adopted in many countries and by manyeditorial boards throughout the world. Although the MLA style is somewhatdifferent from the other leading American style sheet, The Chicago Manual of

Style (developed by the University of Chicago Press) on which the present stylesheet is mainly based, the importance of the MLA style in Hungary is marked bythe fact that our countrys leading journal in English and American Studies(HJEAS) follows strictly that style. In order to facilitate students or colleagueswho whish to submit a manuscript in HJEAS, or find themselves required toprepare a paper in MLA format, here we reproduce the compressed version of theHJEASStyle Sheetwhich is basically identical with that of the MLA. Specialthanks to the Editorial Office of HJEAS (University of Debrecen) for permittingthe publication of the sections below.


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HJEASSTYLE SHEET FOR CONTRIBUTORS

FORMAT FOR SUBMISSION OF ESSAYSPlease submit your essay anonymously by not including your name in the

body of the essay but on a separate sheet together with the title of your essay.HJEAS employs blind reviewing. Every MS is reviewed by two readers. If send-ing hard copy, please include two copies for review. Otherwise send the essayelectronically as an attached file, preferably in rich text format for Windows.Please include in your cover email the title of your essay, the name and numberof your word processing program (e.g., Word 6 for Windows 95, Word Perfect6 for Windows 98), the number of your Windows system is important. If you donot use Windows, please include all relevant data of the program you are using.The editors can accept only DOS based programs. Do not customize the MS inany

Style Sheet, IEAS, 2008

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