Style Sheet

INSTITUTE OF ENGLISH
& AMERICAN STUDIES

UNIVERSITY OF SZEGED
Szeged
2008
 This Style Sheet
was compiled and designed by

GYÖRGY E. SZİNYI
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, István 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. Szınyi; 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: <ieas@lit.u-szeged.hu>
web site: <www.arts.u-szeged.hu/ieas>
 CONTENTS

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

1 WRITING ABOUT LITERATURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

1.1 Representing the Literary Text . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.1.1 copying – paraphrase – summary . . . . . . . . . . . . . . . . . . . . 10
1.2 Replying to the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.2.1 imitation and parody – adaptation . . . . . . . . . . . . . . . . . . . . 10
1.3 Explaining the Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
1.3.1 description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
1.3.2 analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
1.3.3 interpretation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
1.4 Deciding What to Write About . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.4.1 having something to say . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.4.2 choosing a topic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
1.4.3 considering your audience . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.4.4 choosing a genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.5 From Topic To Rough Draft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.5.1 gathering evidence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.5.2 organizing your notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.5.3 developing an argument . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.5.4 writing the first draft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.6 From Rough Draft To Completed Paper . . . . . . . . . . . . . . . . . . . . 16
1.6.1 Revising . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

2 FORMAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2.1 Typing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2.2 Proofreading and Correcting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2.3 Parts of the Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2.3.1 title page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
2.3.3 the preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
2.3.4 table of contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
2.3.5 list of illustrations / tables . . . . . . . . . . . . . . . . . . . . . . . . . . 19
2.3.6 the text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
2.3.7 the reference matter or back matter . . . . . . . . . . . . . . . . . . . 20
2.4 Fastening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

3
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 . . . . . . . . . . . . 27
3.7 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 . . . . . . . . . . . . . . . . . . . . . . . . . 41
4.5 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

4
5 HANDBOOKS FOR COMPOSITION . . . . . . . . . . . . . . . . . . . . . . . . . . 44

6 APPENDICES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
6.1 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-based HJEAS Style Sheet . . . . . . . . . . . . . . . . . . . . . . . 52
6.5 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

5
 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 reader’s 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.

7
1 WRITING ABOUT LITERATURE

Writing itself is not easy: it needs language skills, vocabulary, and a sense of
ordering your ideas. Writing about literature will not be easy, if you have not
learned to read literature. The diagram below shows the most general situation
when you encounter a phenomenon in life (no matter if it is from ‘real life’ or a
reading assignment given to you by your instructor) and find yourself in the si-
tuation that you have to express your opinion about that phenomenon in writing:

PHENOMENON (a challenge to human intellect)

3UNDERSTANDING
3CONFRONTING OTHER OPINIONS
(reference tools, studies)
3RECONSIDERATIONS
3SELECTING
(according to the needs)
3PROCESSING

(a) modes of RESPONSE

description – explanation – interpretation – evaluation
oral (lecture)
written (essay)
(b) genres of RESPONSE
3Summary – review – encyclopedia article
3Bibliography – annotated bibliography
3Essay – study – monograph.

In the following points you will find a brief explanation of the various genres
you can choose from to express your ideas, as well as some notes about the steps
you ought to follow when writing about literature.

8
1.1 Representing the Literary Text

1.1.1 COPYING – PARAPHRASE – SUMMARY

Since writing about literature is using words about words, what words should
you 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 a
while 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 you
think 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 – and
reading – by trying your hand at imitation. It is also important to recognize if a
literary work is an imitation of another work. The Aeneid, for example, may be
said to be an imitation of the Odyssey, and, in a very different way, so might
James Joyce’s 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.

9
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 something
down 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 its
meaning, 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

10
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 text
the 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 reader’s
fullest and ‘final’ reading, interpretation will differ somewhat from another’s.
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 and
literary 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 not to the author’s 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. We
could 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

11
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 not
to 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 of
literature. 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 AUDIENCE

While 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.

12
1.4.4 CHOOSING A GENRE
In connection with thinking of your audience, considering your assignment,
and weighing the purpose of your intended writing, a key issue is choosing your
genre. 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 with
a system of quotations and footnotes? You will have to choose the genre of your
writing accordingly, and this decision will only be correct if you know well
enough what the received conventions and parameters of the chosen critical genre
are.

1.5 From Topic To Rough Draft

Once 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 EVIDENCE

Gathering evidence involves: reading the text ! taking notes ! re-reading the
text ! checking your notes ! collecting information from other sources (other
works 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 text
once again.
No one can tell you exactly how to take notes. Good notetaking is a highly
individualized skill; in our modern times techniques range from ancient card sys-
tems to computerised databases. Practice will teach you which method is the most
useful and comfortable for you.

1.5.2 ORGANIZING YOUR NOTES

The 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 the
form and shape that will make it appealing and persuasive. It is best to start with
putting 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 may
well want to re-order them before you begin to write. With the help of your note
cards you can modify, extend, or change your points. Do not be surprised if you
have a large number of left-over note cards after the first outline. You may find

13
a place for those ideas later, or you will simply do without them. There is always
more raugh material than what appears in the end product.
Before you actually start writing, you may want to develop a more elaborate
outline, incorporating your examples and including topic sentences for each pa-
ragraph.

1.5.3 DEVELOPING AN ARGUMENT

Once 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 are
going to present yourself.
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 minded
and repeating the same things all over again.

1.5.4 WRITING THE FIRST DRAFT

It 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 sentence
that 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 not
spend hours staring idly at the paper looking for suitable words, instead skip that
part and return to the problematic point later.
Keep writing and rewriting until you complete a draft you think you can live
with. 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 a
world of difference between a bunch of ideas that present a decent interpretation
and a coherent, persuasive essay that will stir your readers to a nod of agreement
and 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

14
the courage to cut and throw away ideas and completed passages, the second
warns you about leaving recovery and maturation time between the first draft and
the 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 clear
and brilliant but which are actually obscure for the outsider. Never decide that a
problem 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 watch
out 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 your
words? 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 you
are most likely to commit. Everyone has individual weaknesses and flaws. Here
are 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!

15
2 FORMAT

2.1 Typing
Print 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 is
neither too bit, nor too small, just comfortable to read (such as Times New Roman
12). Set the line spacing in such a way that you write no more than 28-32 lines on
each page. Keep this wider space throughout the text (it is very important for your
instructor to have enough space for corrections and comments!), except for
block-quotations and footnotes, where you should employ single spacing.

2.2 Proofreading and Correcting

Check the draft from which you type (or your first printout) for spelling, pun-
ctuation, subject-verb agreement, and accuracy of quotations and notes. Once the
paper is printed, check it again, and if you do not have a chance to reprint it with
the 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 make
corrections on a printed draft copy, then to enter your corrections on the computer
and print the text once again.

2.3 Parts of the Paper

The 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 three
main 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 several
sections.
As for pagination (page numbering), the preliminaries are numbered with
lowercase Roman numerals (i, ii, iii, iv, v), while the main text and the back
matter are numbered with consecutive Arabic numerals (1, 2, 3, 4, 5). The
numbers can be placed either in the upper right corners, or at the bottom of each
page, 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 in
the upper corners alternating between left and right.

16
 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 Header 1,2

3 3

1 = Page number, upper right corner

2 = Page number, alternating upper corners
3 = 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 the Appendices.

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).

17
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 is
omitted. 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 the
parts 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) Subheading
1.1.1.1 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 can
add 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 (see Table 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.

18
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 findings
of 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 the
irregular plural for ‘appendix’: ‘appendices’!
If you choose endnotes rather than footnotes (certain publishers require these
in 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 the
paper, depending if you create an index, or not. Instructions for the layout of this
part are detailed under Citation below (in sections under 3.5).

19
 In longer works it is useful to create an Index, which is an alphabetical list of
names, 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 to
create 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 Fastening
Do 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.

20
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 Quotation

When 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 called citation. (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 verbatim
quotations 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 Gill’s edition of Mar-
lowe’s Doctor Faustus (London: Ernest Benn, 1971,
The New Mermaids). Individual citations cannot in-
dicate fully my reliance on Gill’s commentary.

3.2 Plagiarism
Plagiarism is the use of another author’s ideas or words as if they were one’s
own. This is expressly forbidden in any academic writing! Besides, if this practice
is revealed, there will be serious consequences: your work may be sanctioned
with complete rejection and ‘honored’ with a failing grade.

3.3 Required Citation

Give 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.

21
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 not
fit 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 the
end of your paper. Parenthetical citations take the form of (Author Date, page-
page). E.g.:
(White l974, 28-9)

Note that ‘Author’ means the author’s last name, ‘Date’ is the date of publication
as listed in the bibliography of your paper.

22
 In papers using parenthetical references and reference lists, notes take the form
of longer content notes, including longer remarks combined with parenthetical
references:
3
See White (1974, 28). I do not agree, however,
with all his arguments. I find the description of
death 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 author’s name. Full description in a note:
4
The Works of the British Poets XXX: Poems of
Collins 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, Shakespeare’s works, etc.) identify it not with a
full 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 underlined
nor put in quotation marks.)
(Luke 24.39) The Gospel of Luke from the
Bible, Chapter 24, verse 39.
(Symp. 175 a-b) Plato’s Symposium, sections l75
a-b.
(FQ 6.2.11.8-9) Spenser, The Faerie Queene, Book
VI. Canto ii, stanza 11, lines
8-9.
(2H6 3.2.80-3) Shakespeare, The Second Part of
King Henry the Sixth, Act III,
Scene ii, lines 80-83.

23
 (PL 6.329) Milton, Paradise Lost, Book VI. line
329.
(OED III) The Oxford English Dictionary,
the third definition of a word,
for example in a reference like
the following: A standard meaning
of ‘perspective’ in these years
was ‘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 References

Number footnotes consecutively throughout your text. The numeral, typed
slightly above the line, goes after an item to be acknowledged and after 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 girls
in Louisville.”
With parenthetical note:
. . . girls in Louisville” (Fitzgerald, Gatsby,
81).

3.6 Bibliography
A bibliography is indispensable if in your text you use shortened, parenthetical
references. 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 or

REFERENCES or
BIBLIOGRAPHY, etc.

24
Note that a bibliography is a list of works cited in your text, not a list of works
consulted in 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 the
former 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 main
segment 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 the
same 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 author’s 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

25
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: author’s 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 Consistency

A 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 and
bibliographies 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 Péter 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 (2nd
ed.). London: Macmillan.
Gittings, Robert. 1985. John Keats (repr.). Har-
mondsworth: Penguin.
Péter, Ágnes. 1989. Keats világa. Budapest: Európa
(Írók világa).

26
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
2
N 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 to
Newton. Magic and the Making of Modern
Science. Cambridge: Cambridge University
Press, 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

2
N 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.

27
3.8.1.3 Several Authors
2
N Martin Greenberger et al., Networks for
Research Education (Cambridge, Mass.: Harvard
University Press, 1989), 24.
B Greenberger, Martin et al. Networks for Re-
search Education. Cambridge, Mass.: Harvard
University 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’

2
N 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
2
N 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 of
Drama. 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 Nature
of Drama. Boston: Houghton Mifflin.
RL/CR Hefner, Hubert. 1959 = Ray 1959, vol. 2.
3.8.1.6 No author given
2
N The Lottery (London: J. Watts, 1732), 20-
5.
B The Lottery. London: J. Watts, 1732.

28
 PR (The Lottery 1732, 20-5)
RL The Lottery. 1732. London: J. Watts.

3.8.1.7 Citing unpublished PhD dissertations or MA theses

2
N István Barabás, The Spiral Castle. The
Mage and the Gyre: W.B. Yeats and the Occult
Tradition (unpublished MA thesis, Szeged:
JATE, 1993), 16.
B Barabás, István. The Spiral Castle. The
Mage and the Gyre: W.B. Yeats and the Occult
Tradition. Unpublished MA thesis. Szeged:
JATE, 1993.
PR (Barabás 1993, 16)
RL Barabás, István. 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
2
N Catherine Belsey, “Towards Cultural
History – in Theory and Practice,” in Kiernan
Ryan ed., New Historicism and Cultural
Materialism. A Reader (London: Arnold, 1996),
83.
B Belsey, Catherine. “Towards Cultural
History – in Theory and Practice.” In Kiernan
Ryan ed. New Historicism and Cultural
Materialism. A Reader. London: Arnold, 1996,
82-92.
PR (Belsey 1996, 83)
RL Belsey, Catherine. 1996. “Towards Cultural
History – in Theory and Practice.” In Kiernan
Ryan 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).

29
 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 that
item.

3.8.2.2 Article in a journal

2
N Maria Margaroni, “From Medusa’s Gaze to
the Myth of Narcissus: Textual Jouissance and
Theoretical Hubris,” European Journal of
English Studies 1 (1997): 74.
B Margaroni, Maria. “From Medusa’s Gaze to
the Myth of Narcissus: Textual Jouissance and
Theoretical Hubris.” European Journal of
English Studies 1 (1997): 73-86.
PR (Margaroni 1997, 74)
RL Margaroni, Maria. 1997. “From Medusa’s Gaze
to the Myth of Narcissus: Textual Jouissance
and Theoretical Hubris,” European Journal of
English 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 title
of 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

2
N Frederick Barthelme, “Architecture,” Kan-
sas Quarterly 13.3-4 (1981): 77.
B Barthelme, Frederick. “Architecture.”
Kansas Quarterly 13.3-4 (1981): 70-81.
PR (Barthelme 1981, 77)
RL Barthelme, Frederick. 1981. “Architecture,”
Kansas Quarterly 13.3-4: 70-81.

30
3.8.2.4 An article from a monthly periodical with no issue numbers
2
N Mark Snyder, “Self-Fulfilling Stereo-
types,” Psychology Today July 1982: 68.
B Snyder, Mark. “Self-Fulfilling Stereo-
types.” Psychology Today July 1982: 67-70.
PR (Snyder 1982, 68)
RL Snyder, Mark. 1982. “Self-Fulfilling Ste-
reotypes,” Psychology Today July: 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
2
N “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
2
N Milos Forman dir., Amadeus, written by
Peter Schaeffer, The Saul Zaentz Company,
1986.
B Forman, Milos dir. Amadeus. Written by
Peter Schaeffer. The Saul Zaentz Company, 1986
PR (Forman 1986)
RL Forman, Milos dir. 1986. Amadeus. Written
by Peter Schaeffer. The Saul Zaentz Company

31
3.8.3.3 Recordings
2
N G.F. Handel, “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., 1992; Allegro Records PCD 1030).
B Handel, G.F. “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., 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 THE INTERNET

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

2
N 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/ren
forum/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/ren
forum/v1no1/hirst.htm. Access: 7 January
1998.
PR (Hirst 1996)
RL Hirst, Derek. 1996. “Making All Religion
Ridiculous: The Polemics of Toleration, 1667-
1673.” Renaissance Forum 1.1. Available:

32
 http://www/hull.ac.uk/Hull/EL_Web/ren
forum/v1no1/hirst.htm. Access: 7 January
1998.

3.8.4.2 Information from a home page, no author given

2
N “Heirs of Rome: the Shaping of Britain AD
400-900,” in Exhibitions at the British Lib-
rary, available: http://portico.bl.uk/exhibi
tions/exhibitions/html, access: 5 November
1997.
B “Heirs of Rome: the Shaping of Britain AD
400-900.” In Exhibitions at the British Lib-
rary. Available: http://portico.bl.uk/exhibi
tions/exhibitions/html. Access: 5 November
1997.
PR (“Heirs of Rome...” 1997)
RL “Heirs of Rome: the Shaping of Britain AD
400-900.” In Exhibitions at the British Lib-
rary. Available: http://portico.bl.uk/exhi
bitions/exhibitions/html. Access: 5 November
1997.
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 QUOTATION

When you cite/quote somebody who is quoted by somebody else, you should
include both works in your bibliography / reference list.
2
N Janice Rossen, Philip Larkin: His Life and
Work (New York: Harvester, 1989), 126, quoted
by István D. Rácz, “Agnosticism, Masks and Mo-
nologues in Philip Larkin,” Hungarian Journal
of English and American Studies 1.2 (1995):
112.
B Rossen, Janice. Philip Larkin: His Life and
Work. New York: Harvester, 1989.
Rácz, István D. “Agnosticism, Masks and Mo-
nologues in Philip Larkin,” Hungarian Journal
of English and American Studies 1.2 (1995):
93-121.
PR (Rossen 1989, 126 in Rácz 1995, 112)
RL Rossen, Janice. 1989. Philip Larkin: His
Life and Work. New York: Harvester.
Rácz, István D. 1995. “Agnosticism, Masks
and Monologues in Philip Larkin.” Hungarian
Journal of English and American Studies 1.2:
93-121.

33
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 author’s 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. New
Aspects in Shakespeare Studies.” In Fabiny ed.
1984, 7-57.
---- “Veritas Filia Temporis: The Icono-
graphy of Time and Truth and Shakespeare.” In
Fabiny 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.” In
Fabiny 1984b, 7-57.
---- 1984b. “Veritas Filia Temporis: The
Iconography 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).

34
4 OTHER FORMAL REQUIREMENTS
AND SUGGESTIONS

4.1 Underlining and Quoting Titles

It 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 producing
italics (slanted letters), use underlining instead. Normally you do not use the two
in combination.
Italicize titles of published works, books, periodicals, pamphlets, plays,
movies, and long poems (for example, Tennyson’s In Memoriam); and also titles
of unpublished dissertations and theses. Enclose in double quotation marks (“ ”)
titles of chapters and sections of books, journal articles, short stories, essays,
songs, short poems (Frost’s “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), mutatis
mutandis (= 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 refer
to 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 of
short works. ‘Single marks’ are used for “‘quotations’ within quotations.” (This
practice in British / American usage is sometimes the opposite.)

4.2 Quotations
Quote accurately! Reproduce the exact wording, spelling, and interior capital-
ization and punctuation of the original. If the original text contains italicized
words, follow italics or indicate them by underlining.
Make sure to introduce quotations, do not just drop them into the text. Make
each quotation part of one of your sentences! At the same time do not insert a
long quotation in the middle of one of your own sentences, since the sentence will
break in half before and after the quotation.

4.2.1 SHORT VERSE QUOTATION

If 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 a
spaced solidus (slash: / ) and you retain the initial capital letter in the new line:

35
 Macbeth accuses Ross and Angus of dressing him “in
borrowed robes” (1.3.109).
Although Hotspur remains defiant, Glendower turns
to the matter of dividing the kingdom: “Come, here
is the map. Shall we divide our right / According
to our threefold order ta’en?” (1H4 3.1.69-70).

4.2.2 LONGER VERSE QUOTATIONS, BLOCK QUOTATIONS

Reproduce 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 cm
more that paragraph indents. Omit quotation marks at the beginning and at the
end; if the quotation begins in mid-line, follow suit:
that hath been
Cool’d 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-known
works, check again 3.4.3.

4.3 Abbreviations

The following list contains abbreviations commonly used in papers. Note that
expressions 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. – et
cætera, 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);

36
 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 referred
work];
sc. – scene; [sic] – so, thus (calling attention
to 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 never
be abbreviated.
Remember that if you refer to the same author in the same sentence, you do
not repeat his name in the citation, write ‘idem’ instead. If you cite from the same
book, do not repeat all the publication data, just write the author’s last name and
add ‘op. cit’. If you cite from the same page as in your immediately previous
reference, do not repeat publication data, write only ‘ibid.’. ‘Ibid.’ – since it refers
to the same page in your immediately preceding reference – should never go
together with a page number! You can use these abbreviations in parenthetical
short references, too: (op.cit., 28); (ibid.).

4.4 Punctuation
A colon (:) usually indicates an equivalence, stated or implied, between what
precedes and what follows it. Use a colon to introduce lists, passages to which
you refer, and the like. A semicolon (;) marks a greater break in the continuity of
a sentence than that indicated by the comma, however, never use a semicolon to
introduce a quotation. Also, outside of lists, semicolons are only used between
two independent clauses. Question marks are rarely used in scholarly writing, and
exclamation marks only exceptionally.

4.4.1 PUNCTUATION AFTER QUOTATION

The 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, a final comma or period
always precedes closing quotation marks, whether it is part of the quoted text or
not. Question marks and exclamation points precede quotation marks if they are
part of the quoted text, follow if they pertain to the entire sentence of which the

37
quotation is a part. Semicolons and colons follow quotation marks. Note the fol-
lowing examples:
The slogan of the police in most countries is
“We serve and protect.”
Every sensible philosophical investigation
starts with the question, “Who am I?” BUT Should we
accept Jefferson’s concept of “a natural aristoc-
racy among men”?
We can remember Churchill’s famous exclamation:
“Never again!” BUT Beware of believing every empty
commitment, such as “Our top priority is the satis-
faction of our customers”!
The chairman made the point that “he should put
an end to all corruption”; then he ended the meet-
ing with a gracious smile.

4.5 Omission
Never 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 by
three spaced periods . . . , or three periods in brackets or parentheses: [. . .], (. . .).
Space is needed betwween periods but not between the brackets and periods.

4.6 Interpolation
If you insert a word within a quotation – e.g. a name for a pronoum –, enclose
it in square brackets:
As professor Gomme writes: “He [the writer] must
write, as it were, against the public potentially
so willing to do him the wrong kind of honour.”

4.7 Some More Useful Remarks

4.7.1 HYPHEN AND DASH

Use 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, he
looks like one--living in the twentieth century.

38
4.7.2 DATES
The 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 following
form:
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 18th
century). In running text do not use numerals for referring to centuries: “in the
eighteenth century”.

4.7.3 STYLE
Parallel 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 statement
of conclusion.
BUT A successful paper has a precise title, a
carefully conceived thesis, coherent organi-
zation, and a clear conclusion.

Gratuitousness: avoid it!

NOT As the well-known English playwright, William
Shakespeare, 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 active
voice! The passive voice is rarely valuable, it is an old fashioned superstition that
you should use it in scholarly writing. Never conceal your own personality; dare
to write “I think. . .”, “In my opinion. . .”, and even “I disagree. . .”
Make your title descriptive! The title of an essay focuses the reader’s expectat-
ions and it is therefore important. It should describe the contents of the essay as
precisely as possible, and it should also say something about your approach.
NOT “Shakespeare’s Hamlet”
BUT “Politics and Love in Shakespeare’s Hamlet”.
NOT “The Tenants Analyzed”
BUT “Malamud’s The Tenants and the Problems of
Ethnic Writers in America”.

39
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:
Országh, László. Angol–magyar nagyszótár
Hornby, A.S. Oxford Advanced Learner’s Dictionary
of Current English
The Oxford English Dictionary
The Oxford Dictionary of English Etymology
Roget’s Thesaurus
Alexander. Essay and Letter Writing
Reaske. The College Writer’s Guide to the Study of
Literature
The Concise Oxford Dictionary of English Literature
The Oxford Dictionary of Quotations
The Oxford Dictionary of Proverbs
Crowell’s Handbook of Classical Literature
The New English Bible
Abrams. A Glossary of Literary Terms

In today’s 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.

40
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 closing
quotation mark, unless the citation is followed by a parenthetical note,
which has to precede the comma or the period (see section 4.4.1). The
comma and the period are needed after the parenthesis even if punctuation
marks other than the comma or period close the quotation inside the
closing quote:
“Than fly to others that we know not of?” (Ham.,
3.1.82).

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

6.1.3 In notes as well as in the Reference List (Works Cited, or Bibliography)

editors are abbreviated ‘ed.’ or ‘eds.’, however, they are not placed within
parentheses 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 in
Early Modern England”. In Anthony Fletcher and
John Stevenson, eds. Order and Disorder in Early
Modern England. Cambridge: Cambridge University
Press, 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 element
is 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 for
clarifications.

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

41
6.2 A Sample Reference List

Belsey, Catherine. 1985. “Disrupting Sexual Dif-

ference: Meaning and Gender in the Comedies”. In
John Drakakis ed. Alternative Shakespeares. Lon-
don: Methuen.
Berry, Herbert. 1987. Shakespeare’s Playhouses.
New York: AMS Press (AMS Studies in the
Renaissance 19).
Davis, Natalie Z. 1978. “Women on Top: Symbolic
Sexual Inversion and Political Disorder in Early
Modern Europe”. In Barbara Babcock ed. The Re-
versible World: Symbolic Inversion in Art and
Society. Ithaca, NY: Cornell University Press,
147-9.
----. 1979. Les cultures du peuple. Rituels, sa-
voirs et résistances au 16esiècle. Paris: Aubier
(Collection historique).
Doran, Madeleine. 1954. Endeavors of Art: A Study
of 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 and
American Studies 3).
Ferguson, M. et al., eds. 1986. Rewriting the
Renaissance: The Discourse of Sexual Difference
in Early Modern Europe. Chicago: The University
of Chicago Press.
Géher István. 1991. Shakespeare-olvasókönyv. Tü-
körképünk 37 darabban. Budapest: Szépirodalmi /
Cserépfalvi.
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.

42
Howard, Jane E. 1994. The Stage and Social
Struggle in Early Modern England. London:
Routledge.
Ingram, Martin. 1985. “Ridings, Rough Music and
Mocking Rhymes in Early Modern England”. In
Barry Reay ed. Popular Culture in Seventeenth-
Century England. New York: St. Martin’s 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 Women’s Clothing: An-
titheatricality and Effeminization from 1579 to
1642". Criticism 28: 121-43.
McLuskie, Kathleen. 1987. “The Act, the Role, and
the Actor: Boy Actresses on the Elizabethan
Stage”. New Theatre Quarterly 3: 120-30.
Makkai László & Hankiss Elemér. 1965. Anglia az
újkor küszöbén. Budapest: Gondolat (Európa Nagy
Korszakai).
Orgel, Stephen. 1996. Impersonations. The Perfor-
mance of Gender in Shakespeare’s England. Cam-
bridge: Cambridge University Press.
Park, Clara. 1980. “As We Like It: How a Girl can
be Smart and Still Popular”. In Carol Neely et
al. eds. The Woman’s Part: Feminist Criticism of
Shakespeare. Urbana: The University of Illinois
Press.
Reese, M.M. 1980. Shakespeare. His World and His
Work (1953). London: Edward Arnold.
Shakespeare, William. 1972. Összes drámái. Buda-
pest: Magyar Helikon (Helikon Klasszikusok).
Stubbes, Philip. 1583. The Anatomy of Abuses. Lon-
don (STC 23376).
Székely György. 1972. Angol színházmûvészet a XVI-
XVII. században. Budapest: Gondolat (Európai An-
tológia).
Szilassy Zoltán. 1984. “Emblems Stage, Dramaturgy
(Preliminary Notes to an Iconographic/Iconolo-
gical and ‘Iconoclastic’ Approach to the Shake-
spearean Theatre”. In Fabiny 1984, 337-53.
Tárkány Szücs Ernı. 1980. “Közvélemény-büntetés”.
In Ortutay Gyula et al., eds. Magyar néprajzi
lexikon. Budapest: Akadémiai, 3: 332-3.

43
 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 in
Early Modern England”. In Anthony Fletcher and
John Stevenson, eds. Order and Disorder in Early
Modern England. Cambridge: Cambridge University
Press, 116-36.
Vékony Attila. 1996. “Variations on a Theme:
Cross-dressing on the Shakespearean Stage”. Un-
published MS, Szeged: JATE.
Wickham, Glynne. 1963. Early English Stages 1300
to 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 number
without 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

44
 3.1 Section title
The arguments for and/or against proponents of other solutions can be dis-
cussed in this (and the following) section(s). Present or summarize your own pro-
posal in a separate (sub)section.
...
4 Conclusion
This last part of the paper serves to remind the reader of what the author has
set out to do and what s/he has achieved, i.e. it gives a summary of the most im-
portant results of the paper.

6.3.2 REFERENCES
Always use the “Reference List” type of references in linguistics papers and
theses, that is to say you should use only in-text citations. Citations should be in
the following format:
(Smith, 1998:125).

Note that there is no space between the date and the page number, and the comma
after the author’s name may or may not be there, depending on the style.
The “Reference List” format is used for the bibliography, but there is always
a period at the end of each entry. If there are multiple aditors or authors, they are
listed in the bibliography entries.

6.3.3 EXAMPLES

6.3.3.1 Examples in running text

Underline (or italicize) every example within the body of the text with its
meaning (or gloss in linguistic terminology), if necessary, given in single
‘quotes’. No other punctuation (comma, semicolon, etc.) separates or follows the
example and its meaning, unless required by the syntax of the sentence.
The word maison ‘house’ is feminine in French. The
words livre ‘book’, phare ‘lighthouse’, and pied
‘foot’ are masculine. The idiom kick the bucket
‘die’ cannot be passivized.

If the example needs to be morphologically analyzed (i.e., ‘glossed’ or ‘given

glosses’ in technical terms), the following method can be applied to render its
literal and lexical meaning.
The German Schluß machen ‘lit.: end make; put an
end, finish’ is a collocation rather than an idiom.

45
 Grammatical morphemes are given in capitals, notional words/morphemes in
small case with hyphens between the morphemes in the example and the gloss.
Abbreviations are customary, such as PL = plural, or SG = singular, but writers
may make up their own, provided a list of abbreviations is appended to the paper.
Tense markers always precede person/number
suffixation in Hungarian, cf. olvas-t-unk ‘read-
PAST-1PL’

Note the use of various typographical devices: examples are underlined (or ita-
licized), meanings are in ‘single quotes’, direct citations are in “double quotes”.

6.3.3.2 Examples separated from the body of text

If 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 in
the paper, it should be given as separated from the body of text and numbered
starting 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 one
another.

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, in
which neither sentence can be syntactically derived
from 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 szınyeg-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 the
gloss, 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.

46
6.3.4 FIGURES AND TABLES
Tables and figures, such as tree diagrams, are also to be numbered con-
secutively as if they were examples. Lines should be either indicated by slant
lines or clearly drawn. Unanalyzed parts of the structure can be given under tri-
angles.

6.3.5 PHONETIC TRANSCRIPTION

Students writing papers in morphology and/or phonology ought to use the In-
ternational Phonetic Alphabet (X, k, ˆ, ®, (, etc.) wherever relevant to the prob-
lems considered. If the symbols cannot be printed (on a computer printer or a
typewriter), the symbols themselves or the diacritics accompanying the printable
symbols should always be added by hand.

6.4 The MLA-based HJEAS Style Sheet

The MLA (Modern Language Association of America) is the most important
umbrella association of the humanities in the USA. The MLA Style Sheet was
originally compiled in 1951 for literary and linguistic scholars who publish in
learned journals. By today the many times revised and updated MLA Style Sheet
and the MLA Style Manual have been adopted in many countries and by many
editorial boards throughout the world. Although the MLA style is somewhat
different from the other leading American style sheet, The Chicago Manual of
Style (developed by the University of Chicago Press) on which the present style
sheet is mainly based, the importance of the MLA style in Hungary is marked by
the fact that our country’s leading journal in English and American Studies
(HJEAS) follows strictly that style. In order to facilitate students or colleagues
who whish to submit a manuscript in HJEAS, or find themselves required to
prepare a paper in MLA format, here we reproduce the compressed version of the
HJEAS Style Sheet which is basically identical with that of the MLA. Special
thanks to the Editorial Office of HJEAS (University of Debrecen) for permitting
the publication of the sections below.

47
 HJEAS STYLE SHEET FOR CONTRIBUTORS
FORMAT FOR SUBMISSION OF ESSAYS
Please 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 essay
electronically 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 number
of your word processing program (e.g., Word 6 for Windows 95, Word Perfect
6 for Windows 98), the number of your Windows system is important. If you do
not 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 in
any way.
In the body of the essay state full names of persons when first mentioned and
only surnames at all subsequent uses.
All material submitted for consideration by HJEAS must be typed in an ordi-
nary font, double-spaced including the body of the essay, all quotations, all notes,
and all works cited.
HJEAS uses only one space after a period or full stop. The journal follows
American punctuation conventions including double quotes for quotations and
single quotes for quotations within a quotation (the latter is the only case when
single quotes are possible to use). The comma or the period that closes the quot-
ation is inside the closing quotation mark, unless the citation is followed by a
parenthetical note, which has to precede the comma or the period. The comma
and the period are needed after the parenthesis even if punctuation marks other
than the comma or period close the quotation inside the closing quote: . . .?” ( ).
As for indented quotations, start them in the eleventh space from the left
margin. Do not indent less than four prose lines. Also incorporate less than four
lines of poetry, using slashes – with a space on each side – to separate lines. In-
dent a quotation from drama if it is a dialogue between two or more characters.
Type names of characters in all capital letters followed by a period. All subse-
quent lines are indented three spaces under the character’s name. There are no
quotes around indented quotations. To indicate quotation inside indented quot-
ation use double quotes. The parenthetical page reference is preceded – and not
followed – by the period of the closing sentence in the case of indented texts.
Ellipses should be indicated by three periods bracketed [. . .] for any material
you as author omit from quotations. Space is needed between periods but not
between periods and brackets. If ellipsis exists within the material quoted, then
use the three spaced periods; e.g., . . .
Justification. Please use Justified Left margin ONLY and leave the right
ragged. (Otherwise it is almost impossible to catch stray extra spaces as, for
example, in this paragraph.)
A dash is long or typed as two hyphens with no space at either end. Brackets
are used inside parentheses (also around our own insertions inside a quote).

48
FINAL COPY
In addition to two copies for review by the editors and peer reviewers, the edi-
tors will request final copy on disk in DOS readable format. HJEAS is using
WORD for Windows.

FOOTNOTES AND CITATIONS

HJEAS uses the MLA form of parenthetical citation in the text with an ap-
pended list of “Works Cited” alphabetized by authors’ names rather than foot-
notes and/or bibliography. Footnotes are, therefore, reserved only for content and
used sparingly. Parenthesized page numbers that follow citations are preceded by
the author’s surname (no punctuation mark between author and page number) if
the source is otherwise not clear from the text in some way (author’s name al-
ready mentioned in the sentence, character’s name mentioned, the context
identifies the source). If two or more works are cited from the same author, an
abbreviated title is needed between author’s name and page number in the
parenthesis (and a comma to set off the title from the author’s name). See the fol-
lowing examples of Roche and Yeats. Since two separate Roche works are cited
in this example, a brief title is necessary. Since only one Yeats work is cited, the
page number suffices.
In Works Cited cite first the author or editor followed by a period, then title
followed by a period, place of publication followed by a colon, then publisher fol-
lowed by a comma, and date followed by a period or full stop. When citing a sec-
tion of a book, add one space, the page numbers of the section followed by a
period or full stop. Publishers’ names are abbreviated: only surname of publisher
is used; only first publisher (and first place of publication) is mentioned; “Press,”
“Inc.,” “Ltd.,” etc. are also dropped; “University Press” becomes “UP” (e.g., U
of Minnesota P). If original year of publication needs to be mentioned, it follows
the title, thus preceding the publication information (and is followed with a
period). Journal pages are preceded by a colon but without a space, followed by
the page numbers, then period.

EXAMPLES
Here are some examples from a recent issue of HJEAS on Irish Drama. For a
more detailed discussion of citation and for citing other forms of printed sources
(including unpublished dissertations) as well as music, film, or video recording,
and electronic sources, consult either the current MLA Handbook (5th ed.) or MLA
Style Manual.

Text from body of the essay

In a letter to Olivia Shakespeare written in 1929,
W. B. Yeats declared "A deep of the mind can only
be approached through what is most human, most de-
licate" (768). In The Mai (1994) Marina Carr ap-

49
 proaches such "a deep of the mind" through what is
arguably the most human and the most essential of
all human properties, memory.1

Relevant End Notes

NOTES
1 Carr says she has read Williams's The Glass
Menagerie many times (Interview C23). The Mai was
voted the Best New Play of the 1994 Irish Life
Dublin Theatre Festival. Already acknowledged as
one of the brightest new Irish playwrights (See
Roche, Contemporary 6; and see especially 286-288),
her plays were, however, clearly derivative of
Samuel Beckett. With The Mai Carr found her own
voice leaving behind what she described as "my
Beckett phase" (Interview C23). For a clear dis-
cussion of contemporary research on mind and me-
mory, see Rosenfield whose book has greatly influ-
enced my thinking about memory.

Pertinent Works from the Works Cited List

WORKS CITED
Carr, Marina. "The Bandit Pen." Program notes for
Good Evening, Mr Collins by Tom Mac Intyre.
Peacock Theatre, Dublin, July 1996.
---. Interview with James F. Clarity. "A Play-
wright's Post-Beckett Period." The New York
Times. 3 Nov. 1994:C23.
---. The Mai. Loughcrew: Gallery, 1995.
---. Portia Coughlan, The Dazzling Dark. Ed. Frank
McGuinness. London: Faber, 1996.
Roche, Anthony. Contemporary Irish Drama: From
Beckett to McGuinness. Dublin: Gill, 1994.
---. "Woman on the Threshold: J. M. Synge's The
Shadow of the Glen, Teresa Deevy's Katie Roche
and Marina Carr's The Mai." Irish University Re-
view. 25.1 (1995):143-162.
Rosenfield, Isaac. The Invention of Memory: A New
View of the Brain. New York: Basic, 1988.
Yeats, W. B. Letters of W. B. Yeats. Ed. Allan
Wade. New York: Macmillan, 1955.
N.B. Cross references in “Works Cited” (e.g., to indicate a chapter in a critical an-
thology) refer to a given item by the author’s name followed by the beginning and
closing page numbers (with no punctuation in-between).

50
6.5 Sample title pages for Major Papers and MA Theses

6.5.1 MAJOR PAPER

University of Szeged (SZTE)

Institute of English & American Studies

Felföldi Edit
Kennings in the ‘Battle of Brunnanburh’
Major Paper

Supervisor
Małgorzata Suszczyńska

Szeged, 20. . .

51
6.5.2 MA THESIS

University of Szeged (SZTE)

Institute of English & American Studies

Stötzer Andrea
The Logic of the Renaissance Stage
szakdolgozat / MA Thesis

Témavezetı / Supervisor
Dr. Kiss Attila

Szeged, 20. . .

52
7 CREDITS

For formal requirement this Style Sheet closely follows Kate Turabian’s A ma-
nual for Writers which is the simplified version of the Chicago Manual of Style
and is most widely used throughout the higher education system of the United
States.
For other aspects of the Style Sheet the following sources have been consulted:

Achert, Walter S. & Joseph Gibardi. 1992. The MLA

Style Manual (1985). New York: The Modern Lan-
guage Association
Bain, Carl E., Jearome Beaty & Paul Hunter. 1986.
The Norton Introduction to Literature. New York:
Norton
The Benjamins In-House Style Sheet for Con-
tributors in Linguistics. 1997. http://www.
benjamins.nl. Access: 8 November 1997
McMahan, Elizabeth & Susan Day. 1984. The Writer’s
Rhetoric and Handbook. New York: McGraw Hill
Richardson, David A. 1983. The Spenser Encyc-
lopedia In-House Style Sheet (MS, Cleveland
State University)
Style Sheet. 1984. Department of English, Univer-
sity of California, Los Angeles
Turabian, Kate L. 1987. A Manual for Writers of
Term Papers, Theses, and Dissertations (1937,
1973). Chicago: The University of Chicago Press

53
 Kiadja a JATEPress
6722 Szeged, Petôfi Sándor sugárút 30—34.
http://www.jate.u-szeged.hu/jatepress/

Felelôs kiadó: Dr. Szônyi György Endre egyetemi docens, intézetvezetô

Felelôs vezetô: Szônyi Etelka kiadói fôszerkesztô
Méret: A/5, példányszám: 150, munkaszám: 38/2008.