citation dissertation romanesque

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Article search, problematic returns: on the romanesque in contemporary french literature.

• This dissertation examines the discourse that emerged in the late 1980s positing a “retour du romanesque” in French literature. Through a survey of the scholarly work on the subject of contemporary literature and the romanesque, as well as a close analysis of three major authors associated with the “retour du romanesque”—Jean Echenoz, Jean Rouaud, and Antoine Volodine—this dissertation aims to provide a fuller account of the modalities, stakes and goals of the contemporary novel. In particular, it seeks to address the question of how the contemporary return to the romanesque contributes to defining the aesthetic postulates that underpin the last thirty years of French literary production. The broader aim of this study is to interrogate the theoretical positions that might justify alternative readings of a development that could otherwise be considered purely in terms of regression to conservative standards of literary quality. The three authors considered in this study are exemplary of the diverse understandings of the developments of 20th-century literature, and the ways in which these understandings influence decisions pertaining to literary kinship and filiation. Jean Echenoz riffs on the standards of conventional genre fiction, at once sabotaging and renewing its clichés. Jean Rouaud polemically refuses what he sees as a tradition of experimental fiction, and returns to the romanesque as a literature of slow contemplation and strong axiological positions. Antoine Volodine constructs violent alternate realities, as well as an entire fictional community, in an attempt to sever his literary works from any relation to literary past, present, or future. This dissertation finally argues that these writing projects all point to the need for a theoretical paradigm which would reconcile critical and naive, reflective and immersive reading practices.

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• ProQuest Dissertations & Theses Global
• Romance literature

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🧠 Plaisir romanesque ?

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L’Abbé Prévost, Manon Lescaut Le plaisir romanesque Dissertation corrigée

Introduction, problématique, annonce du plan, i. un plaisir subversif de la transgression, 1. des aventures romanesques, 2. susciter la curiosité, 3. une histoire d’amour et libertinage, transition vers la deuxième partie, ii. le plaisir de la dénonciation satirique, 1. le registre comique, 2. satire sociale et registres littéraires, 3. satire sociale généralisée, transition vers la troisième partie, iii. le plaisir d’être plus lucide que le narrateur, 1. un dispositif narratif, 2. le jugement de l’auteur en filigrane, 3. un amour qui se distingue de passions.

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Jean-Honoré Fragonard, Les hasards heureux de l'escarpolette (restauré), 1768.

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Heilbrunn Timeline of Art History Essays

• Romanesque Art

Panel with Byzantine Ivory Carving of the Crucifixion

Apse from San Martín at Fuentidueña

The Virgin and Child in Majesty and the Adoration of the Magi

Attributed to the Master of Pedret

Plaque with the Journey to Emmaus and Noli Me Tangere

The Temptation of Christ by the Devil

Baptismal Font

Manuscript Illumination with Initial V, from a Bible

Saint-Guilhem Cloister

Julien Chapuis Department of Medieval Art and The Cloisters, The Metropolitan Museum of Art

October 2002

The expansion of monasticism was the main force behind the unprecedented artistic and cultural activity of the eleventh and twelfth century. New orders were founded, such as the Cistercian, Cluniac, and Carthusian, and monasteries were established throughout Europe. Writing in the early eleventh century, the Burgundian historian Radulfus Glaber described a “white mantle of churches” rising over “all the earth.” Stimulated by economic prosperity, relative political stability , and an increase in population, this building boom continued over the next two centuries. Stone churches of hitherto unknown proportions were erected to accommodate ever-larger numbers of priests and monks, and the growing crowds of pilgrims who came to worship the relics of the saints ( Sainte-Foy at Conques ). Adapting the plan of the Roman basilica with a nave, lateral aisles, and apse, these churches typically have a transept crossing the nave, and churches on the pilgrimage road included an ambulatory (a gallery allowing the faithful to walk around the sanctuary) and a series of radiating chapels for several priests to say Mass concurrently. For the first time since the fall of the Roman empire , monumental sculpture covered church facades, doorways, and capitals ( Last Judgment , Tympanum, Beaulieu-sur-Dordogne ; Standing Prophet, Moissac ). Monumental doors, baptismal fonts, and candleholders, frequently decorated with scenes from biblical history, were cast in bronze, attesting to the prowess of metalworkers. Frescoes were applied to the vaults and walls of churches (Temptation of Christ, San Baudelio de Berlanga, 61.248 ). Rich textiles and precious objects in gold and silver, such as chalices and reliquaries, were produced in increasing numbers to meet the needs of the liturgy and the cult of the saints . The new monasteries became repositories of knowledge: in addition to the Bible, the liturgical texts, and the writings of the Latin and Greek Church Fathers, their scriptoria copied the works of classical philosophers and theoreticians, as well as Latin translations of Arabic treatises on mathematics and medicine . Glowing illuminations often decorated the pages of these books and the most eminent among them were adorned with sumptuous bindings (Book Cover with Byzantine Icon of the Crucifixion, 17.190.134 ).

The study of medieval art began in earnest in the decades following the iconoclasm of the French Revolution. Art historians in the early nineteenth century, following the natural sciences in an effort to classify their field of inquiry, coined the term “Romanesque” to encompass the western European artistic production, especially architecture, of the eleventh and twelfth centuries. The term is both useful and misleading. Clearly, medieval sculptors and architects of southern France and Spain had firsthand knowledge of the many Roman monuments in the region. The twelfth-century capitals from the cloister of Saint-Guilhem-le-Désert ( 25.120.1–.134 ), for example, adopt the acanthus-leaf motif and decorative use of the drill holes found on Roman monuments (Section of a pilaster with acanthus scrolls, 10.210.28 ). Likewise, the contemporary apse ( L.58.86 ;  50.180a–l ) from Fuentidueña uses the barrel vault familiar from Roman architecture .

While emphasizing the dependence on Roman art, the label ignores the two other formative influences on Romanesque art, the Insular style of Northern Europe and the art of Byzantium , nor does it do justice to the inventiveness of Romanesque art. Comparison of the Initial V from a Bible ( 1999.364.2 ), illuminated at the end of the twelfth century in the Cistercian monastery of Pontigny in eastern France, with the sixth-century Anglo-Saxon Square-Headed Brooch ( 1985.209 ), illustrates how long impulses from Insular art lingered in the Romanesque vernacular. Like the Anglo-Saxon goldsmith, the French illuminator created a lavish surface decoration combining interlaced ribbons with animal motifs , and yet the miniature conveys a greater sense of energy. Instead of merely filling the space, the interlace has a rhythm of its own, reinforced by the bold palette and vibrant juxtaposition of colors. The robust striding lions echo the vitality of the abstract decoration, further embellished by foliate ornament.

Byzantine influences, by way of Italy, found echoes in Romanesque art from the late eleventh century onward. The tenth-century plaque with the Crucifixion and the Defeat of Hades ( 17.190.44 ) reveals that Byzantium had preserved certain features of Hellenistic art that had disappeared in the West, such as a coherent modeling of the human body under drapery and a repertoire of gestures expressing emotions. These elements are present in the ivory plaque with the Journey to Emmaus and the Noli Me Tangere ( 17.190.47 ) carved in northern Spain in the early twelfth century. Compared to the Byzantine sculptor, however, the Romanesque artist has imbued his composition with a heightened sense of drama, through a more emphatic play of gestures and swirling draperies with pearled borders.

More important than its synthesis of various influences, Romanesque art formulated a visual idiom capable of spelling out the tenets of the Christian faith. Romanesque architects invented the tympanum, on which the Last Judgment or other prophetic scenes could unfold, as a stern preparation for the mystical experience of entering the church. Inside, as they meandered around the building, the faithful encountered other scenes from biblical history, on doors, capitals, and walls ( The Temptation of Christ , 61.248 ), and were drawn into the narrative by their dynamic, direct language.

Chapuis, Julien. “Romanesque Art.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/rmsq/hd_rmsq.htm (October 2002)

Further Reading

Petzold, Andreas. Romanesque Art . New York: Harry N. Abrams, 1995.

Additional Essays by Julien Chapuis

• Chapuis, Julien. “ Gothic Art .” (October 2002)
• Chapuis, Julien. “ Late Medieval German Sculpture .” (October 2002)
• Chapuis, Julien. “ Late Medieval German Sculpture: Materials and Techniques .” (October 2002)
• Chapuis, Julien. “ Patronage at the Early Valois Courts (1328–1461) .” (October 2002)
• Chapuis, Julien. “ Patronage at the Later Valois Courts (1461–1589) .” (October 2002)
• Chapuis, Julien. “ Late Medieval German Sculpture: Images for the Cult and for Private Devotion .” (October 2002)
• Chapuis, Julien. “ Late Medieval German Sculpture: Polychromy and Monochromy .” (October 2002)

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• Medieval European Sculpture for Buildings
• Monasticism in Western Medieval Europe
• Pilgrimage in Medieval Europe
• Animals in Medieval Art
• Art for the Christian Liturgy in the Middle Ages
• Artistic Interaction among Cultures in Medieval Iberia
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Home / Guides / Citation Guides / APA Format / How to Cite a Thesis or Dissertation in APA

How to Cite a Thesis or Dissertation in APA

In this citation guide, you will learn how to reference and cite an undergraduate thesis, master’s thesis, or doctoral dissertation. This guide will also review the differences between a thesis or dissertation that is published and one that has remained unpublished. The guidelines below come from the 7th edition of the Publication Manual of the American Psychological Association (2020a), pages 333 and 334. Please note that the association is not affiliated with this guide.

Alternatively, you can visit EasyBib.com for helpful citation tools to cite your thesis or dissertation .

Guide Overview

Citing an unpublished thesis or dissertation, citing a published dissertation or thesis from a database, citing a thesis or dissertation published online but not from a database, citing a thesis or dissertation: reference overview, what you need.

Since unpublished theses can usually only be sourced in print form from a university library, the correct citation structure includes the university name where the publisher element usually goes.

Author’s last name, F. M. (Year published). Title in sentence case [Unpublished degree type thesis or dissertation]. Name of institution.

Ames, J. H., & Doughty, L. H. (1911). The proposed plans for the Iowa State College athletic field including the design of a reinforced concrete grandstand and wall [Unpublished bachelor’s thesis]. Iowa State University.

In-text citation example:

• Parenthetical :  (Ames & Doughty, 1911)
• Narrative :  Ames & Doughty (1911)

If a thesis or dissertation has been published and is found on a database, then follow the structure below. It’s similar to the format for an unpublished dissertation/thesis, but with a few differences:

• The institution is presented in brackets after the title
• The archive or database name is included

Author’s last name, F. M. (Year published). Title in sentence case (Publication or Document No.) [Degree type thesis or dissertation, Name of institution]. Database name.

Examples 1:

Knight, K. A. (2011). Media epidemics: Viral structures in literature and new media (Accession No. 2013420395) [Doctoral dissertation, University of California, Santa Barbara]. ProQuest Dissertations Publishing.

Trotman, J.B. (2018). New insights into the biochemistry and cell biology of RNA recapping (Document No. osu1523896565730483) [Doctoral dissertation, Ohio State University]. OhioLINK Electronic Theses & Dissertations Center.

In the example given above, the dissertation is presented with a Document Number (Document No.). Sometimes called a database number or publication number, this is the identifier that is used by the database’s indexing system. If the database you are using provides you with such a number, then include it directly after the work’s title in parentheses.

If you are interested in learning more about how to handle works that were accessed via academic research databases, see Section 9.3 of the Publication Manual.

In-text citation examples :

• Parenthetical citation : (Trotman, 2018)
• Narrative citation : Trotman (2018)

Author’s last name, F. M. (Year Published). Title in sentence case [Degree type thesis or dissertation, Name of institution]. Name of archive or collection. URL

Kim, O. (2019). Soviet tableau: cinema and history under late socialism [Doctoral dissertation, University of Pittsburgh]. Institutional Repository at the University of Pittsburgh. https://d-scholarship.pitt.edu/37669/7/Olga%20Kim%20Final%20ETD.pdf

Stiles, T. W. (2001). Doing science: Teachers’ authentic experiences at the Lone Star Dinosaur Field Institute [Master’s thesis, Texas A&M University]. OAKTrust. https://hdl.handle.net/1969.1/ETD-TAMU-2001-THESIS-S745

It is important to note that not every thesis or dissertation published online will be associated with a specific archive or collection. If the work is published on a private website, provide only the URL as the source element.

In-text citation examples:

• Parenthetical citation : (Kim, 2019)
• Narrative citation : Kim (2019)
• Parenthetical citation : (Stiles, 2001)
• Narrative citation : Stiles (2001)

We hope that the information provided here will serve as an effective guide for your research. If you’re looking for even more citation info, visit EasyBib.com for a comprehensive collection of educational materials covering multiple source types.

If you’re citing a variety of different sources, consider taking the EasyBib citation generator for a spin. It can help you cite easily and offers citation forms for several different kinds of sources.

To start things off, let’s take a look at the different types of literature that are classified under Chapter 10.6 of the Publication Manual :

• Undergraduate thesis
• Master’s thesis
• Doctoral dissertation

You will need to know which type you are citing. You’ll also need to know if it is published or unpublished .

When you decide to cite a dissertation or thesis, you’ll need to look for the following information to use in your citation:

• Author’s last name, and first and middle initials
• Year published
• Title of thesis or dissertation
• If it is unpublished
• Publication or document number (if applicable; for published work)
• Degree type (bachelor’s, master’s, doctoral)
• Thesis or dissertation
• Name of institution awarding degree
• DOI (https://doi.org/xxxxx) or URL (if applicable)

Since theses and dissertations are directly linked to educational degrees, it is necessary to list the name of the associated institution; i.e., the college, university, or school that is awarding the associated degree.

To get an idea of the proper form, take a look at the examples below. There are three outlined scenarios:

• Unpublished thesis or dissertation
• Published thesis or dissertation from a database
• Thesis or dissertation published online but not from a database

American Psychological Association. (2020a). Publication manual of the American Psychological Association (7th ed.). https://doi.org/10.1037/0000165-000

American Psychological Association. (2020b). Style-Grammar-Guidelines. https://apastyle.apa.org/style-grammar-guidelines/citations/basic-principles/parenthetical-versus-narrative

Published August 10, 2012. Updated March 24, 2020.

Written and edited by Michele Kirschenbaum and Elise Barbeau. Michele Kirschenbaum is a school library media specialist and the in-house librarian at EasyBib.com. Elise Barbeau is the Citation Specialist at Chegg. She has worked in digital marketing, libraries, and publishing.

APA Formatting Guide

APA Formatting

• Annotated Bibliography
• Block Quotes
• et al Usage
• In-text Citations
• Multiple Authors
• Paraphrasing
• Page Numbers
• Parenthetical Citations
• Reference Page
• Sample Paper
• APA 7 Updates
• View APA Guide

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• View all APA Examples

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To cite a published thesis in APA style, it is important that you know some basic information such as the author, publication year, title of the thesis, institute name, archive name, and URL (uniform resource locator). The templates for an in-text citation and reference list entry of a thesis, along with examples, are given below:

In-text citation template and example:

Use the author surname and the publication year in the in-text citation.

Author Surname (Publication Year)

Cartmel (2007)

Parenthetical:

(Author Surname, Publication Year)

(Cartmel, 2007)

Reference list entry template and example:

The title of the thesis is set in sentence case and italicized. Enclose the thesis and the institute awarding the degree inside brackets following the publication year. Then add the name of the database followed by the URL.

Author Surname, F. M. (Publication Year). Title of the thesis [Master’s thesis, Institute Name]. Name of the Database. URL

Cartmel, J. (2007). Outside school hours care and schools [Master’s thesis, Queensland University of Technology]. EPrints. http://eprints.qut.edu.au/17810/1/Jennifer_Cartmel_Thesis.pdf

To cite an unpublished dissertation in APA style, it is important that you know some basic information such as the author, year, title of the dissertation, and institute name. The templates for in-text citation and reference list entry of an online thesis, along with examples, are given below:

Author Surname (Year)

Averill (2009)

(Author Surname, Year)

(Averill, 2009)

The title of the dissertation is set in sentence case and italicized. Enclose “Unpublished doctoral dissertation” inside brackets following the year. Then add the name of the institution awarding the degree.

Author Surname, F. M. (Publication Year). Title of the dissertation [Unpublished doctoral dissertation]. Name of the Institute.

Averill, R. (2009). Teacher–student relationships in diverse New Zealand year 10 mathematics classrooms: Teacher care [Unpublished doctoral dissertation]. Victoria University of Wellington.

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Romanesque Architecture and Art

Summary of Romanesque Architecture and Art

Capturing the aspirations of a new age, Romanesque art and architecture started a revolution in building, architectural decoration, and visual storytelling. Starting in the latter part of the 10 th century through the 12 th , Europe experienced relative political stability, economic growth, and more prosperity during this time and coupled with the increasing number of monastic centers as well as the rise of universities, a new environment for art and architecture that was not commissioned solely by emperors and nobles was born. With the use of rounded arches, massive walls, piers, and barrel and rib vaults, the Romanesque period saw a revival of large-scale architecture that was almost fortress-like in appearance in addition to a new interest in expressive human forms. With the Roman Church as the main patron, Romanesque metalwork, stonework, and illuminated manuscripts spread across Europe, from the Mediterranean to Scandinavia, creating an international style that was adapted to regional needs and influences. 19 th -century art historians who coined the term Romanesque thought the weighty stone architecture and the stylized depiction of the human form did not live up to the standards of the classical ideas of humanism (manifested later and powerfully in Renaissance Humanism ), but we now recognize that Romanesque art and architecture innovatively combined Classical influences, seen in the Roman ruins scattered throughout the European countryside and in Byzantine illuminated manuscripts and mosaics, with the decorative and more abstract styles of earlier Northern tribes to create the foundation of Western Christian architecture for centuries to come. While an immediate precursor to the Gothic style, the Romanesque would see revivals in the 17 th and 19 th centuries, as architects (masons) came to appreciate the clarity and formidable nature of the Romanesque façade when applied across a range of buildings, from department stores to university buildings.

Key Ideas & Accomplishments

• Along with the new political and economic security, the spread of the Roman Church and the codification of rituals and liturgy encouraged the faithful to undertake pilgrimages, traveling from church to church, honoring martyrs and relics at each stop. The economic boon of such travel to cities led to rapid architectural developments, in which cities vied for grander and grander churches. Lofty stone vaulting replaced wooden roofs, main church entrances became more monumental, and decorative architectural sculpture flourished on the façades of the churches.
• While many churches continued to use barrel vaulting, during the Romanesque period, architects developed the ribbed vault, which allowed vaults to be lighter and higher, thus allowing for more windows on the upper level of the structure. The ribbed vault would be more fully developed and utilized during the subsequent Gothic period, but important early examples in the 11 th century set the precedent.
• During the Romanesque period, the use of visual iconography for didactic purposes became prevalent. As most people outside of the monastic orders were illiterate, complex religious scenes were used to guide and teach the faithful of Christian doctrine. Architects developed the use of the tympanum, the arched area above the doors of the church, to show scenes such as the Last Judgment to set the mood upon entering the church, and other biblical stories, saints, and prophets decorated interior and exterior doors, walls, and, capitals to shepherd the worshippers' prayers.

Artworks and Artists of Romanesque Architecture and Art

Church of Sainte-Foy

This pilgrimage church, the center of a thriving monastery, exemplifies the Romanesque style. Two symmetrical towers frame the west façade, their stone walls supported by protruding piers that heighten the vertical effect. A rounded arch with a triangular tablature frames the portal, where a large tympanum of the Last Judgment of Christ is placed, thus greeting the pilgrim with an admonition and warning. The grandeur of the portal is heightened by the two round, blind arches on either side and by the upper level arch with its oculus above two windows. The façade conveys a feeling of strength and solidity, its power heightened by the simplicity of decorative elements. It should be noted that this apparent simplicity is the consequence of time, as originally the tympanum scene was richly painted and would have created a vivid effect drawing the eye toward the entrance. The interior of the church was similarly painted, the capitals of the interior columns carved with various Biblical symbols and scenes from Saint Foy's life, creating both an otherworldly effect and fulfilling a didactic purpose. Saint Foy, or Saint Faith, was a girl from Aquitaine who was martyred around 287-303, and the church held a gold and jeweled reliquary, containing her remains. The monks from the Abbey stole the reliquary from a nearby abbey to ensure their church's place on the pilgrimage route. Over time, other relics were added, including the arm of St. George the Dragon Slayer, and a gold "A" believed to have been created for Charlemagne. The construction of the church was undertaken around 1050 to accommodate the crowds, drawn by reports of various miracles. The church was designated a UNESCO World Heritage Site in 1998 for its importance on the pilgrim route and also as a noted example of early Romanesque architecture.

Stone, wood - Conques, France

A scene from the Bayeux Tapestry

This scene from the famous tapestry shows Odo, Bishop of Bayeux, carrying an oak club while riding on a black horse, as he rallies the Norman forces of Duke William, his half-brother, against the English at the Battle of Hastings in 1066. Careful attention is given to the tack of the horses, the details of the men's helmets and uniforms, while the overlay of plunging horses, their curving haunches and legs, creates a momentum that carries the narrative onward into the next scene. In the lower border, a horse is falling, while its rider, pierced with a long spear collapses on the right. At both corners, other fallen soldiers are partially visible, and convey the terrible effects of battle, while the charge to victory gallops on above them. As art critic Jonathan Jones noted, "The Bayeux tapestry is not just a fascinating document of a decisive battle in British history. It is one of the richest, strangest, most immediate and unexpectedly subtle depictions of war that was ever created." The tapestry, about 230 feet long and 21 inches tall, is a sustained narrative of the historical events that, beginning in 1064 lead up to the battle, which ended in the Norman conquest of England and the rule of William the Conqueror, as he came to be known. The upper and lower borders, each 2-¾ inches wide, shown in this sample, continue throughout the tapestry, as does the use of a Latin inscription identifying each scene. The images in the borders change, echoing the narrative, as during the battle the pairs of fantastical animals in the lower border is replaced by the images seen here of fallen soldiers and horses. Similarly when the invasion fleet sets sail, the borders disappear altogether to create the effect of the vast horizon. The borders also include occasional depictions of fables, such as "The Wolf and a Crane" in which a wolf that has a bone caught in its throat is saved by a crane that extracts it with its long beak, which may be a subversive or admonitory comment upon the contemporary events. Though called a tapestry, the work is actually embroidered, employing ten different colors of dyed crewel, or wool yarn and is believed to have been made by English women, whose needlework, known as Opus Anglicanum , or English work, was esteemed throughout Europe by the elite. The Bayeux Tapestry was a unique work of the Romanesque period, as it depicted a secular, historical event, but also did so in the medium that allowed for an extended narrative that shaped both the British and French sense of national identity. As art historian Simon Schama wrote, "It's a fantastic example of the making of history." The work, held in France, was influential later in the development of tapestry workshops in Belgium and Northern France around 1500 and the Gobelin Tapestry of the Baroque era.

Linen, crewel - Bayeux Museum, Bayeux, France

Duomo di Pisa

The entrance to Pisa Cathedral, made of light-colored local stone, has three symmetrically arranged portals, the center portal being the largest, with four blind arcades echoing their effect. The round arches above the portal and the arcades create a unifying effect, as do the columns that frame each entrance. The building is an example of what has been called Pisa Romanesque, as it synthesizes elements of Lombard Romanesque, Byzantine, and Islamic architecture. Lombard bands of colored stone frame the columns and arches and extend horizontally. Above the doors, paintings depicting the Virgin Mary draw upon Byzantine art, and at the top of the seven round arches, diamond and circular shapes in geometric patterns of colored stone echo Islamic motifs. The upper levels of the building are symmetrically arranged in bands of blind arcades and innovatively employ small columns that convey an effect of refinement. The name of two architects, Buscheto, and Rainaldo, were inscribed in the church, though little is known of them, except for this project. Buscheto was the initial designer of the square that, along with the Cathedral, included the famous leaning Tower of Pisa, done in the same Romanesque style, visible here in the background, and the Baptistery. Following his death, Rainaldo expanded the cathedral in the 1100's, of whom his inscription read, "Rainaldo, the skilful workman and master builder, executed this wonderful, costly work, and did so with amazing skill and ingenuity." Dedicated to the Assumption of the Virgin Mary, the church was consecrated in 1118 by Pope Gelasius II. The church's construction was informed by the political and cultural era, as it was meant to rival St. Mark's Basilica then being reconstructed in Venice, a competing maritime city-state. The building was financed by the spoils of war, from Pisa's defeat of Muslim forces in Sicily, and it was built outside of the walls to show that the city had nothing to fear. The Pisa plaza became a symbol of the city itself, as shown by the famous Italian writer Gabriele D'Annunzio calling the square, "prato dei Miracoli," or "meadow of miracles" in 1910, so the plaza has been known since as the "Field of Miracles."

Masonry, marble - Pisa, Italy

The Temptation of Eve

Artist: Giselbertus

This relief sculpture shows an almost life-sized nude Eve, presumably reclining toward Adam (now lost) as if whispering to him seductively, while her left hand reaches back to grasp an apple from the Tree of Knowledge of Good and Evil. The composition emphasizes sinuous line and serpentine form. The tree intersects vertically with her body, covering her pubic area, and the serpent in the foliage at the right echoes both the tree and the depiction of Eve herself. The work is famously the only large-scale nude of the medieval period, an era when Christian values discouraged the study of the naked human body. With this depiction, Giselbertus pioneered the rendering of Adam and Eve in the nude, a treatment that became a tradition in Christian art, as their nakedness was connected to their fall into sin. Originally Eve was paired with a nude Adam reclining on her left, and both figures were placed on the lintel over the portal. Above the lintel, Giselbertus also created the tympanum that depicted the Last Judgment, with Christ enthroned presiding over the saved and the damned and with attendant angels and devils. The viewers, who were largely illiterate, would have understood the didactic visualization that connected the Temptation, by which sin entered the world, and the scene of ultimate redemption. Giselbertus was trained by the master of Cluny around 1115 and was influenced by the cathedral reliefs that emphasized Christ's compassion. He worked at Autun from about 1125-1135, sculpting most of church's decorative elements. Unusually for the time, Giselbertus included in the tympanum, under Christ's feet, a Latin inscription reading, "Gislebertus made this." Most scholars have taken this for the sculptor's name, though some have suggested it may refer to the patron who commissioned the work. His work was innovative for the feeling conveyed by his stylized human figures and influenced contemporaneous Romanesque, and later Gothic, sculptors. However, by the late 1700s, due to a rising conservatism in religious and artistic thought, his work was thought to be both too primitive and licentious. Eve disappeared in 1769 when it was used as building material for a local house, and his Last Judgment tympanum was completely filled with plaster, which by a stroke of luck saved it from destruction during the French Revolution. Both Eve and the tympanum were rediscovered and restored only in the 1830s when the Romantic movement revived an appreciation of medieval art.

Stone - Musée Rolin, Autun, France

Christ Pantocrator

Artist: Master of Taüll

This vivid fresco shows Christ the Pantocrator (ruler of the universe), framed by a mandorla, or body halo, bordered in red, gold, and blue. Sitting on a throne, he faces the viewer with an intense gaze, while holding a book that reads in Latin "I am the light of the world," as his uplifted right hand makes the traditional symbol of blessing and teaching. Alpha and Omega symbols float above his shoulders, while two angels flank him, their long curved forms echoing the lines of the mandorla and drawing the focus to his haloed head. The greater scale of his figure, reflecting a Byzantine influence, is meant to emphasize his importance. The four Evangelists, Matthew, Mark, Luke, and John, are depicted in a band of circles at his feet and turn to face him, gesturing. The work's innovative sense of composition, with its curving bands of blue, gold, and carmine, emphasize the semi-circular apse and focus on Christ in the center. The use of varying shades of blue to depict him, along with highlights of white and carmine dots, create a sense of movement as if he were emerging toward the faithful. Below him a number of other sacred figures are partially visible, including the Virgin Mary left of center, as she holds a chalice containing Christ's blood, a pioneering representation of the Holy Grail and indication of the cult of Mary that was developing at the time. Originally, the fresco covered the apse of the church of Sant Climent de Taüll in Vall de Boi in Catalonia. Consecrated in 1123, the basilica, with three naves and a Byzantine influenced seven-story bell tower, was known for its exceptional interior murals, all considered to be the work of the Master of Taüll, about whom little else is known. Over time, many of the murals were damaged but those remaining, including this one, were transferred to canvas for exhibition at the National Art Museum of Catalonia. This fresco influenced a number of 20 th century Spanish artists, including Francis Picabia and Pablo Picasso, who kept a poster of it in his studio.

Fresco - Museu Nacional d'Art de Catalunya, Barcelona, Spain

Moses Expounding the Law

Artist: Master Hugo

This page from an illuminated manuscript shows two scenes in which Moses, depicted with a halo and horns, explains the law to the Israelites. In the upper scene, Moses stands, left of center, explaining the Ten Commandments, as he lifts his hand in a gesture of teaching and blessing toward the small group, seated on the ground and listening attentively. In the lower scene, he addresses a group of four men as he explains the dietary laws of the Jewish faith by pointing to a sheep which can be eaten and a pig which cannot. Two doves, representing the peace obtained from following God's law, face one another at the top of a tree on the right. Overall, the work has a calm but vital stylistic flow, derived from the curving lines and the blue, red, green, and gold palette that is echoed in the patterned borders. Master Hugo pioneered this style, which came to be called "damp fold," as clothing was painted as if damp to create both a sense of movement and a more realistic human form. Master Hugo was the first named artist in England, and he worked at Bury St. Edmund's Abbey, where he made this Bible for the Abbey around 1135. The Bible contains various paintings on full and half pages and decorative initials, which as art historian Thomas Arnold wrote, "have led to a general acknowledgement of Master Hugo as the gifted innovator of the main line of English Romanesque art." He is also credited with making the bronze doors of the Abbey church's western façade and two carved crucifixes, including the famous Cloisters Cross (c. 1150-1160).

Ink and tempera on vellum - Parker Library, Corpus Christi College, Cambridge

The Shrine of the Magi

Artist: Nicholas of Verdun

Nicholas of Verdun deliberately designed reliquary, believed to contain relics of the Magi who journeyed to the Nativity of Christ, to resemble the façade of a basilica. Christ in Majesty is depicted enthroned in the upper section, his right hand raised in blessing, his left holding the Gospel, as two apostles flank him. On the lower level, the Three Kings bearing gifts, kneel on the left, facing toward the Madonna and Child enthroned in the center. On the lower right, Christ's baptism is depicted.The figurative treatment is both realistic, as shown in the different poses of the Kings conveying movement, and refined, with its fine details and flowing draperies. This three level reliquary, also known as The Shrine of the Three Kings, is a masterpiece of Mosan metalworking, with its silver and gold overlay, filigree, and enamel work. The apostles are depicted on the horizontal sides of the shrine, not visible here, and overall the work contains 74 figures in vermeil, or silver relief. Viewed from the side, the shrine resembles a basilica, with small pairs of lapis lazuli columns standing at the corners and between each of apostles. Following the Holy Roman Emperor Frederick Barbarossa's gift of the relics to Rainald of Dassel, the Archbishop of Cologne, the archbishop commissioned the shrine from Nicholas of Verdun and his workshop around 1180. The relics were of such religious importance, and the shrine considered such a masterpiece, that in 1248 construction of a new Cologne Cathedral was undertaken to suitably house the reliquary. The shrine was placed in the crossing, marking the high point of the church. As art historian Dr. Rolf Lauer wrote, "The Shrine of the Magi is the largest, most artistically significant, and, in terms of its content, most ambitious reliquary of the Middle Ages."

Gold, silver, filigree, precious stones, wood - Cologne Cathedral, Cologne Germany

Beginnings of Romanesque Architecture and Art

Vikings and insular art.

The many Viking invasions of Europe and the British Isles marked the era before the Romanesque period. Beginning in 790 with raids on Irish coastal monasteries, the raids became full-scale military excursions within a century as shown by the Sack of Paris in 845 and the Sack of Constantinople in 860. For the next two hundred years, the Vikings raided and sometimes conquered surrounding areas. With the conversion of the Vikings to Christianity, the era ended around 1066 when the Normans, themselves descended from Vikings, conquered England.

With the conversion to Christianity of the British Isles and Ireland, following from the mission of St. Augustine in 597, monasteries in Hibernia (present-day Ireland) and present-day Britain played a primary role in cultural continuity throughout Europe, developing the Insular, or Hiberno-Saxon, style that incorporated the curvilinear and interlocking ornamentation of Viking and Anglo-Saxon cultures with the painting and manuscript examples sent from the Roman church.

Stone crosses and portable artifacts such as metalwork and elaborate gospel manuscripts dominated the period. Masterpieces like the British Book of Durrow (c. 650) and the Irish Book of Kells (c. 800), created by monks, included extensive illustrations of Biblical passages, portraits of saints, and elaborately decorative carpet pages that preceded the beginning of each gospel. Insular art influenced both Romanesque manuscript illumination and the richly colored interiors and architectural decorative elements of Romanesque churches.

The Carolingian Renaissance

King of the Franks in 768 and King of the Lombards in 774, Charlemagne became Holy Roman Emperor in 800, effectively consolidating his rule of Europe. He strove to position his kingdom as a revival of the, now Christian, Roman Empire. Charlemagne was an active patron of the arts and launched a building campaign to emulate the artistic grandeur of Rome. Drawing from the Latin version of his name (Carolus), the era is known as the "Carolingian Renaissance." As art historian John Contreni wrote, his reign "saw the construction of 27 new cathedrals, 417 monasteries, and 100 royal residences." His palace complex in Aachen (c. 800) that included his Palatine Chapel modeled on the Byzantine St. Vitale (6 th century) became a model for subsequent architecture.

While Carolingian architecture drew on earlier Roman and Byzantine styles, it also transformed church façades that would have consequential effects throughout the Middle Ages. Emphasizing the western entrance to the basilica, the westwork was a monumental addition to the church, with two towers and multiple stories, that served as a royal chapel and viewing room for the emperor when he visited.

Carolingian murals and illuminated manuscripts continued to look to earlier Roman models and depicted the human figure more realistically than the earlier Hiberno-Saxon illuminators. This (early) naturalism had a lasting influence on Romanesque and Gothic art.

Cluny Abbey

In the early 900s, concern began to grow about the economic and political control that nobles and the emperor exercised over monasteries. With rising taxes imposed by nobles and the installation of relatives as abbots, the Cluny Abbey sought monastic reform, based upon the Rule of St. Benedict (c. 480-550), written by the 5 th -century St. Benedict of Nursia, that emphasized peace, work, prayer, study, and the autonomy of religious communities.

In 910, William of Aquitaine donated his hunting lodge and surrounding lands to found Cluny Abbey and nominated Berno as its first Abbott. William stipulated the independence of the Abbey from all secular and local authority, including his own. As a result, the Abbey was answerable only to the authority of the Pope and quickly became the leader of the Benedictine order, establishing dozens of monasteries throughout France. As part of its emphasis on prayer and study, the Abbey also created a rich liturgy, in which art played an important role.

Between the 10 th and the early 12 th centuries, three churches were built at Cluny, each larger than the last, and influencing architectural design throughout Europe. Not much is known of Cluny I, but it was a small, barnlike structure. After a few decades, the monastery outgrew the small church, and Cluny II (c.955-981) was erected. Based on the old basilica model, Cluny II employed round arches and barrel vaults and used small upper level windows for illumination. Designed with a cruciform plan, the church emphasized the west façade with two towers, a larger crossing tower (where the transepts and nave intersected), a narthex (an enclosed entrance area), a choir between the altar and the nave of the church, and chapels at the east end. All of these elements became characteristic of Romanesque architecture. With the building of Cluny III, completed in 1130, the church became the largest in Europe, rivaling St. Peter's in Rome, and a model for similarly ambitious projects.

First Romanesque or Lombard Romanesque

In the 10 th century, First, or Lombard, Romanesque was an early development in Lombardy region (now northern Italy), southern France, and reaching into Catalonia. Started by the Lombard Comacine Guild, or stonemasons, the style was distinctive for its solid stone construction, elaborate arching that advanced Roman models, bands of blind arches, or arches that had no openings, and vertical strips for exterior decorative effects. Particularly dominant in Catalonia, some of the best surviving examples are found in the Vall de Boí, a designated World Heritage Site in Catalonia.

Monastic Centers and Pilgrimages

During the Romanesque era, no longer under constant threat from Viking raids, monastic centers, which had provided cultural continuity and spiritual consolation through desperate times, became political, economic, religious, and artistic powerhouses that played a role in unifying Europe and in creating relative stability. Monastic centers that housed religious relics became stops on pilgrimage routes that extended for hundreds of miles throughout Europe to the very edge of Spain at Santiago de Compostela. Christians revered Santiago de Compostela as the burial site of Saint James, a disciple of Christ who brought Christianity to Spain, and thus deeply symbolic to Catholic Europe.

The faithful believed that by venerating relics, or remains of saints, in pilgrim churches they could obtain saintly intercession on their behalf for the forgiveness of their sins. Fierce competition for relics sometimes developed between churches and even resulted in the monks stealing relics from other churches, as was the case with the reliquary of St. Foy, in order to attract more pilgrims and, therefore, more money. As ever-larger crowds began to flock to sites, monastic centers expanded, providing lodging and food and farrier services to the pilgrims. As a result of this growth, various craft guilds were employed to meet the demand for Romanesque construction.

Romanesque Architecture and Art: Concepts, Styles, and Trends

Found throughout Europe and the British Isles, the Romanesque style took on regional variations, sometimes specific to a particular valley or town. The most noted sub styles were Mosan Art, Norman Romanesque, and Italian Romanesque.

Mosan Art, 1050-1232

Mosan art is named for the River Meuse valley in Belgium, where the style was centered around the town of Liege and the Benedictine monastery at Stavelot. Because of the region's location, it had many political and economic links to Aachen and was greatly influenced by the Carolingian Renaissance. The style became famous for its lavish and highly accomplished metalwork, employing gold and enameling in both the cloisonné technique, where metal is used to create raised partitions on the surface that are then filled with colored inlays, and the champlevé technique, where depressions are created in the surface and then filled. Noted metalworkers were Godefroid de Claire (de Huy), Nicholas of Verdun, and Hugo of Oignies. De Claire is credited with the creation of the Stavelot Triptych (1156-1158), both a portable altar and a reliquary containing fragments of True Cross, and Nicholas of Verdun's most noted work was his reliquary Shrine of the Magi (1180-1225). Mosan goldsmiths and metalworkers were employed throughout Europe by notable patrons and spread the style's influence.

Norman Romanesque (11 th -12 th centuries)

Norman Romanesque is primarily an English style named for the Normans who developed it after conquering England in 1066. Normandy, its name derived from the Latin Nortmanni, meaning "men of the north," became a Viking territory in 911, and the abstract decorative motifs of Norman architecture reflected the Viking love of such elements. Thomas Rickman in his An Attempt to Discriminate the Styles of English Architecture from the Conquest to the Reformation (1817) first used the term Norman Romanesque to refer to the style. Used for cathedrals and churches but also castles and keeps, Norman Romanesque was distinctive for its massive walls, its cylindrical and compound piers, and the Norman arch, employed to make grand archways. A wider and higher ceiling became possible, replacing the narrow limitations of the preceding barrel vault.

The style developed in Normandy, France, and England simultaneously, but in England it evolved into a distinctive sub-style that combined the austerity of the Norman style with a tendency toward decoration. A noted masterwork was Durham Cathedral (1093-1140) built under the leadership of William of St. Carilef. Though the cathedral was later redesigned in the Gothic style, some Norman elements, particularly the nave of the church, remain.

Italian Romanesque

Italian Romanesque is characterized by a distinctive use of gallery façades, projecting porches, and campaniles, or bell towers. Regional variations occurred; for instance, the Northern Italian style had wide and severe looking stone façades, as seen in San Ambrogio in Milan (1140). However, the most important regional style was the Pisan style, sometimes called the Tuscan, or Central, style, favoring classical and refined decorative effects and using gallery facades and projected porches with horizontal bands of colored marble. Decorative elements included scenes of daily life, hunting scenes, and classical subjects, and bronze doors were frequently employed. The Piazza del Duomo, or Cathedral Square, in Pisa, which included the Baptistery (1153) the Cathedral (1063-1092) and the Campanile (1172) is the most famous example.

Later Developments - After Romanesque Architecture and Art

The Romanesque style continued to be employed through most of the 12 th century, except in the area around Paris where the Gothic style began in 1120. Subsequently as the Gothic style spread, the Romanesque style was superseded and existent churches were often expanded and redesigned with new Gothic elements, retaining only a few traces of the earlier style. In more rural regions, however, the Romanesque style continued into the 13 th century. Romanesque design was foundational to the Gothic which continued using a cruciform plan, a western façade with two towers, and carved tympanums above the portals. Similarly, Gothic art was informed by the same movement toward a more realistic treatment of the human form that can be seen in the Romanesque Mosan style. Romanesque tapestries, like the Bayeux Tapestry, influenced the formation of tapestry workshops throughout Europe in the Gothic period and beyond.

Romanesque Revival styles first developed in England with Inigo Jones' redesign of the White Tower (1637-1638). In the following century Norman Revival castles were built for estates throughout the British Isles, and in the early 1800s, Thomas Pesnon developed a revival style for churches. Romanesque manuscript illumination, with its jewel-like colors and stylized motifs, also influenced and informed the Pre-Raphaelite Brotherhood and the Arts and Crafts movement in the middle and later 19 th century.

In Germany Rundbogenstil , or round-arch style, became popular around 1830, and the style was influential in America, as seen in the Paul Robeson Theater, formerly the Fourth Universalist Church in Fort Greene, Brooklyn (1833-34) and the former Astor Library, now the Public Theatre (1849-1881), in Lower Manhattan.

In America the first work of Romanesque Revival architecture was Richard Upjohn's Maaronite Cathedral of Our Lady of Lebanon (1844-1846) in Brooklyn. The American architect James Renwick's design for the Smithsonian Institute (1847-1851) was a prominent example. The style became known as Richardsonian Romanesque, as Henry Hobson Richardson actively promoted the style and designed notable buildings including the Marshall Field Wholesale Store (1885-1887) in Chicago and Trinity Church (1872-1877) in Boston. Harvard University commissioned Richardson to design several campus buildings, including Sever Hall (1878-1880), considered one of his masterpieces and designated a National Historic Landmark. As a result the style was adopted by other American universities in the following decades.

Useful Resources on Romanesque Architecture and Art

• Romanesque: Architecture, Sculpture, Painting Our Pick By Rolf Toman
• Romanesque Art: Perspectives Our Pick By Andreas Petzold
• The Stavelot Triptych , Mosan Art, and the Legend of the True Cross By Pierpont Morgan Library and Charles Ryskamp
• The Bayeux Tapestry Our Pick By Lucien Musset and Richard Rex
• Bayeux Museum Our Pick
• Immersive experience in a World Heritage Site Our Pick #Taull1123 is an immersive on-site experience that brings visitors of the Romanesque church of Sant Climent de Taüll
• Winchester BibleExhibition Blog Our Pick
• Super Art Gems of New York City By Thomas Hoving / ArtNet.com
• Ireland's Exquisite Insular Art Our Pick By James Wiener / Ancient History et cetera / October 30, 2014
• Bayeux tapestry: a brag, a lament, an embodiment of history's complexity Our Pick By Jonathan Jones / The Guardian / January 19, 2018
• The Bayeux tapestry: is it any good? By Jonathan Jones / The Guardian / January 17, 2018

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Content compiled and written by Rebecca Seiferle

Edited and revised, with Summary and Accomplishments added by Valerie Hellstein

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Referencing styles

Author-date citations (Harvard) Numbered notes Numbered reference citations (Vancouver) OSCOLA

Introduction

Source references are vital to academic works (both print and digital) and so it is essential that they are clear, complete, and consistently formatted. Online bibliographical material is hyperlinked to provide readers with instant access to relevant sources or additional information.

Reference styles vary greatly across disciplines. This section details the main reference styles supported by OUP (Harvard, Vancouver, and OSCOLA) and provides examples that you can follow. If you are in doubt, your OUP editorial contact will be able to advise you on the best citation system for your text.

Author-date citations (Harvard)

The author-date style is an efficient and clear method of providing citations to published sources, which appear in a reference list at the end of the chapter or book. No superscripts are used, which means that reordering of the text does not require renumbering of notes. Instead of superscript numbers, a parenthetical citation (consisting of author name and date of publication) appears in the text and leads the reader to a full entry in a reference list that appears at the end of the chapter or book.

The method works particularly well when most of your citations are to published books or journal articles. It works less well if you are citing a lot of unauthored material or untraditional sources. Unlike numbered notes, author-date citations cannot accommodate translations or commentary outside the main text, although it is possible to combine author-date citations (for bibliographic citations) with numbered notes (for explanatory text).

In-text citation

References are cited within the text by including the author’s last name and a date parenthetically. A page number can be added if needed. If the author’s name appears in the sentence containing the citation, you need only use the date. Complete bibliographical reference information is listed at the end of the chapter or text.

Up to two author names can be used in the in-text citation. When citing a work with three or more authors, use the first author’s last name plus ‘et al.’

If you cite multiple references by the same author that were published in the same year, distinguish between them by adding labels (e.g. ‘a’ and ‘b’) to the year, in both the citation and the reference list.

Structure of the reference list

The reference list appears at the end of the chapter or text in alphabetical order. The name of the first author is inverted. In science literature, initials are often used in place of author first names.

The bibliographic elements listed below are required for the most common types of reference citations. Additional elements are mentioned that may be optional or to be used in only certain instances (e.g. a page number or other locator that is required if you are quoting a precise part of a large work, but not if the reference is to the work as a whole). Consistency in application is important.

Do not use long dashes (“—") to substitute for the name of an author who is identified in the bibliography due to how that entry will be linked in digital versions. Because the entry may not appear immediately following the entry with the full name, repeat the name in full.

Examples of author-date references in British style

Authored book.

Required elements

Lastname, Firstname/initials. Year of Publication. Title of Work .

With optional elements

Lastname, Firstname/initials, and Firstname/initials Lastname. Year of Publication. Title of Work , 2nd ed. City of Publication: Publisher.

Chapter in an edited book

Lastname, Firstname/initials, Year of Publication. ‘Title of Chapter in an Edited Book’. In Title of Edited Volume , edited by Firstname Lastname.

Lastname, Firstname/initials, and Firstname/initials Lastname. Year of Publication. ‘Title of Chapter in an Edited Book’. In Title of Edited Volume , edited by Firstname Lastname, page number(s) [or alternative locator info]. 2nd ed. City of Publication: Publisher.

Journal article

Lastname, Firstname/initials,Year of Publication. ‘Title of Article’. Name of Journal vol. number: start page.

Lastname, Firstname/initials, and Firstname/initials Lastname. Year of Publication. ‘Title of Article’. Name of Journal vol. number (issue number) (Month or Season): start page–end page. doi: DOI [or stable URL].

Magazine article

Lastname, Firstname/initials, Year of Publication. ‘Title of Article’. Day and Month of Pub. doi: DOI [or stable URL].

Lastname, Firstname/initials, and Firstname/initials Lastname. Year of Publication. ‘Title of Article’. Name of Magazine , Day and Month of Pub. doi: DOI [or stable URL].

Required elements if a magazine article has no stated author

‘Title of Article’. Year of Publication. Name of Magazine , Month of Pub. doi: DOI [or stable URL].

Website or other source

Include as much of the following as possible in your bibliographic entry: author; title or description of the content; owner/publisher; month and/or day of publication, most recent revision (or, failing that, date accessed); and URL. The year of publication should be the second element in the entry.

Some flexibility is acceptable to accommodate the wide variety of content available, particularly online.

Website names are usually set in roman type, but the names of online magazines and books are italicized (like their print counterparts).

As you write ...

Example: author–date citation with a reference list and further reading —british style.

Psychoanalytic studies, along with other literary and cultural texts, not only contribute to the new discourse of the jungle but also reflect the imperialist history that brings West Europeans and Americans into contact with the geographic jungles of India, Africa, and other parts of the world (Rogers et al. 2010, 1). This colonial context needs to be sketched here as well in order to reveal how the birth of the jungle eventually produces new constructions of sexuality in the United States. Billops (1999a) notes that the word ‘jungle’ comes from the Hindi and Marathi word jangal, meaning ‘desert’, ‘waste’, ‘forest’; as well as from the Sanskrit jangala, meaning ‘dry’, ‘dry ground’, or ‘desert’. Its first appearance in English is in 1776, with its meaning already shifted towards what might be more recognizable today: ‘Land overgrown with underwood, long grass, or tangled vegetation; also, the luxuriant and often almost impenetrable growth of vegetation covering such a tract’ (Dreft and Smithers 1978, 87). Brought into English as a result of an imperialist presence in India, ‘jungle’ is intimately related to the larger rise of Western imperialism around the world, particularly in the nineteenth century (Billops 1999b). Western powers such as Britain and France went from controlling 35 per cent of the earth’s surface in 1800 to, by 1914, ‘a grand total of roughly 85 per cent of the earth as colonies, protectorates, dependencies, dominions, and commonwealths’ (Said 1993, ch.2, ‘Colonial impacts’).

Reference list

Billops, Camille. 1999a. ‘Indo-European Loan Words’. Annals of Linguistics 21 (4): pp. 38–44.

Billops, Camille. 1999b. ‘Indo-European Vowel Shift: Evidence and Interpretation’. Annals of Linguistics 21 (4): p. 45.

Dreft, Edward, and Susan Smithers. 1978. ‘Words Working’. International Journal of American Linguistics 62 (3): pp. 227–263. doi: 10.1111/j.1749-6632.1978.tb25475.x.

Rogers, Jason, Millicent Eng, and Rene Woo. 2010. ‘English-Based African Creoles’. In Spreading the People: Colonizing Languages in the Raj , edited by Jason Rogers, pp. 310–330. 2nd ed. London: Verso.

Said, Eleanor. 1993. The European Dream of Africa . New York: Random House.

Further reading

Bickerton, Derek. 2008. Bastard Tongues: A Trail-Blazing Linguist Finds Clues to Our Common Humanity in the World’s Lowliest Languages . New York: Hill and Wang.

‘Evolutionary Linguistics’. 2012. Wikipedia. Updated 4 November. http://en.wikipedia.org/wiki/Evolutionary_linguistics.

Mfuti, Miriam. 2001. ‘Pidgin Town’. In The Oxford Handbook of Pidgins and Creoles , edited by Alain Smet, pp. 107–112. New York: Oxford University Press.

Rambow, John. 2007. ‘Will This Demon Fit in My Carry-On?’ Bangalore Monkey blog. 21 December. http://www.bangaloremonkey. com/2007/12/will-this-demon-fit-in-my-carry-on.html.

Examples of author-date references in US style

Lastname, Firstname/initials, Year of Publication.  Title of Work .

Lastname, Firstname/initials, and Firstname Lastname/initials. Year of Publication.  Title of Work , 2nd ed. City of Publication: Publisher.

Lastname, Firstname/initials, Year of Publication. “Title of Chapter in an Edited Book.” In  Title of Edited Volume , edited by Firstname Lastname.

Lastname, Firstname/initials, and Firstname Lastname/initials. Year of Publication. “Title of Chapter in an Edited Book.” In  Title of Edited Volume , edited by Firstname Lastname, page number(s) [or alternative locator info]. 2nd ed. City of Publication: Publisher.

Lastname, Firstname/initials,Year of Publication. “Title of Article.”  Name of Journal  vol. number, start page.

Lastname, Firstname/initials, and Firstname Lastname/initials. Year of Publication. “Title of Article.”  Name of Journal  vol. number (issue number) (Month or Season Year): start page–end page. doi: DOI [or stable URL].

Lastname, Firstname/initials, Year of Publication. “Title of Article.”  Name of Magazine , Month of Pub.

Lastname, Firstname/initials, and Firstname Lastname/initials. Year of Publication. “Title of Article.”  Name of Magazine , Month and Day of Pub. doi: DOI [or stable URL].

Required elements If a magazine article has no stated author:

“Title of Article.” Year of Publication.  Name of Magazine , Month of Pub.

 “Title of Article.” Year of Publication.  Name of Magazine , Month and Day of Pub, doi: DOI [or stable URL].

Include as much of the following as possible in your bibliographic entry: author; title or description of the content; owner/publisher; month and/or day of publication, most recent revision (or, failing that, date accessed); and URL. The year of publication should be the second element in the entry. Some flexibility is acceptable to accommodate the wide variety of content available, particularly online.

The names of websites are usually set in roman type, but the names of online magazines and books are italicized (like their print counterparts).

Reference list vs. bibliography

Note that a reference list in the author-date system can contain only items that are actually cited in the work. The reference list must contain all of those items. This differs from a bibliography in the numbered-note system, which can contain both cited items and items of interest that have not been specifically cited. If there are uncited works that you would like to draw to the reader’s attention, these can be placed after the references in a separate listed titled ‘Further reading’.

Example: author–date citation with a reference list and further reading—US style

Psychoanalytic studies, along with other literary and cultural texts, not only contribute to the new discourse of the jungle but also reflect the imperialist history that brings West Europeans and Americans into contact with the geographic jungles of India, Africa, and other parts of the world (Rogers et al. 2010, 1). This colonial context needs to be sketched here as well in order to reveal how the birth of the jungle eventually produces new constructions of sexuality in the United States. Billops (1999a) notes that the word “jungle” comes from the Hindi and Marathi word jangal, meaning “desert,” “waste,” “forest”; as well as from the Sanskrit jangala, meaning “dry,” “dry ground,” or “desert.” Its first appearance in English is in 1776, with its meaning already shifted toward what might be more recognizable today: “Land overgrown with underwood, long grass, or tangled vegetation; also, the luxuriant and often almost impenetrable growth of vegetation covering such a tract” (Dreft and Smithers 1978, 87). Brought into English as a result of an imperialist presence in India, “jungle” is intimately related to the larger rise of Western imperialism around the world, particularly in the nineteenth century (Billops 1999b). Western powers such as Britain and France went from controlling 35 percent of the earth’s surface in 1800 to, by 1914, “a grand total of roughly 85 percent of the earth as colonies, protectorates, dependencies, dominions, and commonwealths” (Said 1993, ch.2, “Colonial impacts”).

Billops, Camille. 1999a. “Indo-European Loan Words.” Annals of Linguistics 21 (4): pp. 38–44.

Billops, Camille. 1999b. “Indo-European Vowel Shift: Evidence and Interpretation.” Annals of Linguistics 21 (4): p. 45.

Dreft, Edward, and Susan Smithers. 1978. “Words Working.” International Journal of American Linguistics 62 (3): pp. 227–263. doi: 10.1111/j.1749-6632.1978.tb25475.x.

Rogers, Jason, Millicent Eng, and Rene Woo. 2010. “English-Based African Creoles.” In Spreading the People: Colonizing Languages in the Raj , edited by Jason Rogers, pp. 310–330. 2nd ed. London: Verso.

“Evolutionary Linguistics.” 2012. Wikipedia. Updated November 4. http://en.wikipedia.org/wiki/Evolutionary_linguistics.

Mfuti, Miriam. 2001. “Pidgin Town.” In The Oxford Handbook of Pidgins and Creoles , edited by Alain Smet, pp. 107–112. New York: Oxford University Press.

Rambow, John. 2007. “Will This Demon Fit in My Carry-On?” Bangalore Monkey blog. December 21. http://www.bangaloremonkey. com/2007/12/will-this-demon-fit-in-my-carry-on.html.

Numbered notes

Using numbered notes is a common method of citing sources, particularly in the humanities. Sequential superscript numbers appear in the text to direct the reader to bibliographic or explanatory information that appears in a note.

This is a flexible style that allows authors to combine bibliographic information with annotation, translation, or other commentary. Scholars who frequently cite unpublished material will find numbered notes more useful than author-date citations.

Endnotes or footnotes?

In print publishing, notes can be placed at the bottom of the page as footnotes or at the end of a chapter or book in a separate section as endnotes.

Footnotes are preferred in cases where the information in the note is important enough that readers need it to fully engage with the material. Please note that in a digital context, footnotes in the traditional sense are not possible. Depending on the format, footnotes can appear at the end of a section or chapter, or they may be viewed by clicking or hovering over the superscript numbers in the text to display individual footnotes.

Endnotes are a better choice in print if the material in the notes does not need immediate engagement by the reader. For digital publications where individual chapters may be made available to readers, the notes should appear with the chapter, rather than separately at the end of the work. This varies according to discipline, so please consult your OUP editorial contact if you are unsure.

The formatting of bibliographic information is identical for footnotes and endnotes.

Please use the following guidance:

• Numbered notes appear sequentially in the text as superscripts, ideally at the end of a sentence, following the closing punctuation.
• Use Arabic numerals.
• Numbers should restart at 1 at the beginning of each chapter and run consecutively to the end of each chapter. Do not start renumbering within a chapter (e.g. per page or per double-page spread) or use asterisks, as this will cause confusion in a digital environment.
• Do not number the notes continuously throughout a book, because a later change would necessitate extensive renumbering.

Note structure and format

Required bibliographic elements are given below for the most common types of reference citations, along with optional elements that if used, must be consistent.

• Page numbers are useful locators when referencing in print publications.
• Give page ranges using the fewest number of figures as possible (e.g. pp. 126–27, not pp. 126–127).
• When referencing a digital publication, you may not have access to a print page number. Cite a specific locator (e.g. chapter titles and sub-headings). Do not use location numbers from a proprietary e-reader (e.g. Kindle location numbers).
• Edition numbers are not required when citing a first edition but are necessary for subsequent editions.

Numbered notes in British style

Firstname Lastname, Title of Work (Year of Publication).

Firstname Lastname, Title of Work , 2nd ed. (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

• Michael Murray, Climate Change at the Poles (New York: Scribner, 2007), p. 9.
• Darian Ibrahim and Carol Marche, Financing the Next Silicon Valley , 3rd ed. (San Francisco: Upbeat Press, 2010).

Edited book

Firstname Lastname, ed., Title of Work (Year of Publication).

Firstname Lastname, eds., Title of Work , 2nd ed. (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

• Anton Smirov, ed., Eastern Europe After the Iron Curtain (London: Chatto and Windus, 2012).

Firstname Lastname, ‘Title of Chapter in an Edited Volume’, in Title of Edited Volume , edited by Firstname Lastname (Year of Publication).

Firstname Lastname, ‘Title of Chapter in an Edited Volume’, in Title of Edited Volume , edited by Firstname Lastname (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

Hanna Growiszc, ‘Far Right Ideologies in Czech Literature’, in Eastern Europe After the Iron Curtain , edited by Anton Smirov (London: Chatto and Windus, 2012), ch. 7.

Authored book with an editor or translator

Firstname Lastname, Title of Work , ed./trans. Firstname Lastname, (Year of Publication).

Firstname Lastname, Title of Work , ed./trans. Firstname Lastname, 2nd ed. (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

• Günter Grass, The Tin Drum , trans. Breon Mitchell (New York: Houghton Mifflin, 2009).

 Aristotle, Nicomachean Ethics , ed. and trans. Terence Irwin (Indianapolis: Hackett Publishing, 1999).

Multi-volume work

References to multi-volume book citations can take a variety of forms, depending on whether an individual volume or the entire work is being cited, and the authorship of the work.  

Citing one volume of a multi-volume work

• Robert Caro, The Path to Power , vol. 1, The Years of Lyndon Johnson (New York: Knopf, 1982), p. 267.

Citing a multi-volume work as a whole

Robert Caro, The Years of Lyndon Johnson , 4 vols (New York: Knopf, 1982–2012).

Allison Wyste, ed. Indian and Tibetan Cooking , vol. 6, Cuisines of Asia, ed. Robert Trautmann (London: Brill Books, 2007).

Multi-volume work with series editor and individual author/editors

Whenever possible, include a DOI (preferred) or a stable URL for citations to journal articles. However, a URL or DOI is not sufficient to stand alone as a reference.

Firstname Lastname, ‘Title of Article’, Name of Journal vol. number, (Year): start page.

Firstname Lastname, ‘Title of Article’, Name of Journal vol. number, issue number (Month or Season Year): start page–end page, doi: DOI [or stable URL].

Barbara Eckstein, ‘The Body, the Word, and the State: J. M. Coetzee’s “Waiting for the Barbarians”’, Novel: A Forum on Fiction 22, no. 2 (Winter 1989): pp. 175–198, http://www.jstor.org/stable/1345802.

David Hyun-Su Kim, ‘The Brahmsian Hairpin’, 19th Century Music 36, no. 1 (Summer 2012): pp. 46–47, doi:10.1525/ncm.2012.36.1.046. 

A DOI or URL can be included for articles that you consulted online. The citations for online-only magazines follow the same pattern as print-based magazines, with the addition of URLs. If an online journal or magazine has a stable home page that allows a user to search for articles by title or author, it is acceptable to include the URL for that page (rather than the longer, more specific URL).

‘Title of Article’, Name of Magazine , Month of Pub, Year.

Firstname Lastname, ‘Title of Article’, Name of Magazine , Month and Day of Pub, Year, doi: DOI [or stable URL].

Mary Rose Himler, ‘Religious Books as Best Sellers’, Publishers Weekly , 19 February 1927.

‘Amazon Best Books 2012 Revealed’, Publishers Weekly , 13 November 2012, http://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/54738-amazon-best-books-2012-revealed.html.

Fritz Allhoff, ‘The Paradox of Nonlethal Weapons’, Slate , 13 November 2012, http://www.slate.com.

Law citation styles vary widely depending on jurisdiction. The following examples are for citing law cases in a non-specialist academic context. If you are writing specialist legal content, see ‘Citing of Legal Materials’ for detailed citation information.

Case Number Name of Case [Year] Report VolNo-FirstPageNo

Case C-34/89 P Smith v EC Commission [1993] ECR I-454

Name of Case [Year] VolNo Report, PageNo

Ridge v Baldwin [1964] AC 40, 78

Name of Case , VolNo Reporter SeriesNo (Year)

Name of Case , VolNo Reporter SeriesNo (Name of Court Year)

Bowers v Hardwick 478 US 186 (1986).

Unpublished or informally published content

The titles of unpublished works are set in quotation marks rather than italics. In place of a publisher, location or institutional information can be given.

Troy Thibodeaux, ‘Modernism in Greenwich Village, 1908–1929’ (PhD dissertation, New York University, 1999), p. 59.

Mary Koo, ‘Prakriti and Purusha: Dualism in the Yoga of Patanjali’ (lecture, Theosophical Society, Chennai, India, 17 May 2008).

To cite a website or other source that does not fall within those covered here, include as much of the following as possible (in this order) in your citation: author; title or description of the content; owner/publisher; date of publication or most recent revision (or, failing that, date accessed); and URL. Some flexibility is acceptable to accommodate the wide variety of content available, especially online.

The names of websites are usually set in roman type but the names of online magazines and books are italicized (like their print counterparts).

• ‘The Board of Directors of the Coca-Cola Company Authorizes New Share Repurchase Program’, Coca- Cola Company, 18 October 2012, http://www.coca-colacompany.com/media-center/press-releases/the-board-of-directors-of-the-coca-cola-company-authorizes-new-share-repurchase-program.
• John Rambow, ‘Will This Demon Fit in My Carry-On?’, Bangalore Monkey blog, 21 December 2007, http://www.bangaloremonkey.com/2007/12/will-this-demon-fit-in-my-carry-on.html.
• Wikimedia privacy policy, Wikimedia Foundation, accessed 26 November 2010, http://wikimediafoundation.org/wiki/ Privacy policy.

Numbered notes in US style

Firstname Lastname, Title of Work , (Year of Publication).

Firstname Lastname, eds., Title of Work , (Year of Publication).

• Hanna Growiszc, “Far Right Ideologies in Czech Literature,” in Eastern Europe After the Iron Curtain , edited by Anton Smirov (London: Chatto and Windus, 2012), ch. 7.
• Aristotle, Nicomachean Ethics , ed. and trans. Terence Irwin (Indianapolis: Hackett Publishing, 1999).

Multi-volume book citations can take a variety of forms, depending on whether an individual volume or the work as a whole is being cited, and on how the multi-volume work was authored or edited.

• Robert Caro, The Years of Lyndon Johnson , 4 vols. (New York: Knopf, 1982–2012).
• Allison Wyste, Indian and Tibetan Cooking , vol. 6, Cuisines of Asia, ed. Robert Trautmann (London: Brill Books, 2007).

Firstname Lastname, “Title of Chapter in an Edited Volume,” in Title of Edited Volume , edited by Firstname Lastname (Year of Publication).

Firstname Lastname, “Title of Chapter in an Edited Volume,” in Title of Edited Volume , edited by Firstname Lastname (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

Firstname Lastname, “Title of Article,” Name of Journal vol. number, (Year): start page.

Firstname Lastname, “Title of Article,” Name of Journal vol. number, issue number (Month or Season Year): start page–end page, doi: DOI [or stable URL].

• Barbara Eckstein, “The Body, the Word, and the State: J. M. Coetzee’s ‘Waiting for the Barbarians,’” Novel: A Forum on Fiction 22, no. 2 (Winter 1989): pp. 175–198, http://www.jstor.org/stable/1345802.
• David Hyun-Su Kim, “The Brahmsian Hairpin,” 19th Century Music 36, no. 1 (Summer 2012): pp. 46–47, doi:10.1525/ncm.2012.36.1.046.

A DOI or URL can be included for articles that you consulted online. Online-only magazines follow the same pattern as print-based magazines, with the addition of URLs. If an online journal or magazine has a stable home page that allows a user to search for articles by title or author, it is acceptable to cite that page rather than a longer, more specific URL.

“Title of Article,” Name of Magazine , Month of Pub, Year.

Firstname Lastname, “Title of Article,” Name of Magazine, Month and Day of Pub, Year, doi: DOI [or stable URL].

• Mary Rose Himler, “Religious Books as Best Sellers,” Publishers Weekly , February 19, 1927.
• “Amazon Best Books 2012 Revealed,” Publishers Weekly , November 13, 2012, http://www.publishersweekly.com/pw/by-topic/industry-news/publisher-news/article/54738-amazon-best-books-2012-revealed.html.
• Fritz Allhoff, “The Paradox of Nonlethal Weapons,” Slate , November 13, 2012, http://www.slate.com.

Law - case law

Law citation styles can vary widely depending on jurisdiction. These examples are for citing legal case law in a non-specialist academic context. If you are writing specialist legal content, see ‘Citing of legal materials’ for detailed information on law citation.

Name of Case [Year] VolNo Report PageNo

Ridge v. Baldwin [1964] AC 40, 78

Name of Case , Vol No. Reporter Series No. (Year)

Bowers v Hardwick , 478 U.S. 186 (1986)

Name of Case , Vol No. Reporter Series No. (Name of Court Year)

Bowers v. Hardwick 478 U.S. 186 (1986)

The titles of unpublished works are set in quotation marks rather than italics. Since there is no publisher, location or institutional information can be cited.

• Troy Thibodeaux, “Modernism in Greenwich Village, 1908–1929” (PhD dissertation, New York University, 1999), p. 59.
• Mary Koo, “Prakriti and Purusha: Dualism in the Yoga of Patanjali’ (lecture, Theosophical Society, Chennai, India, May 17, 2008).

If you need to cite a website or other source that does not fall within those covered here, include as much of the following as possible (in this order): author; title or description of the content; owner/publisher; date of publication or most recent revision (or, failing that, date accessed); and URL. Some flexibility is acceptable to accommodate the wide variety of content available, especially online.

• “The Board of Directors of the Coca-Cola Company Authorizes New Share Repurchase Program,” Coca-Cola Company, October 18, 2012, http://www.coca-colacompany.com/media-center/press-releases/the-board-of-directors-of-the-coca-cola-company-authorizes-new-share-repurchase-program.
• John Rambow, “Will This Demon Fit in My Carry-On?,” Bangalore Monkey blog, December 21, 2007, http://www.bangaloremonkey. com/2007/12/will-this-demon-fit-in-my-carry-on.html.
• Wikimedia privacy policy, Wikimedia Foundation, accessed November 26, 2010, http://wikimediafoundation.org/wiki/ Privacy_policy.

Short citations

When a work is cited for the first time in a chapter, full bibliographic information should be given (for an alternative, see ‘Numbered notes in combination with a bibliography’). Subsequent citations should be shortened as in the following examples.

Legal short citations

Give the first mention of legal cases in full. Subsequent mentions within the same article or chapter can be shortened to the case name alone, given in italics (even if italics are not used in the original citation)

• Case C–34/89 P Smith v EC Commission [1993] ECR I–454
• P Smith v EC Commission.

Example: short citations in US style

• See, for example, Alan Hess, Googie: Fifties Coffee Shop Architecture (San Francisco: Chronicle Books, 1985) and Noah Sheldon, Ranch House (New York: Harry S. Abrams, 2004).
• Sheldon, Ranch House , p. 207.
• Ashraf Salama, “Evolutionary Paradigms in Mosque Architecture,” Faith & Form 40, no. 1 (2007): pp. 16–17.
• Salama, “Evolutionary Paradigms.”
• Hess, Googie , p. 21.
• Wikimedia privacy policy, para. 16.

Numbered notes in combination with a bibliography

It is possible to combine notes and bibliography so that all the notes, including the first reference, are short citations that lead the reader to a full citation in the bibliography. This system results in shorter notes and less work for the reader, since complete information is easily available in the alphabetical bibliography and need not be hunted for through all the chapter notes. This requires that all cited sources appear in a bibliography, which can also contain works that are not cited but are germane to the topic.

Structure of a bibliography entry

Bibliographies are structured similarly to notes, but there are some important differences. The first author name (and only the first) is inverted for alphabetization. Punctuation format also varies slightly between notes and bibliographic entries.

Do not use long dashes (e.g. “—") to substitute for an author’s name if it is repeated in the bibliography. Repeat the name in full because in a digital version, the shortened entry may not follow the complete one immediately.

Bibliography entries in British Style

Lastname, Firstname, Title of Work , (Year of Publication).

Lastname, Firstname, and Firstname Lastname. Title of Work , 2nd ed. (City of Publication: Publisher, Year of Publication).

Lastname, Firstname. ‘Title of Chapter in an Edited Book’. In Title of Edited Volume , edited by Firstname Lastname (Year of Publication).

Lastname, Firstname, and Firstname Lastname. ‘Title of Chapter in an Edited Book’. In Title of Edited Volume , edited by Firstname Lastname (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

Lastname, Firstname,‘Title of Article’. Name of Journal vol. number, no. X (Year): start page.

Lastname, Firstname, and Firstname Lastname. ‘Title of Article’. Name of Journal vol. number, no. X (Month or Season Year): start page–end page. doi: DOI [or stable URL].

‘Title of Article’. Name of Magazine , Month Year of Pub.

Lastname, Firstname, and Firstname Lastname. ‘Title of Article’. Name of Magazine , Day Month Year of Pub, doi: DOI [or stable URL].

If you need to cite a website or other source that does not fall within those covered here, include as much of the following as possible (in this order): author; title or description of the content; owner/publisher; date of publication, most recent revision (or, failing that, date accessed); and URL. Some flexibility is acceptable to accommodate the wide variety of content available, especially online.

Sample bibliography

Growiszc, Hanna. ‘Far Right Ideologies in Czech Literature’. In Eastern Europe After the Iron Curtain , edited by Anton Smirov (London: Chatto and Windus, 2012), ch. 7.

Himler, Mary Rose. ‘Religious Books as Best Sellers’. Publishers Weekly , 19 February 1927.

Khan, Imran, and Richard Collins. ‘True Belief: Hindu Metanarratives in Bollywood’. Journal of Cinema Studies 7, no. 4 (2009): pp. 104–115. doi:10.1086/jcs113.3.752.

Murray, Michael. ‘The Antarctic Summer Lengthens’. Journal of Climate Studies 20, no. 9 (2011): p. 203.

Murray, Michael. Climate Change at the Poles (New York: Scribner, 2007).

Rambow, John. ‘Will This Demon Fit in My Carry-On?’ Bangalore Monkey blog. 21 December 2007. http://www.bangaloremonkey.com/2007/12/will-this-demon-fit-in-my-carry-on.html.

Bibliography entries in US style

Lastname, Firstname, “Title of Chapter in an Edited Book.” In Title of Edited Volume , edited by Firstname Lastname (Year of Publication).

Lastname, Firstname, and Firstname Lastname. “Title of Chapter in an Edited Book.” In Title of Edited Volume , edited by Firstname Lastname (City of Publication: Publisher, Year of Publication), page number(s) [or alternative locator info].

Lastname, Firstname,“Title of Article.” Name of Journal vol. number, no. X (Year): start page.

Lastname, Firstname, and Firstname Lastname. “Title of Article.” Name of Journal vol. number, no. X (Month or Season Year): start page–end page. doi: DOI [or stable URL].

“Title of Article.” Name of Magazine , Month of Pub, Year.

Lastname, Firstname, and Firstname Lastname. “Title of Article.” Name of Magazine , Month and Day of Pub, Year, doi: DOI [or stable URL].

Growiszc, Hanna. “Far Right Ideologies in Czech Literature.” In Eastern Europe After the Iron Curtain, edited by Anton Smirov (London: Chatto and Windus, 2012), ch. 7.

Himler, Mary Rose. “Religious Books as Best Sellers.” Publishers Weekly, February 19, 1927.

Khan, Imran, and Richard Collins. “True Belief: Hindu Metanarratives in Bollywood.” Journal of Cinema Studies 7, no. 4 (2009): pp. 104–115. doi:10.1086/jcs113.3.752.

Murray, Michael. “The Antarctic Summer Lengthens.” Journal of Climate Studies 20, no. 9 (2011): p. 203.

Rambow, John. “Will This Demon Fit in My Carry-On?” Bangalore Monkey blog. December 21, 2007. http://www.bangaloremonkey.com/2007/12/will-this-demon-fit-in-my-carry-on.html.

Numbered reference citations (Vancouver)

Numbered reference citations (also known as author–number or Vancouver references) are used in scientific and medical texts. In this system, each reference used is assigned a number. When that reference is cited in the text, its number appears, either in parentheses or brackets or as a superscript. All cited references appear in a numbered reference list at the end of the chapter or book.

An advantage of numbered references over the author–date style is that less space in the main text is required for in-text citations. The system also avoids ambiguity in the case of two works by the same author published the same year, an occasional issue in author–date citations. A disadvantage is that late addition or removal of references usually requires renumbering of both the reference list and the citations. Numbered reference citations cannot be used to provide commentary or other explanatory material to the text.

References are cited within the text by using a number in a superscript, in parentheses, or in square brackets. Although each of these variants is acceptable, only one can be used in a single text. The examples in this guide will enclose citation numbers in parentheses. Note that although citations are numbered in the order of their first appearance in the text, non-consecutive note numbers are possible, to allow references to be cited more than once. Citations can take the form of a range: for example (4–7) would cite references 4, 5, 6, and 7 simultaneously. If it is necessary to cite specific page numbers that are not present in the reference list, page numbers can be inserted into the citation: for example (4p6, 5pp1–11).

Please note the following:

• Author first names are usually given as initials only, with no full stops (e.g. “AN” not “A.N.”) between initials. In the case of multiple authors, you can list up to six full names; for more than six authors, list the first three plus ‘et al’. All author names are inverted (i.e. last name, first name).
• Names of journals can be abbreviated, as in the examples in this section, but must follow the standard abbreviations used by PubMed. Journal article titles are given without quotation marks and in sentence-style capitalization.
• Do not use long dashes (e.g. “—") to substitute for the name of an author whose name is repeated in the bibliography. Repeat the name in full because linking in a digital publication may not immediately follow the entry with the full name.
• Citations are numbered in the order in which they first appear in the text.

Required bibliographic elements are given below for the most common types of reference citations, along with optional elements (if used, be consistent). Other elements below are required if applicable (for example, you need a page number or other locator if you are quoting a precise part of a large work, but you can skip it if the reference is to the work as a whole).

Numbered reference citations in British style

Lastname FI, Title of Work , Year of Publication.

Lastname FI, Lastname FI, Lastname FI. Title of Work , 2nd ed. City of Publication: Publisher; Year of Publication: startpage–endpage [or alternative locator info].

Unauthored book (books published by committee, agency, or group)

Title of Work . Year of Publication.

Title of Work . 16th ed. City of Publication: Publisher; Year of Publication: startpage–endpage [or alternative locator info].

Lastname FI. Title of chapter in sentence case. In: Lastname FI, eds. Title of Work. Year of Publication.

Lastname FI, Lastname FI, Lastname FI. Title of chapter in sentence case. In: Lastname FI, Lastname FI, Lastname FI, eds. Title of Work . 2nd ed. City of Publication: Publisher; Year of Publication: startpage–endpage [or alternative locator info].

Lastname FI, Title of article in sentence case. Abbreviated Journal Title . Year of Publication; Volume No.

Lastname FI, Lastname FI, Lastname FI, et al. Title of article in sentence case. Abbreviated Journal Title . Year of Publication; Volume No. (Issue No.) (Supplement No.): startpage–endpage [or alternative locator info]. doi: DOI [or stable URL].

Magazine or newspaper article

Lastname FI. Title of article in sentence case. Magazine or Newspaper Title . Month and Year of Publication.

Lastname FI. Title of article in sentence case. Magazine or Newspaper Title . Day Month and Year of Publication: startpage–endpage. doi: DOI [or stable URL].

If the article has no stated author:

Title of article in sentence case. Magazine or Newspaper Title . Month and Year of Publication.

Title of article in sentence case. Magazine or Newspaper Title . Day Month and Year of Publication: startpage–endpage. doi: DOI [or stable URL].

Include of the following (in this order) in your bibliographic entry: author; title or description of the content; owner/publisher; date of publication or most recent revision (or, failing that, date accessed); and URL. Some flexibility is acceptable to accommodate the wide variety of content available online and in non-traditional formats. Follow the capitalization and italicization patterns of the examples here as much as possible.

If the nature of the material you are citing is not clear from the bibliographic information, you can provide a descriptor in brackets after the first element of the reference.

Example: Numbered reference citations and reference list—British style

Colorectal cancer (cRc) is one of the most common malignancies and the second leading cause of death from cancer in Europe and North America (1). While early stage cRc is associated with an excellent 5-year survival rate (90% for localized disease), approximately 20% of patients present with metastatic disease, and many patients diagnosed with stage ii or iii cancer will experience a recurrence and develop distant metastases (2). At present, established clinico-pathological criteria are used to estimate risks of recurrence in stage ii and iii disease, and this is routinely used in the selection of patients or adjuvant systemic therapy following surgical resection. The clinical outcome of patients who receive such adjuvant treatment can, however, vary widely, when additional molecular factors are taken into consideration. Identification of novel prognostic markers is, therefore, vital in improving the prognosis of this disease (3). One of the recently described substances important for angiogenesis is endoglin. Endoglin, also known as cD105, is a receptor for transforming growth factor-ß1 molecule, which binds preferentially to the activated endothelial cells that participate in tumour angiogenesis, with weak or negative expression in vascular endothelium of normal tissues. Endoglin is induced by hypoxia. Therefore, it is very useful for assessment of neo-angiogenesis of malignant neoplasms (4–6). Many reports indicate that endoglin assessed immunohistochemically in colorectal cancer correlates not only with tumour microvessel density, but also with survival. It has also been reported as a valuable parameter predicting patients having an increased risk of developing metastatic disease. Endoglin is expressed not only on cell surfaces since its soluble form (sol-end) can be detected also in blood (4–7). A few studies evaluated the clinical significance of elevated sol-end levels in colorectal cancer patients (7).

1. Ferlay J, Autier P, Boniol M, Heanue M, Colombet M, Boyle P. Estimates of the cancer incidence and mortality in Europe in 2006. Ann Oncol . 2007; 18: pp. 581–592.

2. Meyerhardt JA, Mayer RJ. Systemic therapy for colorectal cancer. In: Boniol M, Smith J, eds. Oncological Research Reviews . 16th ed. New York, NY: Dekker; 2005; pp. 476–487.

3. Allegra CJ, Paik S, Colangelo LH, et al. Prognostic value of thymidylate synthase, Ki-67, and p53 in patients with Dukes’ B and C colon cancer: a National Cancer Institute-National Surgical Adjuvant Breast and Bowel Project collaborative study. J Clin Oncol. 2003; 21: pp. 241–250.

4. Drug Topics Red Book . Montvale, NJ: Thomson Healthcare, 2009: p. 232.

5. FDA approves new treatment for advanced colorectal cancer. 2012. US Food and Drug Administration website. 27 September. http://www.fda.gov/NewsEvents/Newsroom/PressAnnouncements/ucm321271.htm.

6. Stivarga [package insert]. Wayne, NJ: Bayer Healthcare Pharmaceuticals, 2012.

7. Mysliwiec P, Pawlak K, Kuklinski A, Kedra B. Combined perioperative plasma endoglin and vegF-a assessment in colorectal cancer patients. Folia Histochem Cytobiol . 2008; 46(2)(suppl. 1): pp. 487–49.

Numbered reference citations and reference list in US style

Lastname FI, Lastname FI, Lastname FI. Title of Work , 2nd ed. City of Publication: Publisher; Year of Publication.

Title of Work. Year of Publication.

Title of Work. 16th ed. City of Publication: Publisher; Year of Publication: startpage–endpage [or alternative locator info].

Lastname FI, Title of chapter in sentence case. In: Lastname FI, ed. Title of Work. Year of Publication.

Lastname FI, Lastname FI, Lastname FI. Title of chapter in sentence case. In: Lastname FI, Lastname FI, Lastname FI, eds. Title of Work. 2nd ed. City of Publication: Publisher; Year of Publication: startpage–endpage [or alternative locator info].

Lastname FI, Title of article in sentence case. Abbreviated Journal Title. Year of Publication; Volume No. (Issue No.)

Lastname FI, Lastname FI, Lastname FI, et al. Title of article in sentence case. Abbreviated Journal Title. Year of Publication; Volume No. (Issue No.)(SupplementNo): startpage–endpage [or alternative locator info]. doi: DOI [or stable URL].

Lastname FI. Title of article in sentence case. Magazine or Newspaper Title. Month, Day, and Year of Publication.

Lastname FI. Title of article in sentence case. Magazine or Newspaper Title. Month, Day, and Year of Publication: startpage–endpage. doi: DOI [or stable URL].

Title of article in sentence case. Magazine or Newspaper Title. Month, Day, and Year of Publication.

Title of article in sentence case. Magazine or Newspaper Title. Month, Day, and Year of Publication: startpage–endpage. doi: DOI [or stable URL].

Include as much of the following as possible in your bibliographic entry (in this order): author; title or description of the content; owner/publisher; date of publication or most recent revision, or, failing that, date accessed; and URL if available. Some flexibility is acceptable to accommodate the wide variety of content available online and in non-traditional formats. Follow the capitalization and italicization patterns of these examples.

Example: Numbered reference citations and reference list—US style

Colorectal cancer (cRc) is one of the most common malignancies and the second leading cause of death from cancer in Europe and North America (1). While early stage cRc is associated with an excellent 5-year survival rate (90% for localized disease), approximately 20% of patients present with metastatic disease, and many patients diagnosed with stage ii or iii cancer will experience a recurrence and develop distant metastases (2). At present, established clinico-pathological criteria are used to estimate risks of recurrence in stage ii and iii disease, and this is routinely used in the selection of patients or adjuvant systemic therapy following surgical resection. The clinical outcome of patients who receive such adjuvant treatment can, however, vary widely, when additional molecular factors are taken into consideration. Identification of novel prognostic markers is, therefore, vital in improving the prognosis of this disease (3). One of the recently described substances important for angiogenesis is endoglin. Endoglin, also known as cD105, is a receptor for transforming growth factor-ß1 molecule, which binds preferentially to the activated endothelial cells that participate in tumor angiogenesis, with weak or negative expression in vascular endothelium of normal tissues. Endoglin is induced by hypoxia. Therefore it is very useful for assessment of neo-angiogenesis of malignant neoplasms (4–6). Many reports indicate that endoglin assessed immunohistochemically in colorectal cancer correlates not only with tumor microvessel density, but also with survival. It has also been reported as a valuable parameter predicting patients having an increased risk of developing metastatic disease. Endoglin is expressed not only on cell surfaces, since its soluble form (sol-end) can be detected also in blood (4–7). A few studies evaluated the clinical significance of elevated sol-end levels in colorectal cancer patients (7).

1. Ferlay J, Autier P, Boniol M, Heanue M, Colombet M, Boyle P. Estimates of the cancer incidence and mortality in Europe in 2006. Ann Oncol. 2007; 18: pp. 581–592.

2. Meyerhardt JA, Mayer RJ. Systemic therapy for colorectal cancer. In: Boniol M, Smith J, eds. Oncological Research Reviews. 16th ed. New York, NY: Dekker; 2005; pp. 476–487.

3. Allegra CJ, Paik S, Colangelo LH, et al. Prognostic value of thymidylate synthase, Ki-67, and p. 53 in patients with Dukes’ B and C colon cancer: a National Cancer Institute-National Surgical Adjuvant Breast and Bowel Project collaborative study. J Clin Oncol. 2003; 21: pp. 241–250.

4. Drug Topics Red Book. Montvale, NJ: Thomson Healthcare, 2009: p. 232.

5. FDA approves new treatment for advanced colorectal cancer. US Food and Drug Administration website. September 27, 2012. http://www.fda. gov/NewsEvents/Newsroom/PressAnnouncements/ucm321271.htm.

7. Mysliwiec P, Pawlak K, Kuklinski A, Kedra B. Combined perioperative plasma endoglin and vegF-a assessment in colorectal cancer patients. Folia Histochem Cytobiol. 2008; 46(2)(suppl. 1): pp. 487–492.

For legal works, we recommend that you follow The Oxford University Standard for Citation of Legal Authorities (OSCOLA). The fourth edition (published in 2012) covers International Law. The full set of guidance can be found at https://www.law.ox.ac.uk/sites/default/files/migrated/oscola_4th_edn_hart_2012.pdf

Information on how to apply OSCOLA style in EndNote, Latex, Refworks and Zotero can be found at https://www.law.ox.ac.uk/research-subject-groups/publications/oscola-styles-endnote-latek-refworks-and-zotero

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Abbé Prévost, Manon Lescaut  : personnages en marge, plaisirs du romanesque

I. une simple digression , de la parenthèse narrative au « petit ouvrage », des « aventures de fortune et d'amour » au « traité de morale », ii. « un exemple terrible de la force des passions », un nouveau couple mythique, une tragédie chrétienne , iii. un roman moral , la lutte entre la vertu et l'amour, une apologie de l'amour , iv. corpus : personnages en marge, plaisirs du romanesque, la dame aux camélias alexandre dumas, 1848, nana , zola, 1880.

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Database Information in References

Database information is seldom provided in reference list entries. The reference provides readers with the details they will need to perform a search themselves if they want to read the work—in most cases, writers do not need to explain the path they personally used.

Think of it this way: When you buy a book at a bookstore or order a copy off the internet, you do not write the name of the (online) bookstore in the reference. And when you go to the library and get a book off the shelf, you do not write the name of the library in the reference. It is understood that readers will go to their bookstore or library of choice to find it.

The same is true for database information in references. Most periodicals and books are available through a variety of databases or platforms as well as in print. Different readers will have different methods or points of access, such as university library subscriptions. Most of the time, it does not matter what database you used, so it is not necessary to provide database information in references.

However, there are a few cases when it is necessary for readers to retrieve the cited work from a particular database or archive, either because the database publishes original, proprietary content or because the work is of limited circulation. This page explains how to write references for works from academic research databases and how to provide database information in references when it is necessary to do so.

Database information in references is covered in the seventh edition APA Style manuals in the Publication Manual Section 9.30 and the Concise Guide Section 9.30

Related handout

• Creating an APA Style Reference List (PDF, 179KB)

Works from academic research databases

Do not include database information for works obtained from most academic research databases or platforms because works in these resources are widely available. This includes journal articles, books, and book chapters from academic research databases.

• Examples of academic research databases and platforms include APA PsycNet, PsycInfo, Academic Search Complete, CINAHL, Ebook Central, EBSCOhost, Google Scholar, JSTOR (excluding its primary sources collection because these are works of limited distribution), MEDLINE, Nexis Uni, Ovid, ProQuest (excluding its dissertations and theses databases because dissertations and theses are works of limited circulation), PubMed Central (excluding authors’ final peer-reviewed manuscripts because these are works of limited circulation), ScienceDirect, Scopus, and Web of Science.
• When citing a work from one of these databases or platforms, do not include the database or platform name in the reference list entry unless the work falls under one of the exceptions described next ( databases with original, proprietary content and works of limited circulation ).
• Likewise, do not include URLs from these academic research databases in reference list entries because these URLs will not resolve for readers.
• Instead of a database URL, include a DOI if the work has one. If a widely available work (e.g., journal article, book, book chapter) from an academic research database does not have a DOI, treat the work as a print version. See the guidelines for how to include DOIs and URLs in references for more information.

The following example shows how to create a reference list entry for a journal article with a DOI from an academic research database.

Hallion, M., Taylor, A., Roberts, R., & Ashe, M. (2019). Exploring the association between physical activity participation and self-compassion in middle-aged adults. Sport, Exercise, and Performance Psychology , 8 (3), 305–316. https://doi.org/10.1037/spy0000150

• Parenthetical citation: (Hallion et al., 2019)
• Narrative citation: Hallion et al. (2019)

If the article did not have a DOI, the reference would simply end after the page range, the same as the reference for a print work.

Databases with original, proprietary content

Provide the name of the database or archive when it publishes original, proprietary works available only in that database or archive (e.g., UpToDate or the Cochrane Database of Systematic Reviews). Readers must retrieve the cited work from that exact database or archive, so include information about the database or archive in the reference list entry.

References for works from proprietary databases are similar to journal article references. The name of the database or archive is written in italic title case in the source element, the same as a periodical title, and followed by a period. After the database or archive information, also provide the DOI or URL of the work . If the URL is session-specific (meaning it will not resolve for readers), provide the URL of the database home page or login page instead.

The following example shows how to create a reference list entry for an article from the UpToDate database:

Stein, M. B., & Taylor, C. T. (2019). Approach to treating social anxiety disorder in adults. UpToDate . Retrieved September 13, 2019, from https://www.uptodate.com/contents/approach-to-treating-social-anxiety-disorder-in-adults

• Parenthetical citation: (Stein & Taylor, 2019)
• Narrative citation: Stein and Taylor (2019)

Works of limited circulation

Provide the name of the database or archive for works of limited circulation, such as dissertations and theses, manuscripts posted in a preprint archive, and monographs in ERIC. The database may also contain works of wide circulation, such as journal articles—only the works of limited circulation need database information in the reference.

References for works of limited circulation from databases or archives are similar to report references. The name of the database or archive is provided in the source element (in title case without italics ), the same as a publisher name, and followed by a period. After the database or archive information, also provide the DOI or URL of the work. If the URL is session-specific (meaning it will not resolve for readers), provide the URL of the database home page or login page instead.

The following are examples of works of limited circulation from databases or archives (for additional examples, see Section 9.30 of the Publication Manual ):

• dissertations and theses published in ProQuest Dissertations and Theses Global

Risto, A. (2014). The impact of social media and texting on students’ academic writing skills (Publication No. 3683242) [Doctoral dissertation, Tennessee State University]. ProQuest Dissertations and Theses Global.

• Parenthetical citation: (Risto, 2014)
• Narrative citation: Risto (2014)
• manuscripts posted in a preprint archive such as PsyArXiv

Inbar, Y., & Evers, E. R. K. (2019). Worse is bad: Divergent inferences from logically equivalent comparisons . PsyArXiv. https://doi.org/10.31234/osf.io/ueymx

• Parenthetical citation: (Inbar & Evers, 2014)
• Narrative citation: Inbar and Evers (2014)
• monographs published in ERIC

Riegelman, R. K., & Albertine, S. (2008). Recommendations for undergraduate public health education (ED504790). ERIC. https://files.eric.ed.gov/fulltext/ED504790.pdf

• Parenthetical citation: (Riegelman & Albertine, 2008)
• Narrative citation: Riegelman and Albertine (2008)

If you are in doubt as to whether to include database information in a reference, refer to the template for the reference type in question (see Chapter 10 of the Publication Manual ).