Dissertation HANS HOLBEIN’S ORNAMENTAL DRAWINGS

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

Presentation and Layout of Written Work

All written submissions must:
1.    Be word processed.
2.    Employ double or 1.5 line spacing in the main text (single spacing of footnotes).
3.    Have all four margins of 2.5 cm or greater.
4.    Be presented in 12 point (footnotes in 10 point).
5.    Have continuous pages numbers throughout.
6.    Have footnotes numbered sequentially throughout (i.e. not starting at 1 on each new page); arabic numerals should be used.
7.    Have footnotes and bibliography laid out in accordance with the department’s guidelines, as set out below.
8.    Have justified, i.e. flushed, right-hand margins in the main text, the footnotes, and the bibliography.
9.    Not exceed the specified word length.

Word limits include front matter (including title), all the main text including tables, and all footnotes. The word count excludes headers, bibliography, appendices, acknowledgements, graphs and images.

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

Quotations

Do NOT render quotations in italics.

For shorter quotations, run into the main text, use single inverted commas. Double inverted commas are only used when one quotation appears within another.

Long quotations (four lines or more) should be rendered as a block of text indented on both the left- and right-hand margins, and using single-line spacing. Do NOT use inverted commas in indented paragraphs. The normal way to preface an indented quotation is with a colon. Do NOT use a colon, however, if the quotation runs grammatically from the immediately preceding portion of text.

Thus the lead into a quotation and the quotation itself will look like this (but typically with a footnote at the end of the quotation so that you can provide the reference):

In the 1960s some young British women challenged established gender roles, pursuing education, careers and personal freedom. Many of them grew frustrated with the limitations of 1960s youth culture.

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

Illustrations

Illustrations should be included in your essays when it is useful or helpful to do so. For guidance on how to present them, see below in the guidance on the presentation of dissertations (p.16).
The Dissertation

All final year students are required to write a dissertation. Single Honours students write a dissertation of 9,000 words; Joint Honours students write one of 5,000 words.

Students are required to identify their own topic, formulate the particular questions to be asked, identify the main primary sources to be used, set the research questions in the context of the issues arising from the secondary literature, and carry through a scholarly and analytical study to the highest standards. In short, the dissertation builds on skills learned in earlier Special Projects and in the Group Project, but it expands and improves on these in very substantial ways.

The earlier you begin to think about the topic of your dissertation the better. The best dissertations tend to come from those who began to think about what they might research, and discuss their thoughts with a member of staff, towards the end of their second year.

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

Guidance to help you in researching and writing your Dissertation will be provided in the form of lectures on devising a research topic and on identifying and using primary sources. The first of these are delivered towards the end of your second year; the others will be given during the course of your third year.

You will also be assigned a supervisor who will discuss with you your initial proposal, and the particular challenges of your chosen topic. You will receive guidance from your supervisor in one-to-one and group meetings, which should not normally exceed five hours per student in total: these will include sessions in which you give short presentations on your proposed research, and later on your intended approach/structure, to your supervisor and a small group of other students. You are also free to consult other lecturers with relevant expertise in their Consultation Hours.
A key component of the dissertation is that it should engage with primary source materials (broadly defined). You are also expected to demonstrate how your analysis fits into and contributes to the existing literature on your topic.

Joint-honours students are advised to select a theme or subject for their dissertation which can be adequately researched in the area (or areas) in which they will be spending the year abroad and for which there are suitable works of art or monuments which can be studied in the original in the neighbourhood they are visiting. They may, however, choose to undertake work for a subject that might involve locally-based library or archive research complemented by visits to museums and galleries, monuments and sites elsewhere. Students who may be taking courses in art history at an educational institution during their year abroad may, if they wish, prepare a dissertation on a related subject. The primary purpose of the year abroad for a student’s art history studies is to develop a better understanding of the visual arts and architecture generally by studying as much material as possible in the original, and the Dissertation should reflect this intention and activity as clearly as possible. The dissertation is submitted shortly after Easter (100% of UAM).

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

Dissertation Guidelines For Presentation (Both Single And Joint Honours)

Presentation
Follow the requirements laid out above in the section on Presentation and layout of written work.

Text
Most dissertations will be subdivided into sections or chapters. These should each be numbered, and each new section or chapter should begin on a new page. Sections or chapters may be sub-divided: where this is done, a subsection should be identified by means of a number or letter and given its own subtitle.

Notes
Follow requirements laid out in the Presentation and layout of written work section above.

Bibliography
Follow requirements laid out in the Referencing section below.

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

Illustrations
Illustrations may be inserted individually in the text where they are first mentioned, or collected in sequence at the end (see the suggested order of contents below). Given that you are required to submit an electronic copy of the dissertation as well as two hard copies (see Dissertation Submission below), it is preferable to work with digital files for your illustrations. Photographic prints, postcards or photocopies may also be used if necessary, in which case they should be mounted singly on A4 paper (and scanned for electronic submission). Illustrations should be reproduced clearly and at an appropriate scale so that the reader can follow any visual analysis by referring to the reproduction. Illustrations should be numbered in Arabic numerals and details of each illustration used should be given in a consecutively numbered list of illustrations with the artist’s name, the title (underlined, italicised or printed bold), inscription and date (if any), details of medium, support and size, and location (where known):

7. Auguste Rodin
Cybele
Inscription: ‘A. Rodin’ and ‘Alexis. Rudier / Fondeur. Paris’, c.1890
Bronze, 160 x 125 x 85 cm
London, Victoria and Albert Museum

Where all or nearly all illustrations are by the same artist, only those works by others
need to be prefaced by the artist’s name.

Regardless of whether illustrations are inserted in the text or collected at the end, a list of illustrations is required. Where illustrations are inserted in the text, a caption containing the relevant information from the illustration list may be included alongside the figure number, but such captions will be included in the word count.

References made to illustrations in the text of the dissertation should be made by
indicating the appropriate number in parentheses:

“… such as the bronze figure of Cybele (figure 7) …”

If reference is made to a work that is not illustrated, the date and location or other
identifying source should be given in parentheses so that the work can be
accurately identified:

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

“.. such as Turner’s Frosty Morning (1813, Tate Gallery London), in which ..”

In those cases where a particular title may be applied to more than one painting by
the same artist (e.g. Cézanne’s Mont Ste.-Victoire series or Rembrandt’s Self-portraits)
it is essential that sufficient identifying detail is included in the text to identify by date,
location or other indicator which work is referred to.

If no photograph of the work referred to is available, a footnote reference should be
made to a source where a photograph may be consulted.

Summary

The form of the dissertation should normally follow the pattern indicated below:

1. Title page: this should clearly show the candidate number, title of the
dissertation, date and course:

Candidate number 12345

HANS HOLBEIN’S
ORNAMENTAL DRAWINGS

Dissertation submitted for the
Degree of B.A. Honours in History
of Art

2013/14

2. Table of contents (listing chapter headings, page numbers, etc.)

3. Text

4. Footnotes (if collected separately at end of text)

5. Bibliography

6. List of illustrations

7. Illustrations (if collected at end of dissertation)

Dissertation Submission

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

All dissertations must be submitted printed and spiral bound (plastic or wire binding).
This can be done quite cheaply at the Students’ Union Print Shop, or you can
enquire at a local printing store.

Two copies must be handed in to the Student Support Office before 12 Midday on
the prescribed date.

You must also submit an electronic copy of your dissertation through Blackboard
within 48 hours of submitting your hard copy.

Note: The Student Support Office gets very busy on hand-in days, so you are advised
to come early to avoid delays.

Referencing: The Basics

Footnotes should be employed for two main purposes:

1.    To supply the direct reference to all your quotations.
2.    To provide a reference (or references) for more general points in your argument. They indicate that you know where the information or ideas come from and that you are able to distinguish clearly between what is yours and what is someone else’s input. Footnotes should also be used to establish your range of reading and to clarify that you recognise the importance of particular texts for crucial steps in your argument. There are no rules governing the frequency of footnotes; look closely at examples of recent secondary literature to gain a sense of the ‘rhythm’ of footnote usage. Each sentence does not need its own footnote, but sections that draw heavily on secondary reading should be carefully acknowledged.

In addition, footnotes may occasionally be used to amplify a point that is being made in the text and to give the source reference. Footnotes for amplification should be employed very sparingly. If what you want to say is important, it should be said in the main body of the text. There may be occasions when an illuminating or explanatory comment is difficult to incorporate into the text without disrupting its meaning and flow, but a footnote in such cases should always be a last resort.

In the main body of your text, note numbers should be inserted after punctuation.  Thus: Aquinas died in 1274.1

Quotations

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

Do not put quotations in italics.
With indented quotations, do not use inverted commas.
Indent a quotation if it is made up of more than one sentence, or if the sentence is very long.

Footnotes

A much fuller range of examples is provided in the appendix at the end of this guide. This section is intended to provide you with the essential information, which will cover more than 90% of the works you are likely to use.

In your footnotes, use the following formats:

Book:
B. Smalley, Historians in the Middle Ages (London: Thames and Hudson, 1974).

Article in journal:
G. Post, ‘Parisian masters as a corporation, 1200-1246’, Speculum, 9 (1934).

Article/chapter in edited book:
J. Leclercq, ‘The renewal of theology’, in R.L. Benson and G. Constable (ed.), Renaissance and Renewal in the Twelfth Century (Oxford: Oxford University Press, 1982).

Translated work:
Alan of Lille, Anticlaudianus, tr. J.J. Sheridan (Toronto: Pontifical Institute of Medieval Studies, 1973).

When you use a quotation from a primary source that you have found in a secondary work rather than extracting it from the primary source yourself, you should identify the primary source then put ‘as quoted by’ before giving the reference to the secondary work where you found the quotation.

When you cite works to which you have already made reference, you can use an abbreviated version:

Smalley, Historians, p.5.            p. for a single page
Post, ‘Parisian masters’, pp. 6-13.        pp. for more than one page
Leclercq, ‘The renewal of theology’, 56.    Or don’t use either.

In notes, do not put the initials after the surname.  Only do that in the bibliography when you are listing items by surname in alphabetical order.

Bibliography

Your bibliography should be divided into two parts: Primary Sources and Secondary Works.

Within each section, arrange the works in alphabetical order, by authors’ surnames.

Appendix: Formatting items in your Bibliography and Footnotes

There will always be some sort of work that does not seem to fit the standard examples.  If in doubt, remember that the most important thing is to be consistent.

A: Books

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

In the bibliography books should be cited by their full title (including subtitle, if there is one, after a colon) together with place of publication and date. For example:

Welch, E., Art and Society in Italy, 1550-1500 (Oxford: Oxford University Press, 1982).

Note the use of italics (and no inverted commas) to render the title, and the absence of a comma between the title and the bracket. All but the most common words begin with a capital letter (for more on this, see below). Note, too, the relative position of the surname and initials; this order is reversed in footnote references.

In the footnotes, the first reference to a book should give its full title, place of publication and date, just as it appears in the Bibliography, plus page extent/s. Note, however, that the initials now come before the surname. For example:

N. J. Housley, The Italian Crusades: The Papal-Angevin Alliance and the Crusade against Christian Lay Powers, 1254-1343 (Oxford: Clarendon Press, 1982), 23-5.

How does one establish what the title of a book actually is? It sometimes happens that there are slightly different versions of the title in various parts of the book. Disregard the dust jacket (if there is one) and go by the internal title page. This is not the very first page, which usually has just the title on it, but the page overleaf. It will usually have the author’s name and the name of the press on it as well. Follow what this title page says; the only addition that need be made routinely is supplying a colon to separate the title and the subtitle.

After the first reference, the title should be abbreviated in later footnotes.

When abbreviating you should do the following:
1. Drop the definite or indefinite article if this is the first word of the title.
2. Retain all the other words up to, and including, the first noun.

For example: Housley, Italian Crusades, 34-42.

It is not uncommon for an author to have produced several works with similar titles. If you are using more than one of them, expand the abbreviated reference until you reach the first noun that makes the title you are using unambiguous.

Use short titles rather than ‘op. cit.’ (‘the work mentioned’). ‘Op. cit.’ can be very confusing because the reader needs to trawl back through the earlier notes in order to establish what exactly is being referred to.

Similarly, avoid using ibid. (‘the same work’) when you find yourself having to refer  to the same title in consecutive notes. Instead, simply repeat shortened titles. If you do use it, do so only when one title is mentioned in both notes, so that there is no uncertainty about what the ‘same work’ refers to. And be aware that late cutting and pasting, where the text includes a footnote, very often results in your ibid. referring to the wrong source.

Avoid id./ead. (‘the same male/female author’’). Repeat the name.

If a book is part of a series, it is generally speaking not necessary to give series titles  if they are not numbered. For example: Oxford Historical Monographs or Oxford Medieval Texts. If the series is numbered, it can be an awkward decision where to include it without making the whole reference rather cumbersome. The best technique is to tuck the series, not italicised, inside the brackets and separated from the place and date by means of a semicolon. For example:

C. Marshall, Warfare in the Latin East, 1192-1291 (Cambridge Studies in Medieval Life and Thought, 4th ser., 17; Cambridge: Cambridge University Press, 1992), 136-8.

Peter the Venerable, The Letters, ed. G. Constable, 2 vols. (Harvard Historical Studies, 78; Cambridge, Mass.: Harvard University Press, 1967), ii. 316-19.

The second of the above examples shows that, when referring to a multi-volume single work, you should give the volume number as a lower-case roman numeral. This prevents any confusion with page references. Here is another example:

Orderic Vitalis, The Ecclesiastical History, ed. and trans. M. Chibnall, 6 vols. (Oxford: Clarendon Press, 1969-80), ii. 6-12, 34-42; iv. 96-100, 114-18.

When abbreviating book titles, do not use acronym-type abbreviations. The Second Crusade and the Cistercians could NEVER be rendered SCC.

To discover the place of publication of a book, use the internal title page, which gives details of, inter alia, the International Standard Book Number (ISBN). The place of publication is NOT necessarily the same as the place where the book was set and/or printed.

Volumes with multiple authors

In footnotes, render multi-authored works as:
J. Lewis, D. Clark and D. H. J. Morgan, The Work of Marriage Guidance (London: Routledge, 1992), 217-28. (NB: use the order of authors given on the title page)

In the bibliography, the name of just the first author is inverted. For example:
Lewis, J., D. Clark and D. H. J. Morgan, The Work of Marriage Guidance (London: Routledge, 1992).

Edited volumes

In footnotes, render thus:

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

J. Lewis (ed.), Lone Mothers in European Welfare Regimes: Shifting Policy Logics
(London: Jessica Kingsley, 1997), 156-9.

J. Lewis, M. Porter and M. Shrimpton (eds.), Women, Work and Family in the British, Canadian and Norwegian Offshore Oilfields (Basingstoke: Macmillan, 1988), 56-79.

Again, just the first name of multiple authors is inverted in the bibliography:

Lewis, J., M. Porter and M. Shrimpton (eds.), Women, Work and Family in the British, Canadian and Norwegian Offshore Oilfields (Basingstoke: Macmillan, 1988).

B: Articles

The same basic rules apply regarding the bibliography: the entry in the bibliography
will read:

Forey, A. J., ‘The Failure of the Siege of Damascus in 1148’, Journal of Medieval
History, 10 (1984), 13-23.

In the case of articles, it is the title of the journal that must be italicised. For example:

R. A. Fletcher, ‘Reconquest and Crusade in Spain c. 1050-c.1150’, Transactions of the Royal Historical Society, 5th ser., 37 (1987), 31-47.

Note carefully the position of the commas and the use of single inverted commas for the article’s title. There is no comma before the bracket.

Double inverted commas are reserved for quotation marks within the title. For example:

J. T. Gilchrist, ‘The Papacy and the Wars against the “Saracens”, 795-1216’, International History Review, 10 (1988), 174-97.

Full page extents of an article or paper are supplied in the bibliography. In the footnotes, simply cite the specific page(s) that relate to your intended reference.

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

When the title of a journal starts with the definite article, this is not reproduced. So English Historical Review, not The English Historical Review.

For articles in edited collections, use the form:

B. M. Bolton, ‘The Cistercians and the Aftermath of the Second Crusade’, in M. Gervers (ed.), The Second Crusade and the Cistercians (New York: St. Martin’s Press, 1992), 131-40.

Abbreviated as Bolton, ‘Cistercians’.

If there are two or more editors, use (eds.), as above.

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

C: Newspaper Sources

In the footnotes your text should make it easy for someone to locate the source that you have used. Minimally, it needs to include the title of the article, the title of the newspaper, the place of publication (if it is not immediately apparent from the title), and the date of publication. For example:

‘The Old and the New’, Pall Mall Gazette (London), 1 Jan. 1884.
This can be abbreviated in subsequent footnotes to ‘Old and New’.

‘Free Trade to India’, Manchester Times, 17 Jan. 1829.
This can be abbreviated in subsequent footnotes to ‘Free Trade to India’.

You may include further information – page number, column number, etc. – if you have it, but it is not necessary. If the database gives you a ‘stable URL’ for an article, you can include that in your footnote, but this is not necessary, and remember that if you are using lots of newspaper sources, including lots of URLs, this will take up a great deal of space.

Until quite late in the twentieth century, newspapers did not conventionally name the author of an article. You can take this as understood by the reader of your essay, so you do not need to use ‘Anon.’ where no author is cited.

In your bibliography, you do NOT have to cite each individual article that you have used in your essay. Rather, list each newspaper you have used, and give the place of publication in brackets if this is not immediately obvious from the title. For digital newspapers, give the URL for the title page of the database if possible. You may wish to group titles and list them alphabetically by database.

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

For example:
19th Century British Library Newspapers
[http://find.galegroup.com/bncn/start.do?prodId=BNCN&userGroupName=univbri]
Isle of Man Times (Douglas)
Manchester Times
Pall Mall Gazette (London)

Nineteenth Century Serials Edition [http://www.ncse.ac.uk/index.html]
English Woman’s Journal (London)
Northern Star (Leeds)

D: Exhibition catalogues

Catalogues of art exhibitions are rendered thus in your bibliography:

Parris, L. (ed.), The Pre-Raphaelites, exhibition catalogue, London: Tate Gallery, 1984

In footnotes:
L. Parris (ed.), The Pre-Raphaelites, exhibition catalogue, London: Tate Gallery, 1984

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

Note two special difficulties with exhibition catalogues:
(1) It may be difficult to find the name(s) of the author(s) or editor(s), particularly in older catalogues, where the author(s) may be anonymous. If no author is listed on the title page, use the name of the author of the Introduction (or first essay, if there is no introduction). If you cannot find an author’s name at all, cite the catalogue by its title (and alphabetise it in the bibliography by the first word of the title). For example:

Great Victorian Pictures: Their Paths to Fame, exhibition catalogue, London: Royal Academy of Arts, 1955.

(2) Title pages of catalogues often include both the name of the exhibiting museum or organisation (New York: Metropolitan Museum of Art) and the name of the publisher (New York: Harry N. Abrams). It is most important to cite the exhibiting museum or organisation; if you wish, you may include both. For example:

S. Wildman and J. Christian, Edward Burne-Jones: Victorian Artist-Dreamer, New York: Metropolitan Museum of Art (Harry N. Abrams), 1998

E: Referring to Works of Art

a) When citing the title of a painting or sculpture for the first time in the text, give full details of date and location. For example: ‘… this technique can be identified in Botticelli’s Mystic Nativity (1500, London, National Gallery) and in the Apollo and Daphne by Gianlorenzo Bernini (1622-1625 Rome, Villa Borghese) …’.

Subsequent references to the same work normally require only the title; but sometimes, when an artist has produced several works of the same subject (such as Cézanne’s paintings of Mont Sainte-Victoire), it is necessary to specify the particular one referred to by identifying it by date and/ or location. This avoids unnecessary confusion.

b) Titles of works of art should always be italicised. Bear in mind that for pre-modern works of art, the conventional ‘titles’ used only reflect the conventional ways in which the work is described, and not a ‘title’ in the sense of a name given to a work by an artist. In these cases the titles given to such works may vary, and may change according to the language of the book or article or website in which the work appears. So you might see ‘Ognissanti Madonna’ or ‘Madonna d’Ognissanti’. Use the English translation of the title: you will usually be able to find this by consultation of basic works in English.

c) References to architectural works should be in normal script, not italicised, but should have dates and locations. For example:

‘ … the church of S.Giorgio Maggiore by Andrea Palladio (begun 1566; Venice) …’.

Sometimes you will find variants of the same building, such as ‘Scrovegni Chapel’ and also ‘Arena Chapel’. Use what appears to be the most conventional title in the English-speaking works.

F: Websites

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

World-Wide Web pages are cited thus (with the date on which you found the material you have used):

Limb, P., ‘Alliance Strengthened or Diminished?: Relationships between Labour & African Nationalist/ Liberation Movements in Southern Africa’.
http://www.neal.ctstateu.edu/history/world_history/archives/limb-l.html [accessed 11 May 2006].
Notice the square brackets.

A comprehensive guide to such conventions can be found at:

Melvin E. Page, ‘A brief citation guide for internet sources in history and the humanities’ prepared for H-AFRICA Humanities On-Line, and History Department, East Tennessee State University.

http://www.h-net.msu.edu/~africa/citation.html

G: Manuscripts and Archival Records

This is very likely to be an important consideration when preparing your dissertation, but it is good practice in projects and essays if you have had access to archival materials. Conventions with manuscripts and archival materials vary because of the wide variety of documentation preserved in many different places. You should consult your tutor about the most suitable conventions for the particular material you are studying.

The general rule is for manuscript materials to be cited by city and location, with no
underlining. For example:

London, British Library, Add. MS 8873.

The standard abbreviation for one manuscript is MS; for several manuscripts, MSS.

Manuscripts are cited by folio (fo) number + r (for recto, the front – equivalent to an odd-numbered page in a book) or v (for verso, the back – equivalent to an even numbered page). Thus:

Paris, Bibliothèque Nationale, MS lat. 44, fo. 76r.

The plural of fo is fos.

When referring to a particular document in a file, give sufficient information to allow your reader to locate the archive, the file, and the document in question with ease.

For example:

Kew, The National Archives, (hereafter TNA): T 230/579, Vinter to Clarke, ‘Elements of a policy for economic growth’, 27 Feb. 1961.

Further references to items in this archive can thereafter be rendered thus:

TNA: T 230/580, Clarke to Hall, ‘A policy for economic growth’, 29 Mar. 1961.

H: Miscellaneous sources

1. The format to use when citing a UK government document is the following:

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

Cmnd.1432, Control of public expenditure (London, July 1961), pp. 30-2.

2. Citing a source quoted in another secondary source works thus:

Zukofsky, L., ‘Sincerity and Objectification’, Poetry, vol. 37 (1931), no. 1, p. 269, quoted in B. Costello, Marianne Moore: Imaginary Possessions (Cambridge, MA: Harvard University Press, 1981), 78-9.

3. Citing material obtained from a CD-ROM should be rendered thus:

Oxford English Dictionary on Compact Disc. 2nd edn CD-ROM. (Oxford: Oxford University Press, 1992).

I: Capitalisation of titles

It is impossible to provide unambiguous rules on the use of capitals in titles. The general rule is that important words take a capital. You will not go far wrong if you use a capital for the following: nouns, adjectives, adverbs and most verbs.

The following do not take a capital: conjunctions, prepositions, verbs expressing a state (esp. ‘to be’), modal verbs (e.g. ‘might’, ‘should’, ‘could’), pronouns, and the (in)definite article. The first letter of the first word of a title is always a capital.

J: Abbreviations

In longer pieces (projects and dissertations), works referred to frequently may conveniently be cited by an abbreviation, provided a List of Abbreviations is included at the beginning of the dissertation. For example:

AHR American Historical Review
EHR English Historical Review
JEH Journal of Ecclesiastical History
JAH Journal of Art History

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

You will become familiar with the journals and series that crop up regularly in your chosen subject area: look at the List of Abbreviations in the books you use.

Be fairly sparing with abbreviations. A good rule of thumb is that a journal may be abbreviated if you have references to three or more different articles appearing in it.

One- or two-word journal titles should not be abbreviated. So, Medieval Studies does not become MS, nor Speculum S.

K: Arrangement of the Bibliography

The Bibliography should be split into three parts:

Manuscripts

Primary Sources

Secondary Works

The listing of secondary works is quite straightforward: alphabetically by author.

When listing several works by one author, you should list them by date, starting with the first to be published. Notice also that you should NOT have different sections for books and articles.

Primary sources are also listed alphabetically. Medieval authors are listed by their first names, not their second names, toponyms or sobriquets. For example:

Orderic Vitalis, not Vitalis, Orderic

John of Würzburg, not Würzburg, John of

Ralph Glaber, not Glaber, Ralph

If the name of the author is part of the title of the work, you should detach it and adjust the title accordingly. For example, Giles Constable’s edition of Peter the Venerable’s letters is entitled The Letters of Peter the Venerable, but it is given here as Peter the Venerable, The Letters…

If a work is anonymous, or if one is dealing with a collection of sources where there is no imputed authorship (e.g. a collection of documents), it is listed alphabetically by the title. Ignore definite/indefinite articles. Thus Les documents de l’abbaye de Cluny would be alphabetised at the letter D.

If a source appears within a larger collection, it is treated as analogous to an article in a collection. That is to say, it is cited inside single inverted commas. For example:

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

‘Chronicon Vindocinense’, in P. Marchegay and E. Mabille (eds.), Chroniques des églises d’Anjou (Paris: Champion, 1869), 153-77.

L: Page extents in footnotes

It is not necessary to preface page references with ‘p.’ or ‘pp.’, though you may do so. But when material is not conventionally paginated, you should draw attention to this by means of, for example, ‘col.’/’cols.’ for column(s).

Be precise in giving page extents. Avoid ‘passim’ (‘throughout the work’/ ‘everywhere’) because it looks lazy and will lead the examiner to wonder whether you have read the work carefully. Similarly, avoid ‘et seq.’ (‘and what follows’). Equally unsatisfactory are ‘f.’ (‘and the next few pages’) and ‘ff.’ (‘and the following pages’) after a page reference.

You should take care to provide meaningful page extents in your footnotes. One sometimes reads a sentence advancing a broad proposition supported by a reference to only one or two pages of a secondary work. This is inadequate. You should refer to the whole run of pages where the point you are making is discussed. And you should try to refer to more than one work: important points made on the back of just one book or article always look thin.

When giving page extents some contraction is preferable. (But see below about roman numerals.) The general rule is that one counts from the units up through the tens, hundreds etc. until there is no repetition. For example:
147-149 = 147-9
147-168 = 147-68
147-213 = 147-213

There is one slight exception to this rule: page extents involving teens keep the tens figure. Thus: 113-117, not 113-7.

When referring to roman-numeral page extents (for example in an introduction or preface), use lower case: e.g. xxii-xxiv. Note that the arabic equivalent 22-24 should be expressed as 22-4 whereas roman numerals cannot be shortened; xxii-iv is impossible.

M: Miscellaneous Points

Different works are separated in notes by a semicolon. For example:

Bull, Thinking Medieval, 34-8; Bolton, ‘Cistercians’, 137; R. H. C. Davis, The Normans and their Myth. (London, 1976), 145-61. [In this instance, the first two works have already been cited and are therefore abbreviated; Davis, however, is appearing for the first time].

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

Romance-language (French, Spanish, Italian) titles seldom use capitals other than for the first word and proper nouns. If capitals are not used, they should not be supplied.

For spelling conventions (e.g. ise or ize, erred or ered) as well as for much else, you can consult The Oxford Writers’ Dictionary, comp. R. E. Allen, which is widely available in paperback (Oxford Reference). This is an invaluable book. Of equal value are The Oxford Dictionary for Writers and Editors, comp. R. Ritter; and New Oxford Dictionary for Writers and Editors, comp. R. Ritter, A. Stevenson and L. Brown.

See also Fowler’s Modern English Usage, ed. R. W. Burfield, another paperback in the Oxford Reference series. The Oxford Style Guide (formerly Hart’s Rules for Compositors and Readers at the University Press) is very useful too, but be warned that it uses OUP conventions which sometimes depart from what is recommended here. On ‘ise’ and ize’ it is important to be consistent: choose one or the other, but not both!

Be alert to the fact that some American university names are not the place of publication. For example: Yale = New Haven; Harvard = Cambridge, Mass.; Cornell = Ithaca, NY. But Princeton = Princeton.

Do not rely solely on the spell-check facility of your software. It can mangle proper nouns. It cannot distinguish homonyms (e.g. hoarse/horse). And often it uses American spellings. Beware also the auto-correct function: in the first draft of these guidelines EHR was routinely corrected to HER.

The superscript catch-numbers of notes in the main text appear after the punctuation, NOT before. For example: .1 not 3.

Translations of foreign terms should be given in the text in brackets after their first appearance.

HANS HOLBEIN’S  ORNAMENTAL DRAWINGS

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By admin in Essays on September 28, 2018