Example 1: Using Quotations
The extract below, from a paper on Muriel Spark’s The Prime of Miss Jean Brodie, shows how quotations can be utilized. Because the paper quotes through the novel extensively, page numbers are found inside the main body of this text, in parentheses, after complete bibliographical details have now been provided in a footnote to your first quotation. Quotations from secondary sources are referenced by footnotes. Short quotations are included, in quotation marks, in the main body regarding the paper, whilst the longer quotation, without quotation marks, accocunts for an indented paragraph. Observe that even when the writing by the composer of the paper is coupled with quotations from the novel and secondary sources the sentences will always be grammatically correct and coherent.
Jean Brodie is convinced associated with rightness of her own power, and uses it in a frightening manner: ‘Give me a lady at an impressionable age, and she is mine for life’. 1 this might be Miss Brodie’s adoption associated with the Jesuit formula, but, she moulds the child for her own ends whereas they claim the child for God. ‘You are mine,’ she says, ‘. of my stamp and cut . ‘ (129). When Sandy, her most perceptive pupil, sees the ‘Brodie set’ ‘as a body with Miss Brodie for the head’ (36), there was, as David Lodge points out, a biblical parallel with all the Church once the body of Christ. 2 God is Miss Jean Brodie’s rival, and also this is demonstrated in a literal way when certainly one of her girls, Eunice, grows religious and is preparing herself for confirmation. She becomes increasingly independent of Miss Brodie’s influence and decides to go on the Modern side in the Senior school although Jean Brodie makes clear her own preference for the Classical. Eunice does not want to continue her role since the group’s jester, or to opt for them towards the ballet. Cunningly, her tutor attempts to regain control by playing on the convictions that are religious
All of that term she tried to inspire Eunice to become at the very least a pioneer missionary in a few deadly and dangerous zone of this earth, for it was intolerable to Miss Brodie that some of her girls should grow up not largely aimed at some vocation. ‘you will end up as a Girl Guide leader in a suburb like Corstorphine’, she said warningly to Eunice, who was in fact secretly attracted to this basic idea and who lived in Corstorphine. (81)
Miss Brodie has different plans for Rose; she actually is to be a ‘great lover’ (146), and her tutor audaciously absolves her from the sins this can entail: ‘she is over the code that is moral it does not apply to her’ (146). This dismissal of possible retribution distorts the girls’ judgement of Miss Brodie’s actions.
The aforementioned passage is obtained from Ruth Whittaker, The Faith and Fiction of Muriel Spark (London and Basingstoke: MacMillan, 1982), pp.106-7.
Example 2: Laying out a bibliography
The bibliography will usually include the relevant sources consulted in producing your essay, even from them directly if you have not referred to or quoted. The order is alphabetical and determined by the authors’ names. Book titles can be found in italics or are underlined, whilst article titles come in inverted commas. When talking about books you ought to through the author’s name, place of publication, the publisher, and the date if the written book was published. The number and/or volume number, the date of publication and the page numbers to reference the source of an article from a journal include the name of the journal. There are numerous styles for installation of a bibliography, however the same elements appear in each, and you should be consistent. Consult the handbooks to be found into the libraries for further details.
This really is a model used by many universities that are british publishers.
Dahlgren, Pete, Television therefore the Public Sphere (London: Sage Publishers, 1995)
Dubois, Ellen, ‘Antipodean Feminism’, New Left Review, no.206, July/August 1994, 127-33
Fussel, Paul, the truly amazing War and Modern Memory (Oxford: Oxford University Press, 1975)
Gledhill, Christine, ‘Melodrama’, in The Cinema Book, ed. Pam Cook (London: BFI, 1985), pp.73-84
Lodge, David, ‘The Uses and Abuses of Omniscience: Method and Meaning in Muriel Spark’s The Prime of Miss Jean Brodie‘ in David Lodge, The Novelist at the Crossroads along with other Essays on Fiction and Criticism (London: Routledge and Kegan Paul, 1971), pp.119-44
Pettifer, James, The Greeks (London: Penguin, 1993)
This is the model recommended by the Modern Languages Association (MLA) and it is utilized by most universities that are american publishers.
Dahlgren, Pete. Television and also the Public Sphere. London: Sage Publishers, 1995.
Dubois, Ellen. “Antipodean Feminism.” New Left Review 206 (July/August 1994): 127-33
Fussel, Paul. The Great War and Modern Memory. Oxford: Oxford University Press, 1975.
Gledhill, Christine. “Melodrama” in The Cinema Book. Ed. Pam Cook. London: BFI, 1985. 73-84
Lodge, David. “The Uses and Abuses of Omniscience: Method and Meaning in Muriel Spark’s The Prime of Miss Jean Brodie” in David Lodge The Novelist in the Crossroads and Other Essays on Fiction and Criticism. London: Routledge and Kegan Paul, 1971. 119-44
Pettifer, James. The Greeks. London: Penguin, 1993.
The information that is essential by each model is given in identical order, however they differ in how that the facts are presented. Whichever model you choose or are instructed to utilize make sure that you stay consistent to it.
Consult reference works for further advice. These books are in the open shelves:
· John Clanchy and Brigid Ballard, How to Write Essays (Melbourne: Longman Cheshire, 1992)
· Joseph Gibaldi, MLA Handbook for Writers of Research Papers (New York: MLA, 1995)
1 Muriel Spark, The Prime of Miss Jean Brodie (London: Macmillan, 1961), p.7. All references that are further to the edition and given into the text.
2 David Lodge, ‘The Uses and Abuses of Omniscience: resume help Method and Meaning in Muriel Spark’s The Prime of Miss Jean Brodie‘, in David Lodge, The Novelist during the Crossroads along with other Essays on Fiction and Criticism (London: Routledge and Kegan Paul, 1971), pp.119-44.