annexe guide master anglais

8/10/2019 Annexe Guide Master Anglais

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F a c u l t L e t t r e s & La n g u e s

Annexe au Guide daide la rdaction dun

mmoire de Master, spcialit : tudesanglophones.

Style Sheet for MA-heses in !nglish"follo#ed $y a fe# %riting &ints'

a$le of contents

A. (n-ext )uotes "p.*'

+.%ors cited: eferences in a $i$liography1


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"p.'/. %riting &ints "p.01'

2


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A.&o# to 2uote "(n-text /itations'

A few reminders:- Always make sure that both margins are justied

(also applies to footnotes)

- When you quote from a text in another languagethan nglish! please make a de"ision and sti"k to it

a) either you quote the original #erbatim in your maintext! and add a footnote with the nglish translationbetween in#erted "ommas followed by: translation $$$

(being the name of the translator of the edition used)% ifyou translated it yourself! add: my translation&

b) or (preferably and when not justied byepistemologi"al purposes) you quote in the samelanguage as the one you are using to write your paper(followed by indi"ation of the translator! as explainedabo#e) and add a footnote with the original #erbatim&

- 'e "onsistent in your way of presenting yourreferen"es in footnotes and pay great attention to the useof "apitals! order of presentation of your indi"ations! andthe spa"es and pun"tuation marks& ere is a simpleexample:

& *o#an +osto#! Sorry for the Dust!(,ew ork: ,o .u"h/ress! 0112) 0&

The quote is to be found on page 12 of the edition of a3


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book written by a Mr. Kostov and published in ew ork in2""# by the publisher o su$h %ress.

3here might be other pie"es of information in a

bibliographi"al referen"e! su"h as the date of writing4rstedition (di5erent from the date of publi"ation of this orthat edition of the same book)! the translator6s name! theillustrations that a""ompany the text! prefa"es! forewordsor introdu"tions! et"&

ere is a mu"h more "omplex example7& *o#an +osto# 8 *ohn Waters! 9eath is Around the

;orner< in 'arbara e#onshire (ed&)! Death as&ar$e.=>?! transl& @ubo#! #ols&! prefa"e Bladimir,aboko# (.ydney: ,o .u"h /ress! 0112) 2: ?7-C2! illust&by DenE Fagritte&The quote $o'es fro' an arti$le written by (K and () andentitled *Death is +round et$, whi$h $an be found p. 1-/10# in the #rdvolu'e of a big book in volu'es edited byD3 4rst published in 156-3 probably written in 7ussian

and now translated by 8ubov3 with a prefa$e by 93 in anew edition published in Sydney by the o su$h %ress in2""#. This new edition is illustrated with reprodu$tions of

pi$tures by 7. Magritte.

Gn "ase you are quoting from a periodi"al or a newspaper& *o#an +osto# 8 *ohn Waters! 9eath is Around the;orner< The Delhi ewsnH> (0&12&==C): >&

:ne understands that this is an arti$le to be found p. 164


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in a 'aga;ine or newspaper


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rst time you mention this referen"e book! insert afootnote&

Gf you already used the authorJs name in the bodytext and the referen"e is "lear! you "an gi#e only the page

number in the parentheses! thus: (0?)&

Lse footnotes sparingly and ex"lusi#ely for additionalinformation& ouble quotation marks (I) are used fordire"t quotations and single quotation marks (J) forquotations within a quotation& ere is an example of anin-text "itation (whi"h in"ludes a quotation within aquotation):

)s ,allace points out- ".e ad*its t'at 'e is not a print*a/er- t'at it is not 'is*ediu*! or 'i*- 0'e excite*ent is in t'e creating- *a/ing- doing all in oner'apsodic t'ing0" 2!

Muotations of more than #e lines must be gi#enwithout quotation marks on separate lines and must beindented! i&e&! the left margin should be larger& .u"hindented quotations should be introdu"ed by "olons! and

they should not be part of the grammar of your ownsenten"es:

%aps let t'e* see in a 5ay ne6er 7e$ore possi7le t'e country 7ot' country andnation to 5'ic' t'ey 7elonged and at t'e sa*e ti*e s'o5ed royal aut'ority orat least its insignia to 7e a *erely orna*ental ad8unct to t'at country! %aps t'usopened a conceptual gap 7et5een t'e land and its ruler- a gap t'at 5ould e6entuallyspan 7attle$ields! .elgerson 114

our own additions or "omments within a quotation

are put into square bra"kets: N O& Por "uts within a "ited


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text! use square bra"kets and three full stops (N&&&O)! asshown here:

%aps let t'e* 9i!e!- t'e Elia7et'ans; see in a 5ay ne6er 7e$ore possi7le t'ecountry 9


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Gf the quotation is interrupted by your senten"e! put a"omma within the quotation marks (Ameri"an nglish) oroutside the quotation marks (in 'ritish nglish):

AmE: "Poets-" according to #'elley- "are t'e unac/no5ledged legislators o$ t'e

,orld" =>4!

BrE: "Poets"- according to #'elley- "are t'e unac/no5ledged legislators o$ t'e,orld" =>4!

ou "an "hoose either the 'ritish or the Ameri"an #ersion!but do not mix them&

DAFA .pe"ial:

When quoting parts of a play! you may eitherintegrate short ex"erpts in quotation marks in your text oruse the format of the blo"k quote if you want to renderdialogues or soliloquies& Gn both "ases! you need toa"knowledge the sour"e by indi"ating the a"t! the s"ene!

and the line numbers with Arabi" numerals:)$ter t'e g'ost0s disappearance $ro* t'e 7attle*ents o$ Elsinore- .a*let lapsesinto a *etaAt'eatrical discourse! 'e Buestion "you 'ear t'is $ello5 in t'ecellarage" 1!1!1+1 re$ers to t'e staging con6ention at t'e Clo7e t'eater 5'ere t'eg'ost disappeared t'roug' a trapAdoor into t'e 'ollo5 space 7eneat' t'e plan/s! yaddressing t'e g'ost as "truepenny" 1!1!1+ and "old *ole" 1!+!12- .a*letactually 8i7es at 'is $ello5actor i*personating t'e g'ost rat'er t'an spea/ing to ase*7lance o$ 'is deceased $at'er!

When quoting se#eral lines of #ersied drama in yourF


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text! indi"ate the line breaks by a slash (4)! lea#ing aspa"e on either side of the slash:amlet famously "hides oratioJs rationalism by saying! I3hereare more things in ea#en and earth! oratio 4 3han are dreamt of

in your philosophyI (&>&?-?7)&When quoting dialogues! write the name of the"hara"ter in all "aps (e&g&! AF@3) and indent thequotation from the left margin (like a blo"k quote)&

C.G#: 9eneat'; #5ear!

.)%LE: ,ell said- old *ole@ (anst 5or/ i0 t'e eart' so $astH

.GI)?G: G'- day and nig't- 7ut t'is is 5ondrous strange@

.)%LE: )nd t'ere$ore as a stranger gi6e it 5elco*e!

'ere are *ore t'ings in .ea6en and eart'- .oratio

'an are drea*t o$ in your p'ilosop'y! 1!+! 11A1=

/K3D .pe"ial

When quoting parts of a poe'! you may eitherintegrate short ex"erpts in quotation marks in your text oruse the format of the indented quote if you want torender longer passages& Gn both "ases! you need toa"knowledge the sour"e by indi"ating the line number(s):

?t 5as 5inter! ?t got dar/

early! 'e 5aiting roo*

5as $ull o$ gro5nAup people-

arctics and o6ercoats-

la*ps and *againes! is'op A1

>


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When quoting se#eral lines of poems in your text!indi"ate the line breaks by a slash (4)! lea#ing a spa"e oneither side of the slash:

Elia7et' is'op0s "?n t'e ,aiting Ioo*" con6eys t'e star/ness o$ 5inter in 7rie$

sentences: "?t 5as 5inter! ?t got dar/ J early" A=!

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+. he 3ist of %ors /ited 4 +i$liography.

A "omplete list of works "ited has to be appended toe#ery paper& Gt is sorted alphabeti"ally by author (and! ifthere is more than one entry for one author! by title)& oushould not only indi"ate all the books you ha#e quotedfrom! but also all the other works whi"h you ha#e read or"onsulted&

&o# to cite $oos or articles:Arrange the information in the following order: ) AuthorJsname (.urname and then rst name(s))& 0) I3itle of the

part of the book&I 2) Title and subtitle of the book& )Kriginal publi"ation date& >) ,ame of the editor ortranslator! prefa"ed by Ied&I or Itrans&I ?) ,umber ofedition used& 7) ,umber of #olumes& C) ,ame of theseries =) /la"e of publi"ation: publisher! date& 1) pagenumbers (for parts of books)& ) Kther indi"ations (if any!su"h as illustrations byQ) 0) Fedium of /ubli"ation! e&g&J/rint&J or JWeb&J

Gf a bibliographi"al entry takes more than one line!indent the following lines! i&e&! use hanging indent andplease pay attention to pun"tuation marks and spa"es:

PGIEI- Kat'erine )nn! "Pale .orse- Pale Iider" in %aynard %ac/ etal!eds! Norton Anthology of World Masterpieces. 4t' ed!- 2 6ols!-

Ne5 or/- Norton- 1>=>- 2: 1A4=! Print!

Alternati#e possibility:

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PGIEI- Kat'erine )nn! "Pale .orse- Pale Iider"Norton Anthology ofWorld Masterpieces.Ed! %aynard %ac/ et al!- 4t' ed!- 2 6ols!- Ne5or/- Norton- 1>=>- 2: 1A4=! Print!

Gf you are "iting later editions or reprints of literaryworks! always also indi"ate the original date of publi"ationright after the title:

DG# P)##G#- o'n!Manhattan Transfer.1>2+- London- Penguin- 1>F=!Print!

&o# to cite $oos $y se5eral authors:NPirst authorJs surnameO! Nrst authorJs rst namesO!Nse"ond authorJs rst names and surnameO! and NthirdauthorJs rst names and surnameO&

Gf there are more than three authors! mention the rstone only and add Iet& al&I NR and othersO&

%GNCG%EI- %artin- et al! Ways of Reading: Advanced Readingkills For t!dents of English "iterat!re! Ne5 or/- Ioutledge-1>>2! Print!

&o# to cite anonymous $oos, hand$oos, anddictionaries:Gf there is no authorJs name on the title page! alphabetiSethe title ignoring any initial (+3 +n! or The)& Gt is alsopossible for #ery old texts to use NAnonymous O asauthor6s name (in this "ase you treat that word just asany patronym)

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#ollins #o$!ild English %ictionary. London- .arper (ollins- 1>>+! Print!

&o# to cite editions:'egin with the author if you refer to the text! begin withthe editors if you refer to their "omments&

#.)KE#PE)IE- ,illia*! Troil!s and #ressida M Troil!s !nd #ressida!Ed! ,erner rnni*annAEgger! Englisc'Adeutsc'e #tudienausga7eder Dra*en #'a/espeares- O7ingen- ranc/e- 1>F! Print!

INN?%)NNAECCEI- ,erner- ed! Troil!s and #ressida M Troil!s!nd #ressida! y ,illia* #'a/espeare! Englisc'Adeutsc'e#tudienausga7e der Dra*en #'a/espeares- O7ingen- ranc/e- 1>F!Print!

&o# to cite 6ournals:Author& I3itle of work&I Title of >ournal Bolume number

(ear of publi"ation): /age numbers& Fedium of/ubli"ation&

,.?E- #a7ina- and )ndre5 ,?NQELEIC! "Laug'ter and #tress!"&!mor + 1>>2: 343A++! Print!

&o# to cite online resources:

IEUEN- Paul P! "Ele*ents o$ iction: ) rie$ ?ntroduction" in'erspectives in American "iterat!re. A Research and Reference

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(!ide! (ali$ornia #tate Uni6ersity #tanislaus- 21! )6aila7le at'ttp:JJ555!csustan!eduJenglis'- last consulted on !+!21!

An !xample of a +i$liography

BARRY, Peter. Beginning Theory: An Introduction to Literary and Cultural

Theory.Manchester, Manchester University Press, 1995. Print.

BARTHELME, Frederick. "Architecture" Kansas Quarterly 13.3-4 (1981): 77-80.

Print.

CHAUCER, Geoffrey. The Works of Geoffrey Chaucer.Ed. F. W. Robinson, 2nded., Boston, Houghton, 1957. Print.

DOSTOEVSKY, Feodor. Crime and Punishment. Ed. George Gibian, Transl.

Jessie Coulson, New York, Norton, 1964. Print.

DOYLE, Arthur Conan. The Oxford Sherlock Holmes. 1990, Ed. Owen Dudley

Edwards, 9 vols, New York, Oxford University Press, 1993. Print.

DOS PASSOS, John. Manhattan Transfer. 1925, Harmondsworth, Penguin, 1987.

Print.

FRAKNKLIN, Phyllis (Foreword). MLA Handbook for Writers of Research

Papers. Ed. Joseph Gibaldi, 4th ed, New York, MLA, 1995, xiiixviii. Print.GARDNER, Curt (ed.). Don DeLillo's America A Don DeLillo Page. 2003.

Available at , last consulted on 14 July

2003.

KAUFMANN, Stanley. "A New Spielberg" Review of Schindler's List. Dir. Steven

Spielberg,New Republic (13.12.1993): 30. Print.

MICHELANGELO. The Sistine Chapel.New York, Wings, 1992. Print.

QUIRK, Randolph, et al. A Comprehensive Grammar of the English Language.

London, Longman, 1985. Print.

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http://perival.com/delillo/delillo.htmlhttp://perival.com/delillo/delillo.html


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SCHOLES, Robert. Semiotics and Interpretation. New Haven, Yale University

Press, 1982. Print.

---. Textual Power: Literary Theory and the Teaching of English.New Haven, Yale

University Press, 1985. Print.

SCHOLES, Robert, and Robert KELLOG. The Nature of Narrative.New York,Oxford University Press, 1966. Print.

Pailure to o5er full do"umentation "onstitutes plagiarism&

&o# to A5oid 7lagiarismAppropriately do"ument your sour"e whene#er you usesomebody elseJs apt phrase! text or idea& Fake sure thatyou do this fully and "onsistently& When taking notes!"arefully distinguish between your own ideas and materialyou ha#e found somewhere& Always take down the exa"tsour"e&

!xamples8riginal 7assage "$y Gelpi'3he poem requires our "lose attention be"ause it is apowerful symboli" ena"tment of the psy"hologi"aldilemma fa"ing the intelligent and aware woman! andparti"ularly the woman artist! in patriar"hal Ameri"a&Student 9ersion 03he poem is a powerful symboli" ena"tment of thepsy"hologi"al dilemma fa"ing the intelligent and aware

1+


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woman! and parti"ularly the woman artist! in patriar"halAmeri"a&

#omment: G76ious plagiaris*!,ordA$orA5ord repetition 5it'out ac/no5ledg*ent!

Student 9ersion *3he poem requires our "lose attention be"ause it is apowerful symboli" ena"tment of the psy"hologi"aldilemma fa"ing the intelligent and aware woman! andparti"ularly the woman artist! in patriar"hal Ameri"a(Telpi 0)&

#omment: #till plagiaris*! ?ndicating t'e source $ro* 5'ic' you 'a6e ta/en t'eidea is not enoug'! 'e language is t'e original aut'or0s- and only Buotation *ar/saround t'e 5'ole passage plus t'e re$erence in 7rac/ets 5ould 7e correct!

Student 9ersion mily i"kinsonJs poem ena"ts the psy"hologi"al dilemmafa"ing the intelligent female writer in patriar"hal Ameri"a&

#omment: #till plagiaris*! ) $e5 5ords 'a6e 7een c'anged or o*itted- 7ut t'estudent is not using 'is or 'er o5n language and does not cite t'e source!

Student 9ersion ;

I3he poem requires our "lose attention be"ause it is apowerful symboli" ena"tment of the psy"hologi"aldilemma fa"ing the intelligent and aware woman! andparti"ularly the woman artist! in patriar"hal Ameri"aI(Telpi 0)&

#omment: (orrect! 'e Buotation *ar/s ac/no5ledge t'e 5ords o$ t'e original5riter and t'e in$or*ation in 7rac/et tells us t'e source o$ t'e Buote! 'e co*plete

7i7liograp'ical re$erence *ust 7e gi6en in t'e list o$ 5or/s cited!

Student 9ersion 11


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mily i"kinsonJs poem must be read in a gurati#e way&A""ording to Albert Telpi! the poet uses symboli"language in order to metaphori"ally express Ithepsy"hologi"al dilemmaI female artists like herself

experien"ed in nineteenth-"entury Ipatriar"hal Ameri"aIwhen the writing of poetry was regarded as a maleprerogati#e (0)&

#omment: (orrect! 'e student uses 'is or 'er o5n language in order to parap'raseCelpi0s opinion- puts t'e original 5ords in Buotation *ar/s- and indicates t'esource! #J'e uses Celpi0s opinion $or t'e de6elop*ent o$ 'is or 'er o5n argu*ent!'e co*plete 7i7liograp'ical re$erence *ust 7e gi6en in t'e list o$ 5or/s cited!

1=


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HOW TO IMPROVE YOUR WRITING OF ACADEMIC PAPERS

Formal things:

$ook titlesare in italics:.e 5as reading )liver T*ist!

1 in 'and5riting you underline 7ecause you cannot use italics@ecause 7ot' 'a6e t'e sa*e $unction- you s'ould ne6er *ix t'e*as ? a* doing 'ere@!

2 Rarticles-S Rpoe*s-S or Rc'aptersS o$ a 7oo/ are in Buotation *ar/s:,illia* (arlos ,illia*sTs R'e Ied ,'eel7arro5S is ano78ecti6ist poe*!

3 emphasisis also indicated 5it' italics:?$ you do this- ?Tll Buit@

4 < 5'en you are presenting a tec'nical ter* $or t'e $irst ti*e- you

can put it 7et5een Buotation *ar/s@Next is t'e o$$icerTs ran/ o$ Rcolonel!S ) colonel is 5atc' your t'ird personsVNot only does s'e ta/es care o$ 'er 'us7and- your argu*ent s'ould 7e intrinsically connectedsi*plynu*7ering t'e issues 5onTt 'elp 7ecause it does not pro6ide aconnecting argu*ent'ere is a 7ad exa*ple:V1! Napoleon- 2! 'e renc' ar*y in )lgeria- 3! ) ne5 *useu*in Paris- 4! 'e glory o$ renc' culture- +! NapoleonTs lo6ea$$airs!

2 *a/e your argu*ent progress $ro* point to point! our argu*ents'ould $lo5 < t'in/ o$ linear progression and a6oid *a/ing t'e

reader go 7ac/ and $ort' 7et5een di$$erent issues!2


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21 a6oid RdiagonalS de6elop*ent 7y association

*ay lead in any strange direction < a6oid too *any R7utsS in aro5!

22 signposting: i*agine texts as landscapes! Ci6e guidance to t'ereader: at t'e 7eginning say 5'ere you 5ant to go- 5'at youexpectW later re*ind us 5'ere youT6e 7een- 5'ere 5e are- and5'ere you 5ill go no5! 'is 'elps readers to orient t'e*sel6es inyour argu*ent@

Punctuation:

23 introduce Buotations 5it' a colon $or $inite sentences:)s ,'it*an 5rites: Rrippers and as/ers surround *e- JPeople ? *eet


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V?$ t'e c'ildren 5ere 'ungry 7e$ore t'ey 5ill 7e e6en 'ungriera$ter5ards@

2= put appositi6es- inter8ections 7et5een co**as:

'e ne5 teac'er- a 6ery strange person- didnTt /no5 *uc'!%y /indergarten teac'er- 5'o* ? lo6ed 6ery *uc'- died lastyear!ut: no co**a $or de$ining clauses@ 'int: o$ten you can drop t'erelati6e pronoun:'e dog t'at ? lo6ed 7est died last nig't!

2F put expressions suc' as ho*ever-for e,ample-for instance- etc!al5ays 7et5een co**as- of [email protected] does- 'o5e6er- li/e #panis' 5ine!.e- $or exa*ple- li/es #panis' 5ine!'ey 5ould go to #pain- $or instance!

2> no co**as $or de$ining clauses suc' in$or*ation is rele6antW it isa de$ining ele*ent t'at s'ould not 7e separated $ro* t'e nounp'rase:'e *an 5'o* 'e 5as tal/ing a7out 5as esus ('rist@

'e 5o*an 5'o lo6ed Io*eo 5as uliet!?t 5as t'e ti*e 5'en t'e days started getting s'ort!

3 7ut put nonAde$ining clauses 7et5een co**as t'ey *erelypro6ide additional in$or*ation and are not necessary $or t'ede$inition o$ t'e noun p'rase:'e *an- 5'o* t'ey all recognied- 5as Napoleon!'e *an 5'o lo6ed 'er- 5'o 5as a $a*ous pianist- 5as

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('opin@?t 'appened in t'e $all- 5'en t'e days started getting s'ort!

31 runAon sentences: i$ t5o clauses can 7e gra**atically

$reestanding 5it' di$$erent su78ects and predicates- separatesuc' $inite sentences 7y a period or a se*icolon W- 7ut not 7y aco**a@ (o**as usually separate lists! 'e only reason to use ase*icolon instead o$ a period is to indicate t'e close associationo$ t'e t5o separate state*ents:ri7ourg is in #5iterland- rei7urg in Cer*any!ri7ourg is in #5iterlandW rei7urg is in Cer*any!Dogs 7ar/ at nig'tW cats sing lo6e songs!

32 lists o$ t5o are connected 5it' RandS:La/o$$ and o'nson are

annexe guide master anglais

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