{"id":24,"date":"2014-09-17T10:22:27","date_gmt":"2014-09-17T14:22:27","guid":{"rendered":"http:\/\/www.ramapo.edu\/literature-new\/?page_id=24"},"modified":"2021-09-21T14:53:44","modified_gmt":"2021-09-21T18:53:44","slug":"resources","status":"publish","type":"page","link":"https:\/\/www.ramapo.edu\/hgs\/convening-group-webs\/english-literary-studies-major\/resources\/","title":{"rendered":"Resources"},"content":{"rendered":"
The Literature Faculty have created a Literature Resource Guide web page <\/a>to help English & Literary Studies Majors with their research.This page will help you initiate literary research and find literary resources. This guide is not intended to be comprehensive, but instead as an introduction to the process. The goal of this exercise is to help students identify and work with the elements required to begin writing a literary analysis. It is also intended to emphasize the aspects of choice and variety involved in writing about literature by asking each student to identify and provide evidence for different responses to the same work of literature. Listed below are a few basic points that you should consider before turning in your essay. This list does not cover everything required for a good literary analysis paper \u2013 but if you don\u2019t do these things, it\u2019s a pretty safe bet that your paper (and your grade) will, like King Lear and Creon, suffer some sad consequences. Avoid tragedy now! Take these crucial steps.<\/p>\n A well-organized paragraph guides the reader from beginning to end. It follows the lead of its topic sentence <\/strong>and turns from that lead only after giving a clear signal. To write a well-organized paragraph, therefore, forecast your main point and signal your turns <\/strong>. Forecast your paragraph\u2019s main idea with a topic sentence <\/strong>that points to the main idea the paragraph will pursue. Forecast your main point with a lead sentence that tells the reader where you are headed. Signal each turn of you thought with an apt word or phrase.<\/p>\n Use a sequence of sentences with the same basic pattern ( list structure <\/em>). Repeat key words or phrases, (or use related terms). Start with a transitional word or phrase Within the paragraph, you may want to use TRANSITIONAL WORDS AND PHRASES <\/strong>to link ideas together. TRANSITIONAL WORDS Showing Addition:<\/strong><\/p>\n TRANSITIONAL WORDS Showing Numerical Order:<\/strong><\/p>\n <\/div>\n\n <\/div>\n\n<\/div>\n\n <\/div>\n\n WRITING INTENSIVE CLASS EXERCISE<\/strong> Neuman 2<\/p>\n Second and all subsequent pages (including your Works Cited page) should feature a header, with your last name and page number in the upper right hand corner. Neuman 3<\/p>\n Works Cited < http:\/\/www.woodyguthrie.org\/biography.htm <\/a>><\/p>\n The entry begins with the title of the article (in this case, a biography of Woody Guthrie) and is followed by the title of the page. Next, the entry lists the institution associated with the site. Again, ideally, one would follow this with the date the page was \u201cpublished.\u201d However, this information is frequently not given on web pages. Then follows the date the writer accessed the information. Finally the entry lists the URL.
<\/a> Words Without Borders: An Online Magazine for International Literature<\/a><\/p>\n
\nShakespeare: The Oxford English Faculty Website<\/a><\/p>\n
\nToday in Literature<\/a><\/p>\n
\nBeowulf in Cyberspace<\/a><\/p>\n
\nHarvard Chaucer site<\/a><\/p>\n
\nPoet Information<\/a><\/p>\n
\nFrom the FIshouse (More Poetry Information)<\/a><\/p>\n
\nAssociation of Writers and Writing Programs<\/a><\/p>\n
\nLibrary of Congress American Memory Pages<\/a><\/p>\n<\/div>\n\n
European Graduate School<\/a><\/p>\n
\nFrench Language Literary Research<\/a><\/p>\n
\nCommon Grammatical Mistakes<\/a><\/p>\n
\nAn \u201ce-anthology\u201d of Literature<\/a><\/p>\n
\nVoices of the Shuttle<\/a><\/p>\n
\nHypertexts in American Studies<\/a><\/p>\n
\nAn American lit link created by a Japanese University<\/a><\/p>\n<\/div>\n\n<\/div>\n\n<\/div><\/div>\n\nDoing Literary Research<\/h3>\n
\nIf you are looking for help with your writing, please visit the Center for Reading and Writing<\/a> at the Center for Academic Success<\/a>.<\/p>\nTheme-to-Thesis Exercise<\/h4>\n
\nAny worthwhile work of fiction tells a good story. But some books do more than that, and those are the books we tend to study formally. At the plot level, for instance, Great Expectations is about a young man who falls in love, learns to despise his \u201ccommon\u201d self, receives an enormous financial gift that removes him from his home \u2013 and then loses all. It is, overall, a compelling story \u2013 but the story is not the only reason the book endures. The novel also invites \u2013 even compels \u2013 the reader to think about many important issues including family relations, class and power relations, ambition, shame, guilt, and the English criminal justice system of Dickens\u2019 day. Your paper (about Great Expectations or any other book) will be far more interesting (to yourself and to your professor) if you engage those issues, rather than recounting the plot (with which we are both familiar).
\nDoing the steps involved in this exercise should help you to identify those important themes and issues, to develop a stand on one (or more) of them, and to accumulate evidence that will help to persuade others that you are correct in the position you have taken. The exercise involves 4 basic steps.<\/p>\n\n
\nFor instance, you might say that class is an important theme in Great Expectations.
\n(Think of Estella\u2019s treatment of Pip, and his reaction to it.)<\/li>\n
\nAppearing a short twelve years after \u201cThe Communist Manifesto,\u201d Great Expectations is Charles Dickens\u2019 condemnation of the class system in Great Britain.
\nCharles Dickens\u2019 Great Expectations highlights the fact that the lack of an effective public education system in nineteenth-century Great Britain helped to preserve a tremendous gap between the upper and lower classes.
\nNotice how the thesis does more than note the fact that the theme exists. It narrows the theme down to a more specific statement, and takes a debatable position on it.<\/li>\n
\n3 quotations
\n3 other elements of plot, characterization, setting, tone, imagery, etc.
\nYou should have a total of 6 items per thesis, and 12 items overall.
\nFor instance, for the second thesis about class, you could cite Pip\u2019s attempts to teach Joe, and Pip\u2019s own early \u201clearning\u201d experiences with Wopsle\u2019s great-aunt.<\/li>\nTips & checklist<\/h4>\n
\n
\nExample 1 (Yes): Inspired by Estella to be ashamed of his upbringing, Pip thinks, \u201cI wished Joe had been rather more genteelly brought up, and then I should have been so too\u201d (62).
\nExample 2 (No): Estella makes Pip feel ashamed of his upbringing. \u201cI wished Joe had been rather more genteelly brought up, and then I should have been so too\u201d (62).
\nNOTE: The chapter or page number where the quote appears should not get top billing in your sentence. The context and ideas to which it is linked are far more important.<\/li>\n
<\/div>\nFrom Professor Monika Giacoppe<\/strong><\/h4>\n
ORGANIZATIONAL STRATEGIES FOR WRITING BETTER PARAGRAPHS<\/h5>\n
\nConsider the following. The paragraph leads the reader toward its conclusion:
\nSelf-interest <\/strong>is frowned upon throughout Chandler\u2019s story . After the murder of the stranger, the barman remarks that the killing is bad for business. The police arrive to investigate, empty the dead man\u2019s wallet and inform the witnesses, \u201cwe didn\u2019t touch him, see?\u201d Later, Marlowe encounters more corruption and self-interest <\/strong>as he volunteers to help Lola reclaim a stolen necklace the stranger had been using to blackmail her. In an act opposed to self-interest <\/strong>, Marlowe recovers the lost necklace. Rather than ask for a reward, Marlowe makes sure Lola will never know that her one true love had given her false pearls. Marlowe does not act for money, love, truth, oreven self-interest, <\/strong>but for order.
\nThe paragraph begins and ends with references to \u201cself-interest,\u201d and the body of the paragraph gives examples of the concept in the story being discussed. The reader never loses the thread of the paragraph\u2019s main idea.<\/p>\nWRITING PARAGRAPHS\u2013IN BRIEF<\/strong><\/h5>\n
TO DIRECT EACH PARAGRAPH<\/strong><\/h5>\n
TO ENSURE COHERENCE<\/strong><\/h5>\n
\nTwo characters stand out <\/strong>in this short story. The Captain stands out <\/strong>because of his wound. He is marked by <\/strong>the accident the ship has encountered. Billie the oilerstands out <\/strong>because he has been given a name. He is marked by <\/strong>this humanizing gesture . . . .
\nOR<\/strong>
\nLink each new sentence to the sentence before it ( chain structure <\/em>).
\nIn every work of fiction, there are characters who attract our notice <\/strong>. \u201cThe Open Boat\u201d is no exception <\/strong>. Here, these characters <\/strong>are The Captain and Billie the Oiler.These two characters <\/strong>catch our attention <\/strong>for two different reasons. We are drawn to <\/strong>The Captain because of his wound and Billie the oiler because he alone has been given a name . . . .<\/p>\nTO EMPHASIZE THE MAIN POINT<\/strong><\/h5>\n
\nPoe\u2019s detective <\/strong>Dupin explores human <\/strong>identity, while Chandler\u2019s private eye <\/strong>Marlowe explores human <\/strong>society. Marlowe does not match wits with his opponent <\/strong>to restore order <\/strong>. In fact, he has no opponent <\/strong>, as such. There are two murders in \u201cRed Wind\u201d: a couple of two-bit hoods kill each other and are forgotten by the story\u2019s end. How different Marlowe is from Dupin. Marlowe is a man of action who thrusts himself into the chaotic society <\/strong>about him and roughly, almost brutishly restoresorder <\/strong>. Dupin serenely sits in his Paris apartments and with the help of his colleague coolly recounts his exploits. For him, his intellect is enough to restore order <\/strong>. Marlowe\u2019s world is filled with more chaos <\/strong>than even Dupin faces. Dupin understands individual human beings <\/strong>; Marlowe understands society.<\/strong><\/p>\nTO LINK EACH NEW PARAGRAPH TO THE ONE BEFORE<\/strong><\/h5>\n
\n. . . . Dupin is interested in the money and in the personal satisfaction the exercise of his mind brings.
\nHowever <\/strong>, the tale of Marie Roget underscores at least one parallel between these two detectives. . . .
\nOR<\/strong>
\nStart by answering questions raised in the previous paragraph.
\n. . . Poe\u2019s first detective story is filled with terrible violence <\/strong>. However, it is not as unsettling as some of his terror stories that contain far less violence. How can that be?<\/strong>
\nPoe can still allow for closure in this violent story <\/strong>. Regardless of his Gothic trappings, in his detective fiction, Poe sought order, and Dupin is the embodiment of that order.
\nOR<\/strong>
\nStart by echoing a key word or recalling a key idea from the previous paragraph.
\nUltimately, Marlowe\u2019s goal is the reestablishment of an order <\/strong>that he can at least tolerate in the \u201cmean streets\u201d of his Los Angeles.
\nAlthough informed by Poe and Chandler, Auster\u2019s City of Glass never allows for achievable order<\/strong>. This Postmodern anti-detective novel argues for a world incapable of sustaining order<\/strong>.
\nSome ideas & phrases borrowed from Writing: A College Handbook by Jams Heffernan, Norton, 1994.<\/em><\/p>\nUSING TRANSITIONAL WORDS AND PHRASES<\/strong><\/h5>\n
\n
\n
\nTRANSITIONAL WORDS Showing Chronological Order:
\n<\/strong><\/p>\n\n
\n
\n
\n
\n
\n
<\/div>\nFrom: Dr. Shannon<\/h4>\n
\nBUILDING STRONGER PARAGRAPHS<\/strong>
\nOften, when composing an essay of literary analysis, a student can feel lost if he or she has no ideas for a paper. Sometimes, however, the opposite situation can be the bigger problem. Sometimes a student sits down to begin writing confident that her head full of ideas will see her through the paper. So, the student concludes, no outline is necessary. Lack of planning can lead to paragraphs over burdened by ideas and under supported with facts and supporting details. Consider the following paragraph, from an essay examining Walt Whitman\u2019s reputation in nineteenth century England.
\nThe thesis statement reads:
\nThe story of Whitman\u2019s acceptance by his British peers bears exploration.<\/em>
\nThe first body paragraph reads:
\nIn some ways, the story of Whitman\u2019s acceptance during his lifetime by the British Poet Laureate reads something like a Horatio Alger history of American letters. In the context of Whitman\u2019s familiarity with popular forms, such as journalism and reform novels, it is perhaps not surprising that Bram Stoker was fond of Whitman and in fact paid the the poet \u201cthree visits between 1884 and 1887\u2033 (Perry 29). An extreme example of Whitman\u2019s popularity among a distinct British subculture who venerated him for his social difference rather than his poetic ability can be found in the aristocratic male homosexuals of Nineteenth century England. Interestingly enough, even Whitman\u2019s connection with the homosexual British subculture seems to resonate with a wider British flirtation with democratic principles. Whitman the political representative of change supersedes Whitman the poet.<\/em>
\nWhat questions does this paragraph answer for the reader of the essay? What questions is the reader left with?
\nWhile each sentence in this paragraph is about Whitman\u2019s reputation in England, each sentence actually broaches a new idea. In one paragraph we sample a variety of tantalizing ideas: Horatio Alger and Walt Whitman? Bram Stoker, the author of Dracula , knew <\/em>Walt Whitman? Sexual preference, is always an issue in Whitman\u2019s poetry, but was there really a \u201c distinct British subculture [ . . . of ] aristocratic male homosexuals of Nineteenth century England <\/em>\u201d? What are the \u201cpolitics of change\u201d in Whitman\u2019s poetry?
\nCould you write an outline that can help this writer?<\/strong>
\nFrom: Dr. Shannon<\/strong>
\nFORMAT <\/strong>: Use the MLA format for writing research papers. Since we always refer to a text when writing about literature, we always give credit to the author. Always determine what format your audience expects and make every attempt to use that format.
\n***
\nQUOTING <\/strong>: Keep several general rules of thumb in mind regarding quoting:
\nQuote often. If you are making a literary argument, you need to refer to the text frequently to demonstrate that you have a valuable, compelling point. These quotes are your major evidence. If you do not tell us which lines are important, you cannot be sure that we will remember them. Avoid stand-alone quotes. You do not want sentences in your paper that are entirely made up of quoted material. You are assuming your audience will remember who said this and when. They may not. You are assuming that your audience will assign to these quotes the same significance you do. They may not. Consider the following example:
\nRaymond Chandler\u2019s Philip Marlowe is a latter day knight who embodies all the best qualities of man in a corrupt world. \u201cHe must be . . . a man of honor, by instinct, by inevitability, without thought of it, and certainly without saying it.\u201d Chandler imbues all of the knightly virtues into Marlowe.
\nWho is the speaker of this quote? Chandler? A critic? Marlowe? Another character in the novel? Is the quote an example of the idea just introduced or is it a refutation of it? Consider the following revision:
\nRaymond Chandler\u2019s Philip Marlowe is a latter day knight who embodies all the best qualities of man in a corrupt world. To emphasize this point, Chandler says in his essay \u201cThe Simple Art of Murder,\u201d \u201c[The hero] must be . . . a man of honor, by instinct, by inevitability, without thought of it, and certainly without saying it.\u201d Chandler transfers all of the knightly virtues onto Marlowe.
\nWith this little phrase all of our questions are answered. We know who is responsible for the phrase and why it appears in this essay.
\nExplain the context of your quotes. If you quote 5 words from a text, give us at least 5 of your own words to explain why the quote appears in your paper. If you quote 20 word, use 20 of your words to explain your reading of the text. Do not just drop in long (or short) quoted passages with no context. Consider the following example:
\nChandler\u2019s hero is a man of honor. Chandler discusses this in his essay, \u201cThe Simple Art of Murder\u201d:
\nDown these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective . . . must be such a man. He is the hero, he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor, by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world. . . . He will take no man\u2019s money dishonestly and no man\u2019s insolence without a due and dispassionate revenge. He is a lonely man, and his pride is that you will treat him as a proud man or be very sorry you ever saw him.
\nHere we see Chandler\u2019s vision of the detective as honorable man.
\nWho are we kidding? The quote does nothing here but stretch out the paper. We need to trim the quote and introduce it with enough of our own language to insure that the text will become an integral part of our own argument. Look at this revision:
\nAlthough the detective genre is often thought of as base and even inherently decadent and corrupt, Chandler\u2019s novels are ultimately about honor. Marlowe may live in a corrupt world, but he is not a corrupt man. In \u201cThe Simple Art of Murder,\u201d Chandler describes his honorable hero with language that emphasizes both the corruption of the world and the incorruptibility of the man. \u201cDown these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid,\u201d Chandler writes. Yes, the world of his books may be corrupt, but the hero is not. Chandler says of this hero, \u201cHe must be the best man in his world and a good enough man for any world. . . . \u201d Chandler\u2019s hero stands in opposition to the decadent twentieth century world in which he finds himself.
\nIn the revised passage, we have a paragraph of about equal length, but we use only a small portion of the quote. However, we have bracketed the quote with our commentary of it. In the first passage, we leave ourselves open to accusations of laziness and unoriginal thinking. In the revision, we have taken a few minutes to make sure that the reader will see in Chandler\u2019s comments what we want them to see. End your discussion on your words, not theirs. It is your job to make your argument. Quoted passages will shore up your argument, but they will not be able to emphasize them like your own words. I ended the above paragraph on my own words. If I leave out that last comment, I weaken my observation:
\nYes, the world of his books may be corrupt, but the hero is not. Chandler says of this hero, \u201cHe must be the best man in his world and a good enough man for any world. . . . \u201c
\nIf I had left off the last sentence, I would be counting on Chandler to make my argument for me. But Chandler was not writing about Chandler, he was writing about Marlowe. Since I have a different argument than Chandler did, I need a different conclusion:
\nYes, the world of his books may be corrupt, but the hero is not. Chandler says of this hero, \u201cHe must be the best man in his world and a good enough man for any world. . . . \u201d Chandler\u2019s hero stands in opposition to the decadent twentieth century world in which he finds himself.
\nMaybe my reader would get the idea anyway, but I do not want to take any chances, so I conclude my paragraph with MY commentary on the source material.
\n***
\nAudience<\/strong>
\nWhen writing about literature, especially when writing literary argument or literary analysis, we make several assumptions about our audience.
\nFirst, we assume that our audience is familiar with the text. If we write a paper about As I Lay Dying, we assume our audience has read the novel. Therefor, it is not necessary for us to summarize the novel for the audience. Of course, your
\nreal, primary audience is your professor. Since this person assigned the novel, it is safe to assume he or she has read it. Moreover, if you are making an argument concerning a fuller understanding of a literary work, you must be talking to someone who knows the book. Otherwise, why would this person seek a fuller understanding?
\nHowever, we still quote the text. Why bother if the audience has read the work? Two reasons:
\nOne, we assume the audience has read the work. We do not assume they have memorized it. Selective use of quoted passages reminds the reader of our paper of important events or comments made in the work. Also, since we are explaining OUR view of the work, it is possible that we considered important passages our readers simply glossed. It is our job to shed light on those passages which lead to our fuller understanding.
\nTwo, we want to display our expertise. Frequent quoting shows the reader that we are familiar with the works we are discussing.
\nWhile we assume our audience knows the text we discuss, we do not assume that they came to the same conclusions about it that we did. In fact, it is likely that our readers never considered our position or that they did consider our position, only to dismiss it. It is likely we are dealing with an opposition audience whom we must convince to accept our views. Hence, our paper will make reference to and defeat counter arguments, or positions contrary to our own.
\nWe should also assume that we are addressing an audience greater than simply our professor or our class. Hence, we refrain from referring to the classroom context of our reading unless such references strongly support our position. It is counter productive to include a phrase like \u201cOur class has read three Faulkner novels so far . . . .\u201d Or, \u201cAs we said in class . . . . \u201d Try to write as if you were addressing someone you had not met. Take a professional tone and avoid personal references unless they help you support your argument.
\n***
\nPersonal Pronouns.<\/strong>
\nIt is not wrong to refer to yourself in a literary analysis, but it is often counterproductive. Your audience assumes that the paper is your opinion of the work. You do not need to remind them of that with phrasing like \u201cI think\u201d or \u201cIn my opinion.\u201d Use a more remote voice and generally discuss your topic as if it were absolutely true, and not just an opinion you formed. If your experience of the work is significant, though, go ahead and use it. There\u2019s a difference between \u201cIt seems to me that Ironweed is a sad book, in my opinion.\u201d and \u201cI wept when Gerald died.\u201d The first emphasizes the subjectivity of the writer\u2019s opinion, the second emphasizes the power if the scene in question.
\nFrom: Dr. Shannon<\/strong>
\nCitations.<\/strong>
\nSHANNON WRITING ABOUT LITERATURE USING MLA FORMAT<\/strong>
\nThe first page of your paper should begin with the following heading:<\/strong>
\n
\nAlfred E. Neuman
\nALIT 202
\nDr. Shannon
\nSept. 14,1998
\nPaper Title
\nBegin your paper on the next line after your title. Your paper does not need a separate title page, or a plastic folder, etc. Do not underline or italicize or underline your title. Your entire paper, including your heading on page one and your Works Cited page should be double spaced <\/strong>. Use 10 or 12 font.
\n<\/div><\/div>
\n
\nWhen quoting works within the body of your paper, use MLA parenthetical documentation style. Immediately after your quoted or paraphrased material appears, list author and page number (line numbers for poems) in parentheses:<\/strong>
\nWhitman describes Lincoln as a \u201cpowerful western fallen star\u201d(Whitman line 7) in his poem. Barthelme has less respect for national leaders. In his novel The King , Barthelme has Winston Churchill call King Arthur an \u201canachronism\u201d (Barthelme 80).
\nNotice that when I borrow even one word from a source, it is quoted and cited with a parenthetical reference.<\/strong>
\n<\/div><\/div>
\n
\nAndrews, William C. \u201cMark Twain and James W. C. Pennington: Huckleberry
\nFinn\u2019s Smallpox Lie.\u201d Studies in American Fiction 9 (1981): 103-112. a journal article<\/strong>
\nBarthelme, Donald. The Dead Father . New York: Penguin Books. 1975. a book by one author<\/strong>
\n\u2014. The King . New York: Penguin Books. 1990. two works by the same author<\/strong>
\nDawe, James. Jane Austen Page. 15 Sept. 1998
\n<http:\/\/nyquist.ee.ualberta.ca\/~dawe\/austen.html> a web page<\/strong>
\nIt\u2019s a Wonderful Life . Dir. Frank Capra. Perf. James Stewart, Donna Reed, Lionel
\nBarrymore, and Thomas Mitchell. RKO. 1946. a film<\/strong>
\nWhitman, Walt. \u201cWhen Lilacs Last in the Dooryard Bloom\u2019d.\u201d The Norton Anthology of American Literature . Eds. Nina Baym, et al. New York:
\nNorton, 1995. 1008- 1014. a work from an anthology<\/strong>
\n<\/div><\/div>
\nYour Works Cited page (or Work Cited if you only cite one source) lists only the works you actually CITE (either by quoting or paraphrasing). Different kinds of works are cited in different formats. Do not underline, quote, or boldface the words \u201cWorks Cited\u201d on this page. List works alphabetically by author. For clarity\u2019s sake, I have labeled each source by kind (\u201ca film,\u201d \u201ca journal article ,\u201d \u201ca web page,\u201d etc.) Of course, you should not do this.<\/strong>
\nFrom: Dr. Shannon<\/strong>
\nCiting Web Sites & Electronic Sources<\/strong>
\nBasic information in an electronic citation<\/strong>
\nBasic information in an electronic citation includes the author of the material being cited, the title of the \u201ctext\u201d in question, the \u201cmedium\u201d in which the material was located (CD-ROM or internet site, for example), the publishing information\/location of the information, the date the material was published and (if an internet site), the date on which the information was accessed.
\nSince so many variables are involved with web sources, it is wise to download a copy of the material electronically. If the web page is discontinued, the student still retains a copy of the material from which she borrowed.
\nThere are, of course, many kinds of websites to document. The web features online books, online journals and magazines, online newspapers, scholarly databases, professional sites and personal sites, and the list grows daily. Lets look at a few examples.
\nA personal or professional site<\/strong>
\nIdeally, we would begin with the author\u2019s name, in reverse order for alphabetizing. However, even this kind of basic information is often not available. The following example of a professional site <\/strong>is treated like an anonymous source.
\n\u201cWoody Guthrie Biography.\u201d Woody Guthrie Foundation and Archives . Woody Guthrie Foundation. 26 July, 2000.<\/p>\n
\nWhen listing the URL, the writer should be careful not to break the address up; try to include the entire address in one line of text. If I must break the address and continue it on the next line, one should break at a slash (\u201c\/\u201d) and not insert a hyphen. To insure accuracy in transcription, it might be a good idea to cut <\/em>the address from the web and paste <\/em>it directly into the paper.
\nCiting an online text also available in a traditional edition<\/strong>
\nIncreasingly, literary texts are becoming available in on-line forms. Using these sources can be quite convenient, even if they are not quite as much fun when curling up in front of a warm fire. However, it is worth keeping in mind that traditional books are going to be more reliable, especially if they are published by a reputable publishing company and edited by a professional. Still, when citing online texts, there are documentation protocols one needs to follow:
\nJames, Henry. Hawthorne . 1879. 1 Aug. 2000. <http:\/\/eldred.ne.mediaone.net\/hjj\/nhhj1.html>
\nIn this case, the web page gives no information regarding the source of the text. Had they done so, the entry would include that information after the title. The site does, however, list the date of original publication, so that information is included.
\nCiting an article from an on-line magazine<\/strong>
\nBacon, Katie. \u201cAn African Voice.\u201d Interview with Chinua Achebe Atlantic Unbound . 2 Aug. 2000. 4 Aug. 2000.<\/p>\n