Presentation of Written Material

ROBERT GORDON UNIVERSITY

Aberdeen

Faculty of Design and Technology

Gray’s School of Art

Contextual and Critical Studies

Guide to Academic Presentation

February 2006

Vancouver: referencing sources, footnotes and bibliography

1. Referencing Sources

You are required to fully reference all quotations used in your essays.

RGU has adopted two systems for referencing sources: Harvard (also known as Author/Date) and Vancouver (also known as ‘endnotes’ or ‘footnotes’). For all written assignments, we recommend that you use Vancouver and Footnotes. This Guide and a summary sheet of examples, are available on the CCS website, at www.studioit.org.uk See:

· Vancouver Referencing System – Sheet of examples

· Guide to Academic Referencing

Further information on Vancouver can be found on the RGU Library website:

http://www.rgu.ac.uk/library/howto/page.cfm?pge=25531

(For Vancouver style, please follow the linkprovided)

You will also find important information about the University’s statement on plagiarism and other forms of academic misconduct at this site, as well as examples of plagiarism.

Why do you need to reference?

It is standard practice in academic writing to cite ideas and quotations from the work of others. Well established writers and texts need to be quoted to support an argument or augment a particular line of thought. As a student, referencing sources indicates that you are aware of good quality writers, understand the arguments and have done your research. You must reference your sources for two main reasons. It allows your reader to trace further information for themselves and also ensures you are not accused of plagiarism.

Including quotations in the text

A quotation is a word for word copy of someone else’s text, and its source must always be fully referenced. When including a quotation in a text, the following applies:

1. If a quotation is short, it should be set within single inverted commas in the main text.

2. Quotations within quotations should be in double inverted commas (the entire quote being in single inverted commas)

3. If a quotation is three lines or longer, the passage should be single-spaced, and inset in a block (indented half an inch or so) with no inverted commas.

Using Footnotes to reference sources

The system used for referencing sources is called ‘Footnoting’. All footnoted sources should also always appear in the Bibliography.

Footnotes should be used in the following situations:

• to give the source of a direct quotation

• to generally credit sources of information or significant ideas within the text which are

not your own – e.g. quoted case studies, statistical data, known phrases or definitions etc

• to provide further clarification on points which are not essential to the body of the text, or

additional information which you wish to use as evidence or further support for your main

text

Examples of Footnotes:

Word Processor: Click Insert, click Reference (or Footnotes depending on programme), then add full reference.

For appropriate format please consult the Endnote examples on the Library website or consult the corresponding hard copy; How to Cite References using the Vancouver style (available from the 5th floor issue desk).

1. Direct quotation:

As Panofsky put it: ‘it is the search for intrinsic meanings or content that the various humanistic disciplines meet on a common plane.[1]

2. Citing the source of information or specific ideas which are not your own:

In the last decade there has been a resurgence of interest in vernacular furniture of the nineteenth century, an influence which can be seen in throughout contemporary homes in Eastern Scotland.[2]

Functionalism dictates that objects should possess simplicity, honesty and directness, be well adapted to their purpose and free of ornament.[3]

3. Clarifying, or elaborating on, a point made in your text:

The first comprehensive public expression of functionalism appeared in 1927 at the Deutscher Werkbund[4] exhibition in Stuttgart entitled ‘Die Wohnung’ (The Dwelling)

2. Bibliography (See Appendix 1 for final example)

The Bibliography lists all sources used (both primary and secondary – see below), All Bibliographic material should be grouped together in alphabetical order by author’s surname, or where no author is specified, in alphabetical order of title. It can be useful to group material by sections, for example:

Books

Periodicals

Catalogues

Internet Sources

Videos, etc.

Standard Examples:

(of how to cite a first edition book)

Doherty C. Contemporary Art: From Studio to Situation. London: Black Dog Publishing; 2004.

(of how to cite a third edition book)

Jenyns S. Later Chinese Porcelain. 3rd ed. Glasgow: the University of Glasgow Press; Edition, 1955.

(of how to cite a revised edition book)

As above – replace 3rd ed. with revised ed.

Jenyns S. Later Chinese Porcelain. revised ed. Glasgow: the University of Glasgow Press; Edition, 1955.

(of how to cite an edited collection of essays / chapters by different contributors)

During S. editor. The Cultural Studies Reader. London: Routledge, 1993.

(of how to cite an essay from an edited collection of essays / chapters)

Bourdieu P. How Can One be a Sports Fan? In: During S, editor. The Cultural Studies Reader. London: Routledge; 1993.p. 50-78

(of how to cite a periodical article)

James S. The Ethics of Aesthetics. Art Monthly. 2005; 284: 7-11

NB: 284 is the issue number. 7-11 are the page numbers.

Leja M. Jackson Pollock: Representing and Unconscious. Art History. 1990; 13(4): 542-565.

NB: 13 is the Volume number. 4 is the part number in brackets. 542-565 are the page numbers

(of how to cite an exhibition catalogue)

Demetrion J.T. Regarding Beauty: A View of the Late Twentieth Century. Catalogue of an exhibition at the Hirshhorn Museum; 1999 Oct 7–Jan 17 2000; Washington, U.S.A. Ostfildern: Hatje Cantz; 2000.

Rosenthal, N. Apocalypse: Beauty and Horror in Contemporary Art. Catalogue of an exhibition at the Royal Academy of Arts; 2000 Sep 23-Dec 15 London, U.K. London: Royal Academy of Arts; 2000.

(of how to cite a web site)

http://www.crafts council.org.uk

Crafts Council website including references to all forthcoming exhibitions and events.

NB: Vancouver requires full details of author, host organization, last updated page, date you last consulted the site etc. However, for undergraduate purpose Gray’s only requires you to provide the URL and a brief description of relevant contents

(of how to cite a video)

Design Classics. Aga Cooker. (video). London: BBC Enterprises Ltd; 1995.

(of how to cite a film)

Macbeth. (film) USA: Republic Pictures; 1948

(of how to cite a television programme)

Signs of the Times. (programme in television series). Programme 2. Red Drives Me Nuts. London: BBC 2; 1992 Jan 12.

(of how to cite an individual contribution within a television broadcast)

Said E. Interview. In: Newsnight. (TV Programme). London: BBC 2; 2000 Jun 06.

A Note on Internet Sources:

If you are using information from the internet, do not use it instead of books or journals. A combination of sources is best. Validity is a potential problem when using the Internet – some sources are academically legitimate, others can be inaccurate.

3. Referencing Illustrations/......

3. Referencing Illustrations

Illustrations can include all images and visual diagrams. You must reference the sources of all your illustrations, either in a caption next to the image, or in a list of illustrations at the back, after the Bibliography. If you list the illustrations at the back of the text, please ensure that you label the images within your text, with a number. (e.g. Ill. 1, Ill. 2 etc.). With either option the following details, if relevant, should be included:

- title of image, (artist/designer, if relevant) and date

- the author of the publication from which it was sourced, the publication, year of publication and page on which the image appears

- full website listing if images are taken from the internet

Example:

Chapter One

1.1 Barcelona Stool, Mies Van der Rohe, 1929, page 12

Marcus G. H. Functionalist Design - An Ongoing History, 1995, p. 35

1.2 Station Furniture for London Transport, 1933, page 26, Forty A.

Objects of Desire - Design and Society 1750-1980, 1989, p. 67

Chapter Two

2.3 Bertoia Chair for Knoll International, 1950, page 30, Sudjic D. Cult Objects,1985,

p. 137

APPENDIX 1.

Sample Bibliography:

Books

Adorno, T. Aesthetic Theory, London: Athlone Press; 1997.

Bourdieu, P. Distinction. A Social Critique of the Judgement of Taste.London: Routledge and Kegan Paul Ltd. 1986.

Danto A. C. The Abuse of Beauty. La Salle (Il.): Open Court Publishing Company; 2003.

De Bolla, P. Art Matters. Cambridge (Mass.): Harvard University Press; 2001.

Eco, U. On Beauty: A History of a Western Idea. London: Secker and Warburg; 2004

Freeland, C. But is it art? Oxford: Oxford University Press; 2001.

Foster, H. The Anti-Aesthetic. Essays on Postmodern Culture. New York: Bay Press. 1983.

Gaut B, Lopes D.M, editors. The Routledge Companion to Aesthetics. London: Routledge; 2005.

Harrison, C and Wood, P, editors. Art in Theory. 1900-1990. An Anthology of Changing Ideas. Oxford: Blackwell Publishers; 1992.

Meredith, J.C. Immanuel Kant. The Critique of Judgement. Translated with Analytical Indexes by James Creed Meredith. Oxford: Clarendon Press; 1952.

Pacteau, F. The Symptom of Beauty (Essays in Art and Culture). London: Reaktion Books Ltd; 1994.

Prettejohn E. Beauty and Art. Oxford: Oxford University Press; 2005.

Schefer, D. What is Beauty? New Definitions from the Fashion Vanguard. London: Thames and Hudson Ltd. 1997.

Exhibition Catalogues (Vancouver)

Rosenthal, N. Apocalypse: Beauty and Horror in Contemporary Art. Catalogue of an exhibition at the Royal Academy of Arts; 2000 Sep 23-Dec 15 London, U.K. London: Royal Academy of Arts; 2000.

Periodicals: (Vancouver)

Danto, A. A Future for Aesthetics. Journal of Aesthetics and Art Criticism. 1993; 51; 271-7.

Charlesworth JJ. Art and Beauty. Art Monthly. 2004; 279: 7-10.

Jackson, L. Beauty and the Beast. Craft. 2004; 191; 62-65.

Perling Hudson S. Beauty and the Status of Contemporary Criticism. October. Spring 2003; 104.

Wilsher, M. Judgement Call. Art Monthly. 2004; 280: 7-10.

Yarowsky, M. The Beauty Fallacy. Art Criticism. 2002; 16(1): 23-25.

Websites

http://eserver.org/philosophy/kant/critique-of-judgment.txt

Full text of the first part of Kant’s Critique of Judgement, including the ‘Analytics’ of Aesthetic Judgement, of the Beautiful and of the Sublime.

http://etext.lib.virginia.edu/cgi-local/DHI/dhi.cgi?id=dv1-28

From the Dictionary of the History of Ideas, a broad overview of Theories of Beauty to the Mid-Nineteenth Century.

http://www.iep.utm.edu/k/kantaest.htm

A useful overview of Kant’s theory of Aesthetics (Section 3.) from the Internet Encyclopedia of Philosophy

http://www.utm.edu/research/iep/

The Internet Encyclopedia of Philosophy. Index to key philosophers.

http://www.findarticles.com/p/articles/mi_m0425/is_n1_v56/ai_19827688

From Art Journal, 1997, a review of Hickey’s ideas within the context of the wider debate; Learning from aesthetics: old masters and new lessons - Aesthetics and the Body Politic.

http://www.findarticles.com/p/articles/mi_m0268/is_8_39/ai_75830815/pg_2

On the search for a new aesthetics, an informative interview from ArtForum, 2001, with Nicholas Bourriaud

[1] Walker JA. Visual Culture: An Introduction. London: Thames and Hudson; 1997. p.134

[2] Muthesius S. Why Do We Buy Old Furniture? Aspects of the Authentic Antique in Britain 1870-1910. Art History. 1998; 11(2): 232-234.

[3] Marcus GH. Functionalist Design: An Ongoing History. Munich: Prestel; 1995. p.9

[4] The Deutsche Werkbund was an association of artists, manufacturers, and design workshops founded in 1907 with the goal of promoting quality in German industry.