Here is the style sheet for the New Middle Ages series. I’ll also send it to you as an attachment.
————
STYLE GUIDE FOR PALGRAVE MACMILLAN SERIES:
THE NEW MIDDLE AGES and
STUDIES IN ARTHURIAN AND COURTLY CULTURES
This booklet’s aim is to help monograph writers and editors publishing with The New Middle Ages Series and Studies in Arthurian and Courtly Cultures Series of Palgrave Macmillan Press to prepare their manuscripts for publication and to explain the general process of publication. Follow these guidelines to ensure that your book will go through the production process as swiftly as possible.
Methods for producing books have changed drastically in recent years. Since computers are now an integral part of the process, attention to technological detail has become very important. We are able to publish books of very high quality in as little as six months after final editorial acceptance if these guidelines are followed.
If you have any questions about anything in this booklet or are aware of something in your manuscript that will pose a special problem (i.e., special characters, accents, foreign alphabets, etc.) please let Professor Wheeler know as early in the process as possible. Please send Lynn a copy of your question and Bonnie’s answer.
Use Microsoft Word (IBM or Mac versions) or RTF. Most current software programs will allow you to save to Word format. Avoid such programs as Nota Bene.
Captions and illustrations should be placed at the very end, but indicate in the text in boldface where they should appear (i.e., figure 1.2 about here). When you send Lynn your document, please name it with your last name.
How to Prepare your Manuscript
From the beginning of the project, format the manuscript using the guidelines below. Above all, please let your editor know if you have any questions or concerns about preparing your manuscript. A few moments at this stage can save many hours at a later stage.
Format
Please follow these guidelines when preparing your manuscript for submission:
–Use your name (or in the case of edited collections, each contributor’s name) as the name of your document.
–Make sure that the text is double-spaced throughout, including notes, block quotations,and bibliography, so that the copy editor has room to write comments.
–Number the pages of your manuscript consecutively from the first page straight through to the last page of notes.
–Use endnotes, not footnotes.
–House style mandates standard American spelling and usage—such as double quotation marks, with single quotations used exclusively for the second level of quotation.
–In general, keep all formatting (margin changes, page-breaks, etc.) to a minimum. Do not use ALL CAPITAL LETTERS for heads or titles; instead, use upper- and lower-case with boldface to make them stand out from the rest of the text. If (and only if) your software cannot generate italic type, use underlining in its place. Do not italicize complete lines (e.g.,Titles, Bibliography, Chapter One). When italicizing foreign words, do so consistently. Please be sure that the relative rank of subheads is clear. Avoid any use of boldface or underlining for emphasis.
–Go through your manuscript on disk and look for any extra spaces between words, stray tabs, undesired line-breaks, errant font notations, or anything else that may alter how the text looks when printed.
–Hard returns (the equivalent of a typewriter’s carriage return) and tabs should never be used within a sentence or paragraph. Use hard returns only to end paragraphs, lines of poetry, items in a list, subheads, block quotations, titles, and headings.
–Use only one single hard space after any and all punctuation: do not use two spaces at the end of a sentence.
–Do not use hyphenation; turn off the automatic hyphenation mode in your software program. Never insert hyphens manually at end of lines. Spell-check the final draft of your manuscript.
–Number footnotes starting at #1 for each chapter. Be sure that all superscripted note numbers are in correct order. Neither superscript numbers nor notes may be attached to titles or sub-headings. Citations for epigraphs must follow the epigraph immediately and may not appear in notes.
–All non-modern English language special characters should be outlined in a list, with equivalent dummy/generic characters that you use in place of the special character on the disk.
–All non-English quotations must be translated in square brackets following the word or quotation.
–Dashes (in typesetting jargon, em-dashes)—like those that set off this phrase—should be typed as two hyphens only if your software cannot create em dashes. Between all inclusive numbers (21–23, but twenty-one) inclusive dates, and compound words formed by more than one word on either side of the hyphen, use en-dashes; if your software cannot create endashes, then type a single hyphen with space on either side to indicate an en-dash. Bottom line: your software probably allows you to create en- and em-dashes, and please do so. Note from Lynn: At least on my computer, the shortcut to insert an en-dash is CTRL-NumLock-hyphen (hold down all three keys, in that sequence). To create an em-dash, do the same thing but add (at the beginning) ALT. But you can also create an em-dash simply by typing two hyphens between words, with no spaces.
–Use a tab (not multiple spaces) to indent your paragraphs. For block quotations, use only the indent command and not a continuous tab. Do not use the space bar to position text in any way; instead, use the specific computer command that will place text where you want it (e.g., center, flush right, flush left). For an ellipsis, use no space on either side but 3 (or 4) dots as appropriate.
–Bottom line: the plainer you can make your document, the easier it will be for the Press to format.
Tables and figures
Tables and graphs should be saved in separate, clearly named files on your disk. On your Marketing and Publicity form (PPC), you must indicate how many tables and graphs you have and where they are located in the manuscript (provide page numbers). To facilitate design, please do not refer to the tables in the text by location (“This argument is made in the following table”), but rather by title (“This argument is made in table 6.1”). Designate in your text the approximate placement of the table for our designers (“table 6.1 inserted about here”). Remember that you must obtain permission to use a table from any source, in its entirety or any part thereof. If your tables and graphs do need permissions, you need to fill out the Permissions Checklist (see end of this style guide for checklist). Please discuss with your editor the number and type of tables you would like to include before you prepare the tables and submit your manuscript. Figures, plates, or numbered documents should be clearly numbered. All citations to such should list the figure/plate/document number, then the page number.
COMMON MISTAKES: A FINAL CHECKLIST
1. Look for inadvertently doubled words, transpositions, and typos.
2. Use en- or em-dashes as appropriate. Your software should make this possible; if it does not, then make sure that all em-dashes are typed as two hyphens with no space in between or on either side.
3. Make sure that all note numbers appear superscripted in the text and that the note numbers within the text match the notes at the end of the chapter.
4. Check for general consistency throughout the text, particularly in spelling of uncommon words and treatment of numbers.
5. British or American? We require the use of American punctuation and spelling.
6. Spelling. In works dealing with foreign countries or foreign languages, especially those with non-English-language alphabets, it is crucial to decide on the spelling or transliteration of names and words at the outset and to include your preferences in your style sheet.
7. Numbers. Spell out numbers one to ninety-nine.
8. Foreign words. Check to make sure that all foreign words have the appropriate diacritical marks. If you are unable to enter these on the computer using a standard font, use a “dummy” letter and highlight each instance clearly in the manuscript. All non-English language special characters should be outlined in a list, with equivalent dummy/generic characters that you use in place of the special character on the disk. Authors should not create special characters. If you are unable to enter a special character on the computer using a standard font, mark it clearly in the manuscript. Indicate all special characters (mathematical symbols, Greek or other foreign characters, alphabets, or graphics) on a separate sheet attached to the manuscript. Highlight all special characters on your hard copy.
9. Bibliographical information. Verify that complete bibliographical information is
provided for each note, including the complete title and subtitle; the author’s full
name; the city of publication, publisher, and year of publication; and the page
number(s) used. Follow current CMS usage.
PERMISSIONS
Artwork
You must supply any maps, statistics, photos, or drawings in camera-ready format. You must submit either black and white glossy images or 900 minimum dpi hi res scans on a disk (preferable both; do not send us your only copy). Our designers require these to be designed to certain specifications, and you can save yourself both time and expense by obtaining these in advance. The Press makes final decisions about the number of photographs it will include.
You are responsible for obtaining permission for extracts, graphs, and other pieces of art that require it and for paying any necessary fees. It is important that you start seeking permission as soon as it becomes evident that you will need them; in some cases, the process can take months. We do not want to hold up production because of missing permissions. In almost all cases, you must request permission to use any poetry, song lyrics, tables, charts, graphs, and drawings.
Long before you submit your MS, request any necessary permissions. Write to the
publisher of any books from which you have cited material. Use our formal permissions
letter found at the end of this style guide. Do not write your own. Often, rights to reprint in other countries are held by different publishers than those who hold the rights to reprint in the United States. Be sure to obtain permission from all parties, and cite whatever credit line or acknowledgment is required. If for any reason you are unable to obtain nonexclusive, world rights in the English language, it is your responsibility to inform us immediately.
Do not offer a fee, but expect to be asked to pay one. You are responsible for any fees charged by publishers for permission to reprint. Obtain permission in writing. You must submit each and every permission with the Permissions Check List and the final manuscript.
Unfortunately, the issues of permission and fair use are not always clear. Copyright in the United States generally runs throughout the life of the author and for fifty years thereafter. However, for works published before the most recent change in the copyright laws (1978), the copyright may be only as long as seventy-five years provided the copyright holders renewed the copyright. The terms of copyright may be different for works published in other countries. You do not need to request permission for any material that is now in the public domain (for which the copyright has expired). Please discuss with your editorial assistant any permissions issues about which you have questions.
There is no strict definition of what constitutes “fair use.” Quoting a passage for
scholarly analysis will be seen to be fairer than quoting the same passage as a substitute for your own words or using it as an epigraph. The percentage you are quoting from the whole is also a consideration: it is more of an infringement to quote a hundred words from a short piece than from a longer one. However, it is important not to be overcautious.
Manuscripts or art objects
In case of manuscripts or artworks, permission must be received from the owner, or the library/museum of deposit. In your request, you should provide photocopies of materials requested and include all identifying information. For all artwork, it is the responsibility of the author to provide original photographs (4 x 7 inches are preferred). Charges are ordinarily assessed to the authors for this courtesy, and often the museum/library requires the return of all photographs used. We will return all art materials directly to the author (in the case of edited volumes, to the editor) so that individual authors can comply with such requirements directly. Palgrave Macmillan unfortunately cannot subvene the cost of reproduction and/or permissions. Where relevant, Author’s institution or department is often willing to subvene such costs. Photographs shot from books are not acceptable. Maps, tables, and line-drawings must meet high professional standards and all text in such contexts must match the text chosen for the book. Consult with your editor early.
Format for Notes
The only acceptable parenthetical in-text citation is to a single text when that text is the subject of the chapter. Embed as endnotes in MS Word. If possible, do not use superscript footnote numbers in the endnotes themselves: keep note numbers at normal baseline.
THE PRODUCTION PROCESS
This section describes the basic order of steps you can expect as your work progresses from manuscript to finished book.
A. FINAL EDITORIAL DECISION FOR ACCEPTANCE
When you* have finished the manuscript, send two complete printouts (no disks) to Professor Wheeler. Do not send manuscripts with missing information of any kind. Written permission to reprint extracts, and/or artwork if necessary, must be submitted now along with a copy of the permissions request. The manuscript will be read at this point by the series editor, the press, and outside expert peer reviewers. If it is found unacceptable, it will be rejected. The ordinary case, however, is that the manuscript will be returned to you for revision, in which case the final revised manuscript will need to be approved by Professor Wheeler before the manuscript can be sent into production. Before this time you will be asked to submit a Marketing and Publicity Form (PPC) and Author Questionnaire (A&Q). These forms serve as a useful checklist throughout the production of the book and assist marketing efforts. [*The addressee here is the editor—Lynn; but I’ll of course send each of you the revision requests from Bonnie Wheeler and the reviewer(s).]
B. EDITORIAL COLLECTIONS
Early in the editing process, standardize stylistic and punctuation elements among the essays. This will save innumerable hours of work later and lead to a cleaner, more unified text. Standard formatting style, spelling, and punctuation are required in all essay collections. Before soliciting essays, send each contributor a copy of our style sheet that indicates our stylistic and submission requirements. We need a copy of any style or transliteration guidelines you send to contributors. It is the volume editor’s role to standardize all essays to conform to the guidelines above and to provide the bibliography and index to the volume. NB: Each essay must be accompanied by an abstract of its content and argument (not more than twenty-five words) placed after the title and author’s name and a brief biographical statement about each contributor at the end of the volume before the bibliography (if there is one) or the index. The entire, fully edited contents should be submitted in one software program (MS Word). If you are the editor of a collection, all of your contributors must sign contributor agreement forms. Please e-mail Lee Norton, Lee.Norton@palgrave-usa.com, for the electronic copy of this form you can forward to your contributors. Collect all forms and send them in with your final manuscript.
C. ALL MANUSCRIPTS
Once Palgrave Macmillan accepts the final revised manuscript, your book goes into production. At this time, Palgrave Macmillan readies the manuscript for the copy editor, performs final cost analyses, completes a schedule for the book, and begins thinking about design. Once the manuscript is ‘in house,’ you will receive a production schedule.
D. COPYEDITING
The copy editor will read through the entire manuscript, fixing grammatical and
typographical errors, lapses in meaning, and other inconsistencies and identifying design
elements. The copy editor will not verify research, references, quotations, foreign words, or translations. It is your responsibility to affirm that this information is entirely accurate.
E. RESPONDING TO THE COPYEDITOR
The copy editor usually returns the manuscript to Palgrave Macmillan about a month after Palgrave Macmillan sends the manuscript to copyediting. Palgrave Macmillan will then send you [=Lynn] the copyedited manuscript with a style sheet (a listing of spellings and style guidelines that apply specifically to your manuscript). It is essential that you scrutinize the style sheet before beginning to work on the manuscript to verify spellings and change any that should be corrected. You are not required to accept every change the copyeditor suggests (although you should be aware that the copy editor has read your manuscript as a typical reader would). It is essential, however, that you mark every change with which you agree on the hard copy. Clearly indicate on the copyedited manuscript those suggestions that you have decided not to take (explaining why) as well as any additions or substantial rewriting you have done. Palgrave Macmillan will assume that any disregarded suggestions are oversights and will enter their suggested change at press. Thus, to avoid any disappointment on your part, you must respond to each suggestion made by the copyeditor. The manuscript may also contain more lengthy queries, which are usually written on notes attached to the manuscript. It is essential that you respond to each of these queries, either by indicating how the text should be changed or by explaining why no change is needed. You will usually have four weeks to complete this process. Palgrave Macmillan will input all changes onto the disks.
This will be the last stage at which you will be able to make significant changes to your manuscript. If you decide to make any changes, or rewrite any section of the book, please be sure that your style and punctuation remain consistent with the rest of the manuscript and that it is clear where your rewriting begins and ends.
F. PAGE PROOFS
Once Palgrave Macmillan receives your corrected copyedited manuscript, they will recheck everything and contact you in with any last-minute questions. Palgrave Macmillan then sends the manuscript to the designer to be formatted into page proofs. The design process takes about a month, after which Palgrave Macmillan will send proofs to you for inspection. The ultimate responsibility for correcting proofs rests with you. Please make only an absolute minimum of corrections, as corrections at this stage prove very costly. This is also the time when you must compose the index for the book. Palgrave Macmillan has a separate booklet with advice on indexing; consult it early in the editing process. You will be given only about two weeks to complete this step. When you return the proofs please let Palgrave Macmillan know where they will be able to contact you if they have any questions regarding your proofs or indexing.
G. PRINTING
When they receive corrected proofs from you, Palgrave Macmillan designers will make any changes you have marked. If there are any changes not acceptable to the Press, they will call you to discuss them. No second proofs are possible. Palgrave Macmillan will then proceed with the final design and printing of the book. You may hear from Palgrave Macmillan at this stage if there are any last-minute questions to be answered. Otherwise, you should see an advance copy of the finished book in about two months.
Permissions Checklists
Please attach all of the letters requesting and granting permission to this sheet.
| Mss Pg.# | Description of Item | Request Letter
included |
Permission Letter
included |
| Sample:
Pg57 |
Poem “The Mocking Bird”
Permission granted from Contagion: Journal of Violence, Mimesis, and Culture |
Yes | Yes |
| Sample:
Pg 66 |
Figure 2.3 photo “Descending the Staircase”
No Permissions Necessary, public domain |
N/a | N/a |
MODEL PERMISSIONS LETTER
[on your letterhead]
DATE
Human Rights Watch
Permissions Department
Dear Vanessa:
On behalf of Phyllis Chesler, author of the forthcoming book entitled THE DEATH OF
FEMINIS: WHAT’S NEXT IN THE STRUGGLE FOR WOMEN’S FREEDOM, I am
writing to request permission to include in her book, which is to be published by Palgrave
Macmillan, the material listed below.
MATERIAL TO BE REPRINTED:
Excerpts from July 2003 Report on Afghanistan, pp. 2–7.
Excerpts from April 04 Report on Jordan, pp. 18–22.
Please confirm, by signing below, that you consent to my including the material listed above in any editions of my book in all languages throughout the world and for excerpts from my book in any media derived from the book and in advertising, publicity, and promotional materials for the book and for works derived from it and that you are the correct person to grant this permission. If you are not the appropriate person to grant this permission, please either forward this letter to the correct person or please let me know who that person is. Before returning this form, please also specify below the credit line you would like to receive.
Please note that we do not have a lot of money to spend on permissions and therefore would hope to receive this permission without charge.
Sincerely,
Melissa Nosal (for Phyllis Chesler)
CONFIRMED:
__________________________
(signature)
__________________________
(printed name)
Credit Line:______________________________________________________________
PERMISSION TO USE PHOTOGRAPHS
Name of book
(the “Book”):_________________________________________________________________________
Name of author(s)
(the “Author” or “editor”):_______________________________________________________________
Number of photographs covered by this Permission: __________________________
Description of photographs covered by this Permission (the “Photographs”):
______________________________________________________________________________________
1. The undersigned individual or company (“Licensor”) is, by this Permission, granting to the Author (and to companies and individuals authorized by the Author) a non-exclusive worldwide license to reproduce the
Photographs in any and all editions of the Book and to publicly distribute copies of editions of the Book
containing some or all of the Photographs.
2. The Photographs may also be used by the Author and companies and individuals authorized by the Author:
(A) on the jacket or cover of the Book;
(B) in any other form of the Book or part thereof in any medium, including, but not limited to,
adaptations of the Book, revised and condensed versions of the Book and excerpts from the Book in other books and periodicals (“Other Versions”); and
(C) in advertising, promotion and publicity for the Book and Other Versions.
3. Licensor represents and warrants that Licensor is the owner of the copyright in the Photographs and has the full right, power and authority to grant the license granted by this Permission.
4. Licensor acknowledges receipt of the sum of $__________ in full payment for all rights granted by this
Permission.
5. This Permission is irrevocable and shall remain in effect as long as either the Book or any one of the
Photographs remains protected by copyright anywhere in the world.
6. This Permission contains all of the terms and conditions relating to the license granted by this Permission.
If Licensor is a company, print LICENSOR
name and title of person signing:
_____________________________________
[signature]
___________________________________
[name]
_____________________________________
[Print name of Licensor; if Licensor is a company print full company name]
[title]
_____________________________________
[Print Licensor’s address]
__________________________________
Date of signature:_____________________________________
Please include the following credit line(s) for the Photographs when and if used in the Book:
DO NOT SUBMIT YOUR MANUSCRIPT WITHOUT CHECKING THE
FOLLOWING:
1) The manuscript is double spaced throughout. This includes TOC, Acknowledgements, etc.
2) Endnotes begin at #1 at the end of each chapter. Endnotes should start at the top of a new page even if the chapter ends partially down the page. Endnotes should be double-spaced and in font 12 like the rest of the ms.
3) You have sent an electronic copy of your PPM form and you have included a hard copy of your PPM form with the final manuscript.
4) If you are an editor of a book, all your contributor agreements must be signed and collected.
5) If you have permissions, all permission request and granted letters are included with ms. You must fill out the permissions checklist in order for us to know what tables, excerpts, photos, reprinted chapters, etc. need permission, where the permission is granted, and what page number the material is on.
6) All images are with the manuscript—either a glossy photo or minimum 900 dpi image ready to be scanned, or electronically as a 1000×1500 pixel image, in .jpg or .pdf form.
7) Your disk matches your MS exactly.
STYLE SHEET
Our style guide is adapted from Speculum 75 (2000): 546–52. Unlike Speculum, our style
requires citation of the publisher as well as place of publication and date (place: publisher, date). Submit continuously paginated, double-spaced manuscripts with text, appendices, and endnotes (in that order). Highlight special characters. The only acceptable parenthetical intext citation is to a single text when that text is the subject of the chapter. Avoid long quotations from published works easily consulted by interested readers—any quotation of more than eight lines will be queried. In each instance, be concise. For matters not covered here, consult the current Chicago Manual of Style (CMS).
CITATION PRACTICE IN BRIEF
The author is responsible for the accuracy of quotations, citations, and translations, which should be verified before the manuscript is submitted.
The guiding principle for citations is maximum clarity for the reader rather than
brevity. When in doubt, the author should err on the side of providing more rather than less information. Never use ibid. rather than a short title.
Arabic numerals are to be used for volume, part, and section numbers. This is true
for journal volume numbers, for volume numbers and other subdivisions in a series, and for volume numbers in a multivolume work. It is also true for the subdivisions of classical and medieval texts.
Roman numerals are retained when the original work uses them for page numbers. They are also retained for manuscript shelfmarks, where as much as possible the usage of the library should be followed. Finally, Roman numerals may be retained for divisions of medieval works such as Dante’s Divine Comedy where they are so firmly entrenched as to make Arabic numerals misleading.
PRIMARY SOURCES
Models for the citation of classical and medieval works are the following:
1. Medieval Author, Opus 2.4.1, ed. Modern Editor (City: Publisher, Date), p. 135.
2. Medieval Author, Opus 2.4.1, ed. Editor, p. 135.
3. Medieval Author, Opus 2.4.1.
4. Medieval Author, Opus 2.4.1, l. (or ll.) 5.
5. Medieval Author, Opus 2.4.1, p. 135.
6. Matt. 5.21; 1 Cor. 2.12.
Note 1 is a standard first citation. The subdivisions of the medieval work follow the title
without intervening punctuation, in descending order, separated by periods. For example,
Opus is divided into books, sections, and chapters, and the sample citation should be read as book 2, section 4, chapter 1. Once the edition of a work has been provided in the first citation, subsequent references are shortened as in note 2, or even more as in notes 3, 4, and 5. The nature of the work and its editorial history will determine which version is required. Note 6 shows standard Biblical citations, which likewise use periods as the divider between subdivisions, in this instance between chapter and verse.
If the reader might have difficulty deciphering this system as it applies to a given work, the reference should be spelled out in full.
Secondary works
To cite secondary works:
1. John Doe, Book Title (City: Publisher, Date), pp. 123–34.
2. Jane Smith, “Article Title,” Journal Title 24.3 (1950): 12 [2–14].
3. John Doe, “Article Title,” in Collection Title, ed. A.B. Cee and D.E. Fee (City: Publisher, Date), pp. 3–6 [3–24].
4. Reto R. Bezzola, Les origines et la formation de la littérature courtoise en Occident (500– 1200), 3 vols., La société féodale et la transformation de la littérature de cour, Les grandes maisons féodales après la chute des Carolingiens et leur influence sur les lettres jusqu’au xiie siècle, vol. 2, part 2, Bibliothèque de l’École des hautes études, sciences historiques et philologiques, 313 (Paris: H. Champion, 1960), pp. 262–71.
Further references would look like this:
5. Doe, Short title, p. 126.
6. Smith, “Short title,” 9.
7. Doe, “Short title,” in Collection Title, p. 9.
8. Bezzola, Les origines 2.2, pp. 262–68, 271.
The abbreviations “p.” and “pp.” are almost always used with page references to modern
printed books. The most notable exception is in the citation of journal articles, where the
convention of providing in sequence the volume number, issue number, publication date,
and page numbers is so well established that further specification is unnecessary. When citing particular pages from articles or individual book chapters in edited books, always also provide inclusive page numbers in brackets (as in example 2 above) in the first full citation. Never use “f.” or “ff.”
BOOK CITATIONS
Authors’ names should be cited as they appear on the title page. Do not abbreviate given
names to initials.
Publishers must be included; the parentheses should include the place, publisher, and date of the publication (and reprint information, where applicable). If the publisher lists more than one location, it is usually sufficient to cite only the first location in the list. Use the conventional English form of place-names: “Turin,” not “Torino”; “Munich,” not
“München,” with the addition of official postal abbreviations—for example, for USA states (FL, MI, KY) and for the United Kingdom (UK)—only if clarity so requires, but always distinguish between Cambridge, MA and Cambridge, UK (Cambridge, MA: Harvard University Press, 1997).
Simplest form
Susan Reynolds, Fiefs and Vassals: The Medieval Evidence Reinterpreted (New York: Oxford University Press, 1994), pp. 18–19, 92–93, and 118–19. (Do not abbreviate “University Press.”)
Later editions and reprints
Frank Barlow, The Feudal Kingdom of England, 1042–1216, 4th edn. (London:
Longmans, 1988), pp. 224–26. Charles H. Beeson, A Primer of Medieval Latin: An Anthology of Prose and Poetry (1925; repr. Washington, DC: Catholic University of America Press, 1986), pp. 25– 27.
Multiple volumes
Max Manitius, Geschichte der lateinischen Literatur des Mittelalters, 3 vols. (Munich: Unchen, Beck, 1911–31), 1:78. [The citation is to volume 1, page 78. No space on either side of colon.]
Sir Thomas Malory, The Works of Sir Thomas Malory, ed. Eugène Vinaver, rev.
P.J.C. Field, 3rd edn., 3 vols. (Oxford: Oxford University Press, 1990), 2:444.[Here ed. means edited by and does not change when there is more than one editor.]
Monographs in a series
Arno Borst, Die Katharer, Schriften der Monumenta Germaniae Historica 12
(Stuttgart: Hiersemann, 1953), pp. 112–15. [The series information ought to be
included, but the editor(s) of series can usually be omitted.]
Edited or translated works
Hildegard of Bingen, The Letters of Hildegard of Bingen, trans. Joseph L. Baird and Radd K. Ehrman, 2 vols. (New York and Oxford: Oxford University Press, 1994), 1:34–35. [Here the abbreviation “trans.” means “translated by” and does not change when there is more than one translator.]
Emil Friedberg, ed., Corpus iuris canonici, 2 vols. (Leipzig: Bernhardi, 1879–81),
2:lxiv.[Here the abbreviation “ed.” means “editor”; the plural is “eds.”]
Georges Duby, Love and Marriage in the Middle Ages, trans. Jane Dunnet (Chicago: University of Chicago Press, 1994), pp. vii and 25.
Foreign titles
Follow the prevailing rules for the given language in the capitalization of foreign titles. In
Latin titles capitalize only the first word, proper nouns, and proper adjectives. In French,
Italian, and Spanish titles capitalize only the first word and proper nouns. Titles in languages other than classical and medieval Latin and Greek, French, Italian, German, and Spanish may be translated. The translation follows the title in square brackets and is not italicized; only the first word and proper nouns and adjectives are capitalized.
Boris Porsnev, Feodalism i narodnye massey [Feudalism and the masses] (Moscow: Nauka, 1964), pp. 22–50.
Subsequent references
Reynolds, Fiefs and Vassals, p. 97.
Use short titles rather than “op. cit” or “ibid.” If there is a considerable gap between the first reference and the next citation, it is helpful to use this form: Reynolds, Fiefs and Vassals (see above, n5), p. 97.
Cite an author‘s notes as “p. 170 n74” or “nn74–79.”
ARTICLES AND BOOK CHAPTERS
Do not abbreviate journal titles. One of the few exceptions is PMLA, where the abbreviation has become the main title of the journal. If a journal paginates each issue separately (as does Arthuriana), then the issue number is necessary; if a volume is paginated continuously (as with Speculum), then the issue number is not used. Note that “pp.” appears before pagination of articles in collections or other non-journal publications, but not with journal articles. Never use “ff.” but cite relevant inclusive pages. Provide inclusive numbers for whole article/chapter at first mention. Use italics for titles of books and journals and for foreign words not now in common English usage. Titles of poems (unless book-length), chapters, and articles should be in Roman with double quotation marks. Put individual tales in Malory’s Le Morte Darthur or Chaucer’s Canterbury Tales in double quotation marks.
Anna Carlotta Dionisotti, “On Bede, Grammars, and Greek,” Revue bénédictine 92.3 (1982): 129 [118–33].
Robert Bourgeois, “Le theorie de la connaissance intellectuelle chez Henri le Grand,” Revue de philosophie n.s. 6 (1936): 238–59.
N.F. Blake, “The Early History of the Malory Manuscript,” in Aspects of Malory, ed. Takamiya and Brewer, p. 146 [143–58].
Anne Walters Robertson, “The Mass of Guillaume de Machaut in the Cathedral of
Reims,” in Plainsong in the Age of Polyphony, ed. Thomas Forest Kelly, Cambridge
Studies in Performance Practice 2 (Cambridge, UK: Cambridge University Press,
1991), pp. 100-139. [Cite title of book containing article first, then editor. Provide
full names; do not use et al.]
Subsequent references
Dionisotti, “On Bede,” 129.
Bourgeois, “Le theorie de la connaissance intellectuelle,” 240–41.
Robertson, “The Mass of Guillaume de Machaut,” in Plainsong in the Age of
Polyphony, pp. 122–39.
MANUSCRIPTS
Both in the text and in the notes the abbreviation “MS” (plural “MSS”) is used only when it precedes a shelfmark. Cite the shelfmark according to the practice of the given library; always include the library name and city. Folio numbers should include a recto/verso reference, abbreviated and written at the baseline (not superscripted). For in-text citations, abbreviate “folio” as “fol.” (plural “fols.”). The first full reference to a manuscript should give the place name, the name of the library, and the shelfmark:
Paris, BnF lat. 4117, fols. 108r–145r.
Vatican City, Biblioteca Apostolica Vaticana MS Vat. lat. 6055, fols. 151r–228v.
Subsequent references
Paris, BnF lat. 4117, fol. 108r. [If the context allows, “lat. 4117” may be sufficient.]
Vat. lat. 6055, fol. 151r.
ANCIENT AND MEDIEVAL WORKS, INCLUDING THE BIBLE
The system of citation used in the following examples is explained above under “Citation
Practice in Brief.” For canonical collections, registers, etc., the prevailing abbreviations and style of citation should be used. Books of the Bible and other ancient sacred texts are never italicized; ancient proper names ending in “s” take an apostrophe, but (unlike later names) no second “s.”
Bede, Historia ecclesiastica 2.3, p. 142.
Isidore of Seville, Etymologiae 12.1.59. [Page numbers of the edition are often not required.]
SERIES
Series titles and abbreviations thereof are not italicized. Many series are familiar enough to allow the use of standard abbreviations, and it is often permissible to eliminate the citation of the editor and the place and date of publication. If in doubt, use the full title. The volume number and page number are separated by a colon, with no space between the elements.
PL 123:347.
CSEL 24:95.
MGH SS 13:229.
If the series is subdivided
MGH LL 2.1:263 [meaning section 2, volume 1, page 263].
Full citation of an edited work in a series
Alcuin, Vita Willibrordi, ed. Wilhelm Levison, MGH SSRER Merov 7 (Munich:
Constant Press, 1920), pp. 113–41.
Author, Title, ed. John Doe, EETS o.s. 18 (Oxford: Oxford University Press, 1984), pp. 3–18
OTHER MATTERS
1. References to modern authors. The first mention of a modern author in the text should
include the given name (or initials, if that is the author’s preferred published form) as well as field (for example, “Historian Charles T. Wood argues…”).
2. Notes. Notes should be succinct and should be confined to material necessary to support assertions in the text. Common practice is to allow no more than one note per sentence, preferably at the end of the sentence. Notes will be printed as endnotes. The only acceptable parenthetical in-text citation is to a single text when that text is the subject of the chapter. No notes may be attached to the title, epigraph, or subheads. For Acknowledgements, use an unnumbered prenote.
3. Abbreviations. The period should not be omitted after abbreviations. French place-names containing “Saint” are normally spelled out, and the hyphen is essential: “Saint-Denis.” “Chapter” may be abbreviated “chap.” The abbreviation for edition is “edn.”; for editor, “ed.”; for note/notes, “n.” or “nn.”
4. Quotations, translations. Only isolated words and phrases in foreign languages should be placed in italics. Direct quotations of texts in foreign languages should be in roman font and placed in brackets. All quotations from foreign languages must be accompanied by English translations. If the quotation in its original language appears before its translation, then the translation is enclosed in square brackets (not parentheses) and no quotation mark is necessary within the brackets. If the English translation comes first, then the original is enclosed in square brackets. Quotations longer than ten typed lines should be treated as block quotations (typed double-spaced and indented, without quotation marks):
Hec et similia persuadens seu dissuadens, cum meam deflectere non posset stultitiam nec me sustineret offendere, suspirans vehementer et lacrimans perorationem suam tali fine terminavit : “Unum, inquid, ad ultimum restat ut in perditione duorum, minor non succedat dolor quam precessit amor.” Nec in hoc ei, sicut universus agnovit mundus, prophecie defuit spiritus.
[When she could not divert me from my mad scheme by such arguments of
exhortation and discussion and could not bear to offend me, she sighed deeply and in tears ended her final appeal as follows: “If we do this, one fate finally awaits us: we shall both be ruined and sorrow will thereby pierce our hearts equal in intensity to the love with which they are now aflame.” And, as all the world knows, she was possessed of the spirit of prophecy in this statement.]
Single quotation marks are used for words used as terms, and for definitions in a linguistic context:
Estrusia might be associated with extrusis ‘pushed out, thrust forth’.
Note that punctuation is placed outside the single quotation marks used for definitions. For an ellipsis, use no space on either side but 3 (or 4) dots as appropriate.
5. Scholarly reference words. Words and abbreviations such as “et al.,” “e.g.,” “i.e.,” and “ca.” should not be italicized. The only exception is “[sic].” Do not use “ibid,” “idem,” and “passim,” etc. Note that “cf.” (not “cp.”) means “compare” and should not be used when “see” or “see also” is the expression desired.
6. Dates and Numbers. The correct form is “1390s,” not “1390’s.” Centuries should be
spelled out; the adjectival form requires a hyphen, as in “twelfth-century manuscript.” Spell out numbers one to ninety-nine. Number abbreviations: 100–115, but 112–25. Dates should be in the form Friday, 30 July 2006; 30 July 2006; 30 July; July 2006. BC follows the date, but AD precedes it: 30 BC; AD 339. BCE and CE are discretionary.
7. Capitalization. “Middle Ages” is capitalized, but “medieval” is not. On religious names and terms see the CMS. “Church” is generally lowercased, unless it is part of the official name of a denomination or building, or unless it refers to the whole body of Christians at all times and places (the universal Church). “Bible” is capitalized, but “biblical” is not.
8. Possessives. Follow CMS 6.24–6.28.
9. Subheads. Subheads should ordinarily not be necessary in a well-structured article.