Documenting Sources

1
Documenting Sources

• with APA

2
Article in Journal

• Touchstone magazine
• November, 2007 vol. 20, no. 9
• Morality of Majority, pp. 9-10
• Robert P. George

3
Article in Journal

• George, R. P. (2007). Morality of majority.
  Touchstone, 20(9), 9-10.

4
Letter to Editor in Journal

• Touchstone magazine
• November, 2007 vol. 20, no. 9
• Letter to the editor, p. 7
• Steve Holle

5
Letter to Editor in Journal

• Holle, S. (2007). Letter to the editor.
  Touchstone, 20(9), 7.

6
2 Authors in Journal

• Touchstone magazine
• November, 2007 vol. 20, no. 9
• The Mass Upended, pp. 12-14
• Anthony Esolen David Mills

7
2 Authors in Journal

• Esolen, A., Mills, D. (2007). The mass upended.
  Touchstone, 20(9), 12-14.

8
Book

• George Lakoff
• Women, Fire, and Dangerous Things What
  Categories Reveal about the Mind
• 1978, U of Chicago Press, Chicago

9
Book

• Lakoff, G. (2004). Women, fire, and dangerous
  things What categories reveal about the mind.
  Chicago University of Chicago Press.

10
Journal Article from Database

• Cathy Buell, Enhancing content literacy in
  physical education
• Journal of Physical Education, Recreation Dance
• Vol. 72, no. 6 August, 2001 pp. 32-37
• Accessed August 28, 2001 Education Journals
  database

11
Journal Article from Database

• Buell, C. (2001). Enhancing content literacy in
  physical education. Journal of Physical
  Education, Recreation Dance, 72(6), 32-37.
  Retrieved August 28, 2001, from Education
  Journals database.

12
Page on Website

• More on double modals double tense?
• Geoffrey K. Pullum
• Language Log website
• http//www.languagelog/archives/005158.html
• November 27, 2007
• Retrieved Nov. 27, 2007

13
Page on Website

• Pullum, G. K. (2007, November 27). More on double
  modals Double tense?. Language Log. Retrieved
  November 27, 2007, from http//www.languagelog/arc
  hives/005158.html

14
Book Multiple Cities

• Looking Leftward A Call Home
• By Frank Allen
• Dye and Sons, Inc. (London, Paris, New York)
• 2005

15
Book Multiple Cities

• Allen, F. (2005). Looking leftward A call home.
  London Dye and Sons.

16
Article in Edited Book

• Cognitive Semantics by Ron Lang (229-252)
• In Language and Concepts, edited by Jan Nuyts and
  Eric Pederson
• Cambridge University Press (1997 reprinted in
  1998)

17
Article in Edited Book

• Lang, R. (1998). Cognitive semantics. In J. Nuyts
  E. Pederson (Eds.), Language and concepts (pp.
  229-252). Cambridge Cambridge University Press.
  (Original work published 1997)

18
Multi-Volume Book

• Wiener, P. (Ed.). (1973). Dictionary of the
  history of ideas (Vols. 1-4). New York
  Scribner's.

19
Plagiarism Verbatim

• From time to time this submerged or latent
  theater in Hamlet becomes almost overt. It is
  close to the surface in Hamlets pretense of
  madness, the antic disposition he puts on to
  protect himself and prevent his antagonists from
  plucking out the heart of his mystery. It is even
  closer to the surface when Hamlet enters his
  mothers room and holds up, side by side, . . .

• Almost all of Shakespeares Hamlet can be
  understood as a play about acting and the
  theatre. For example, there is Hamlets pretense
  of madness, the antic disposition that he puts
  on to protect himself and prevent his antagonists
  from plucking out the heart of his mystery. When
  Hamlet enters his mothers room, he holds up,
  side by side,

20
Plagiarism Verbatim

• the pictures of the two kings, Old Hamlet and
  Claudius, and proceeds to describe for her the
  true nature of the choice she has made,
  presenting truth by means of a show. Similarly,
  when he leaps into the open grave at Ophelias
  funeral, ranting in high heroic terms, he is
  acting out for Laertes, and perhaps for himself
  as well, the folly of excessive, melodramatic
  expressions of grief.

• the pictures of the two kings, Old Hamlet and
  Claudius, and proceeds to describe for her the
  true nature of the choice she has made,
  presenting truth by means of a show. Similarly,
  when he leaps into the open grave at Ophelias
  funeral, ranting in high heroic terms, he is
  acting out for Laertes, and perhaps for himself
  as well, the folly of excessive, melodramatic
  expressions of grief.

21
Plagiarism Partial

• From time to time this submerged or latent
  theater in Hamlet becomes almost overt. It is
  close to the surface in Hamlets pretense of
  madness, the antic disposition he puts on to
  protect himself and prevent his antagonists from
  plucking out the heart of his mystery. It is even
  closer to the surface when Hamlet enters his
  mothers room and holds up, side by side, . . .

• Almost all of Shakespeares Hamlet can be
  understood as a play about acting and the
  theatre. For example, in Act 1, Hamlet adopts a
  pretense of madness that he uses to protect
  himself and prevent his antagonists from
  discovering his mission to revenge his fathers
  murder.

22
Plagiarism Partial

• He also presents truth by means of a show when he
  compares the portraits of Gertrudes two husbands
  the portraits of Gertrudes two husbands in order
  to describe for her the true nature of the choice
  she has made. And when he leaps in Ophelias open
  grave ranting in high heroic terms, Hamlet is
  acting out the folly of excessive, melodramatic
  expressions of grief.

• the pictures of the two kings, Old Hamlet and
  Claudius, and proceeds to describe for her the
  true nature of the choice she has made,
  presenting truth by means of a show. Similarly,
  when he leaps into the open grave at Ophelias
  funeral, ranting in high heroic terms, he is
  acting out for Laertes, and perhaps for himself
  as well, the folly of excessive, melodramatic
  expressions of grief.

23
Paraphrase

• Almost all of Shakespeares Hamlet can be
  understood as a play about acting and the
  theatre. For example, in Act 1, Hamlet pretends
  to be insane in order to make sure his enemies do
  not discover his mission to revenge his fathers
  murder. The theme is even more obvious when
  Hamlet compares the pictures of his mothers two
  husbands

• From time to time this submerged or latent
  theater in Hamlet becomes almost overt. It is
  close to the surface in Hamlets pretense of
  madness, the antic disposition he puts on to
  protect himself and prevent his antagonists from
  plucking out the heart of his mystery. It is even
  closer to the surface when Hamlet enters his
  mothers room and holds up, side by side, . . .

24
Paraphrase

• to show her what a bad choice she has made, using
  their images to reveal the truth. Also, when he
  jumps into Ophelias grave, hurling his challenge
  to Laertes, Hamlet demonstrates the foolishness
  of exaggerated expressions of emotion.

• the pictures of the two kings, Old Hamlet and
  Claudius, and proceeds to describe for her the
  true nature of the choice she has made,
  presenting truth by means of a show. Similarly,
  when he leaps into the open grave at Ophelias
  funeral, ranting in high heroic terms, he is
  acting out for Laertes, and perhaps for himself
  as well, the folly of excessive, melodramatic
  expressions of grief.

25
Source

• From Alvin Kernan, The Playwright as Magician.
  New Haven Yale University Press, 1979,
  pp.102103.
• http//www.princeton.edu/pr/pub/rrr/07/students/d