Below you'll find both suggestions for incorporating secondary sources into your work and a few links to sources.
Note that the author's name and page number is enclosed in
parenthesis (no p. or page is needed) and that the period goes to the
right.
2) Sample Works Cited Entry (the part that goes on a separate page at the end) for In-text Citation above
Together, these two parts let the reader know who wrote your
article, where they can find it, and approximately how long the article
is.
This two part citation method works like a code. In
general, the reader looks for the author’s name and page number in the
in-text citation, and then goes to the works cited entry for additional
information. Your job is to supply the correct parts of the code in the
correct order. You have to be sure that the name/word you include in
your in-text citation will match the first word of one of your works
cited entries. Thus, the name “Mitchell Domhnall in the in-text example
above matches the name “Domhnall” in the sample works cited
entry. Get it? Readers would see the name and citation and
instantly know that the information before the citation is from a
writer named “Domhnall.” If they wanted to check your source, they
would turn to the Works Cited page and scan the first word of the
alphabetically arranged list of Works Cited entries until the word
“Domhnall” appeared.
Below you'll find a list of verbs which are often used to
incorporate quotes into sentences and a list of sentences including
sources.
Use both as tools to help you work quotes into your own prose.
These verbs can also come in handy when providing context and for shifting into arguments.
What follows are a series of sentences which successfully
incorporate an outside source. Review these to get a sense of the
rhythm and cadence involved in setting up a quote and how the verb list
above can help "launch" a quote. These sentences conclude with a works
cited page which would be needed if these quotes were included in a
single essay.
From the beginning of the text,
Bradford sets the Puritans apart from others. He writes that "many
became enlightened by the Word of God and had their ignorance and sins
discovered" (157). Separating the "enlightened" from what seems to be
the unenlightened makes a clear "us v. them" distinction.
The
power of O'Connor's "The Revelation" is derived from its moral
tenacity. As the writer Joyce Carol Oates observes, the story
"questions the very foundations of our assumptions of the ethical life"
(52). Since Mrs. Turpin's "foundation" was based upon a shallow and
limited view of religion, she was ripe for a fall.
Although
some critics argue that surrealism began in 1924 after the publication
of the Surrealist Manifesto by Andre Breton (Kershner 52), Kafka's
work, published a decade earlier, shares many qualities of surrealist
art, and should be considered a precursor to the later movement.
The
critics David Boxer and Cassandra Phillips also note Carver's seeming
lack of style. They write that "what seems to be casual talk, virtually
empty of communication, is really very deliberately and finely wrought"
(99). This emphasis on the craft of his fiction -- it is "deliberately
and finely wrought" -- underscores the nature of Carver's oxymoronic
talent: he made conversation seem so natural that it seems to merely
record what is being said.
As Dickens wrote in an essay published in the same decade as Hard Times,
"It is probable that nothing will ever root out from among the common
people an innate love they have for dramatic entertainment in some form
or other" (305-306). That Lousia and Tom, members of the upper-class,
would also find amusement in the circus shows that the differences
between classes -- between people -- is not as well defined as we would
think.
F. R. Leavis argues that the
circus performers are symbols of "human spontaneity" (344). As such,
they operate according to emotions rather than from the slow and
measured intellect of Gradgrind.
Mitchell
Domhnal notes that "some critics allege that to read Dickinson in any
standard typographic edition is effectively to read her in
translation." This suggests that the usual method of reading a poem in
a textbook isn't the best way to read Dickinson.
Leypoldt
Gunter argues that there are "two types of Carver stor[ies]," with one
being realistic and the other more experimental (320).
Instructions on how to set up these entries are found on the Citing Sources link (on the left).
Works Cited
Boxer, David and Cassandra Phillips. From "'Will You Please
Be Quiet, Please?': Voyeurism, Dissociation, and the Art of
Raymond Carver." Iowa Review. 10 (1979): 75-90. Rprt. In
"Raymond Carver." Contemporary Literary Criticism. Ed.
Sharon R. Gunton and Jean C. Stue. Vol. 22. Detroit : Gale
Research, 1982. 98-101. Print.
Bradford, William. From Of Plymouth Plantation. The Norton
Anthology of American Literature. Vol. A. Eds. Nina
Baym, et al . New York : Norton, 2003. 157-196. Print.
Dickens, Charles. "The Amusements of the People." From
Household Words 30 March 1850. Rprt. in Hard Times. Ed.
George Ford and Sylvere Monod. New York: Norton, 1990.
305-307. Print.
Kershener, R. B. The Twentieth-Century Novel: An Introduction.
New York: Bedford Books, 1997. Print.
Leavis, F. R. "Hard Times: An Analytic Novel." From
The Great Tradition. London: Chatto and Windus, 1948. 227-
48. Rprt. in Hard Times. Ed. George Ford and Sylvere Monod.
New York :Norton, 1990. 340-360. Print.
Mitchell, Domhnall. "The Grammar of Ornament: Emily
Dickinson's Manuscripts and Their Meanings." Nineteenth-
Century Literature 55:2 (2001): 179-204.
Academic Search Premier. Web. 23 August 2001.
Oates, Joyce Carol. "The Visionary Art of Flannery
O'Connor." Flannery O'Connor. Ed. Harold Bloom. New York:
Chelsea House Publishers, 1986. 43-53. Print.