copying, quoting and abstracting
TRANSCRIPT
7/31/2019 Copying, Quoting and Abstracting
http://slidepdf.com/reader/full/copying-quoting-and-abstracting 1/12
10/08/2010
1
Copying,
Quoting
and
Abstracting:
The Chicago style and essay writing
http://www.youtube.com/watch?v=E7eOVpBCtPo&feature=related
• Copying
– Academic Conduct
• Quoting
– Using Chicago 15A Style
• Abstracting
– What is an abstract and why are they important?
Why?• UWA’s commitment to ethical scholarship
• Academic community
– Referencing allows someone to follow and build
• Distinguish between your ideas and those of
others
• Locate your work within a field d of study
7/31/2019 Copying, Quoting and Abstracting
http://slidepdf.com/reader/full/copying-quoting-and-abstracting 2/12
10/08/2010
2
Referencing
http://www.lib.monash.edu.au/tutorials/citing/chicago.html
http://writing.wisc.edu/Handbook/DocChiNotes.html
http://www.chicagomanualofstyle.org/tools_citationguide.html
http://www.studentservices.uwa.edu.au/ss/learning/online_services/academic_writing/alva/referencing
Chicago Style Manuel of Style 15A
• Or Chicago 15A
– NOTE: there are different Chicago styles
humanities (footnotes/endnotes) and author‐
date s stem. We use humanities
– Footnote plus bibliography
Referencing• Why Chicago?
– Usage
• The style used by Journal of the Society of Architectural Historians (US) and Journal of the Society of
– Efficient, clear and inclusive system
• No page number notation (ie pp or p)
• No Latin abbreviations (ie no ibids or op cits)
• 15A is able to accommodate a range of ‘esoteric’ material
– Interviews, theses, conference papers, emails
7/31/2019 Copying, Quoting and Abstracting
http://slidepdf.com/reader/full/copying-quoting-and-abstracting 3/12
10/08/2010
3
What are the ‘features’ of 15A
• Footnote/Endnote
– (I'd go footnote, you want to make the
reader’s/marker’s life as easy as possible) – Bibliographic entries in the footnote are in two forms
• Full
– Used in the first citation of a work
• Shortened
– Used in any subsequent citations of that specific work
• Bibliography
Referencing
• books
• book chapters
• journal articles
• newspaper articles
• conference papers
• government publications
• statistics from ABS
• encyclopaedia and
dictionaries
• theses
• websites
• website documents
When to
reference?
• When quoting an author’s exact words
• When paraphrasing an author’s text
• When summarising information from a text
• While some Chicago guides suggest that
you can reference at the end of a
paraphrased paragraph the best practice
is to reference each sentence.
7/31/2019 Copying, Quoting and Abstracting
http://slidepdf.com/reader/full/copying-quoting-and-abstracting 4/12
10/08/2010
4
The topology metaphor is no coincidence, nonetheless. The detour via theexact sciences — in this case mathematics — served first of all to ascribe
to architecture an allegedly objective and contemporary foundation. To thisend a single aspect was isolated from its complex reality and subjected toindependent investigation, in a way analogous to scientific testing.16
First reference16. Adrian Forty, Words and Buildings: A Vocabulary of Modern Architecture
Book (single author)
(London: Thames and Hudson, 2000), 62.
Subsequent reference17. Forty, Words and Buildings , 67.
BibliographyForty, Adrian. Words and Buildings: A Vocabulary of Modern Architecture,London: Thames and Hudson, 2000.
16. Adrian Forty, Words and Buildings: A Vocabulary of Modern Architecture
Author Title(Name Surname) (& Subtitle)
ContentFirst reference
, , .
Place Publisher Year Page Number
17. Forty, Words and Buildings, 62.
Author Title(Surname only) (shortened)
ContentSubsequent
reference
Page Number
7/31/2019 Copying, Quoting and Abstracting
http://slidepdf.com/reader/full/copying-quoting-and-abstracting 5/12
10/08/2010
5
ContentBibliography
Forty, Adrian. Words and Buildings: A Vocabulary of Modern Architecture,London: Thames and Hudson, 2000.
Author Title(Surname, Name) (& Subtitle)
Place Publisher Year No Page Num ber
Normal size Italics(Not Superscript)
Format
16. Adrian Forty, Words and Buildings: A Vocabulary of Modern Architecture
(London: Thames and Hudson, 2000), 62.
16. Adrian Forty, Words and Buildings: A Vocabulary of Modern Architecture
(London: Thames and Hudson, 2000), 62.
Comma, Space Colon (between title and subtitle),Space
Full Stop Format
Open bracket
Colon, Space
Comma,Space
Close bracket,Comma, space
Full stop
7/31/2019 Copying, Quoting and Abstracting
http://slidepdf.com/reader/full/copying-quoting-and-abstracting 6/12
10/08/2010
6
Journal Article
My initial engagement with this complex of buildings was in the formof a review published in this Journal in early 2004. That review marked
the first instalment in The Journal of Architecture’s programme to publishlong-form reviews of built works regularly,2 and I chose to reviewFederation Square largely because I had been struck by how it engagedin an active way with Melbourne’s central city grid.
Footnote2. Charles Rice, “At Federation Square,” The Journal of Architecture 9,no. 1 (2004): 105.
Subsequent reference5. Rice, “At Federation Square,” 115.
BibliographyRice, Charles. “At Federation Square.” The Journal of Architecture 9, no.1 (2004): 105–120.
Author Article Title(Name Surname)
(& Subtitle)
2. Charles Rice, “At Federation Square,” The Journal of Architecture 9,
Journal Title
Volume
Journal ArticleFirst reference
Issue Year Page number
. .
Author Article Title(Surname only)
(Shortened if necessary)
Journal ArticleSubsequent
reference
5. Rice, “At Federation Square,” 115.
Page number
7/31/2019 Copying, Quoting and Abstracting
http://slidepdf.com/reader/full/copying-quoting-and-abstracting 7/12
10/08/2010
7
BibliographyRice, Charles. “At Federation Square.” The Journal of Architecture 9,no. 1 (2004): 105–120.
Author Article Title(Surname, Name)(& Subtitle)
Journal Title
Journal ArticleBibliography
Volume
Issue Year Page number
WebsiteThe jury citation for the Murcutt’s Prize award is replete with referencesto purity, clarity, and the mysticism of place. J. Carter Brown, the jury
chairman, commented thatGlenn Murcutt occupies a unique place in today’s architecturalfirmament. In an age obsessed with celebrity, the glitz of our‘starchitects,’ backed by large staffs and copious public relationssupport, dominate the headlines. As a total contrast, our laureateworks in a one- erson office on the other side of the world from much of the architectural attention, yet has a waiting list of clients,so intent is he to give each project his personal best. 13
Footnote13. Pritzker Prize Jury, “Glenn Murcutt Jury Citation,” The PritzkerFoundation , http://www.pritzkerprize.com/laureates/2002/jury.html,(accessed July 13, 2010 ) .
BibliographyPritzker Prize Jury. “Glenn Murcutt Jury Citation.” The Pritzker Foundation. NewYork. http://www.pritzkerprize.com/laureates/2002/jury.html.
• What is an abstract?
– Brief summary of essay, research paper, thesis,
scientific experiment provided at the start of the
publication.
Abstracting
– In your case, it will state your thesis and anticipate
your investigation and conclusions
• The abstract will change between when you submit it
for the Test (Week 4) and the Essay submission. That is
OK.
– 100 – 200 words
7/31/2019 Copying, Quoting and Abstracting
http://slidepdf.com/reader/full/copying-quoting-and-abstracting 8/12
10/08/2010
8
Abstracting
• What are
the
elements
of
an
abstract?
– THESIS
• a statement of the position you will argue for in your
essay.
– METHODODOLGY
• How you will prove your thesis statement and what you
will use to do so.
– FINDINGS
• What position have you reached
The Thesis
• is debatable
– it must be possible to present a case for and
against the statement. In your essay, you will be
ex ected to ar ue for one side but also show that
you are aware of the other side.
• limits
the
scope
of
your
essay• can be supported by the literature.
Example 1
7/31/2019 Copying, Quoting and Abstracting
http://slidepdf.com/reader/full/copying-quoting-and-abstracting 9/12
10/08/2010
9
Thinking and Inhabiting the Doubled Interior
CHARLES RICEFaculty of the Built EnvironmentUniversity of New South Wales
The paper examines the way in which the bourgeois domestic interioremerged within a complex structure of doubleness from the beginning of
the nineteenth century. This interior emerged to mean both a spatialcondition and a representation of a spatial condition; its inhabitationinvolved a set of material practices and a sense that one could imagine anelsewhere from its material reality; and it became a figure for articulatingthe interrelations between the conscious and the unconscious mind. Inrelation to these layers of doubleness, the paper will focus on the way inwhich the bourgeois domestic interior becomes conceptualised in writingsby Theodor Adorno and Walter Benjamin in interwar Europe, at the timewhen the experience of domesticity bound up with this interior became, intheir eyes, a cultural impossibility. Via the theme of media and mediation,
the paper will suggest that the notion of a doubled interior offered aconceptual logic within which an architectural avant-garde project couldbe understood at this time, and through which avant-garde moments inrelation to domesticity can still be understood. (178 words)
Thinking and Inhabiting the Doubled Interior
CHARLES RICEFaculty of the Built EnvironmentUniversity of New South Wales
The paper examines the way in which the bourgeois domestic interioremerged within a complex structure of doubleness from the beginning of
the nineteenth century. This interior emerged to mean both a spatialcondition and a representation of a spatial condition; its inhabitation
involved a set of material practices and a sense that one could imagine an
THESIS•Debateable position
•Limits the scope of the essay•Evidence by literature
elsewhere from its material reality; and it became a figure for articulating
the interrelations between the conscious and the unconscious mind. Inrelation to these layers of doubleness, the paper will focus on the way in
which the bourgeois domestic interior becomes conceptualised in writingsby Theodor Adorno and Walter Benjamin in interwar Europe, at the timewhen the experience of domesticity bound up with this interior became, intheir eyes, a cultural impossibility. Via the theme of media and mediation,
the paper will suggest that the notion of a doubled interior offered aconceptual logic within which an architectural avant-garde project could
be understood at this time, and through which avant-garde moments inrelation to domesticity can still be understood.
Thinking and Inhabiting the Doubled Interior
CHARLES RICEFaculty of the Built EnvironmentUniversity of New South Wales
The paper examines the way in which the bourgeois domestic interioremerged within a complex structure of doubleness from the beginning of
the nineteenth century. This interior emerged to mean both a spatialcondition and a representation of a spatial condition; its inhabitationinvolved a set of material practices and a sense that one could imagine an
METHODOLOGY•Comparing writings of
Adorno & Benjamin•Comparing the notionof ‘domesticity’ with theinterior.
elsewhere from its material reality; and it became a figure for articulatingthe interrelations between the conscious and the unconscious mind. Inrelation to these layers of doubleness , the paper will focus on the way inwhich the bourgeois domestic interior becomes conceptualised inwritings by Theodor Adorno and Walter Benjamin in interwar Europe, atthe time when the experience of domesticity bound up with this interiorbecame, in their eyes, a cultural impossibility. Via the theme of media and
mediation,the paper will suggest that the notion of a doubled interior offered aconceptual logic within which an architectural avant-garde project couldbe understood at this time, and through which avant-garde moments inrelation to domesticity can still be understood.
7/31/2019 Copying, Quoting and Abstracting
http://slidepdf.com/reader/full/copying-quoting-and-abstracting 10/12
10/08/2010
10
Thinking and Inhabiting the Doubled Interior
CHARLES RICEFaculty of the Built EnvironmentUniversity of New South Wales
The paper examines the way in which the bourgeois domestic interioremerged within a complex structure of doubleness from the beginning of
the nineteenth century. This interior emerged to mean both a spatialcondition and a representation of a spatial condition; its inhabitationinvolved a set of material practices and a sense that one could imagine an
FINDINGS•New concepts of the interiorand avant-garde•Relation to contemporarysituation.
elsewhere from its material reality; and it became a figure for articulatingthe interrelations between the conscious and the unconscious mind. Inrelation to these layers of doubleness, the paper will focus on the way inwhich the bourgeois domestic interior becomes conceptualised in writingsby Theodor Adorno and Walter Benjamin in interwar Europe, at the timewhen the experience of domesticity bound up with this interior became, intheir eyes, a cultural impossibility. Via the theme of media and mediation,
the paper will suggest that the notion of a doubled interior offered aconceptual logic within which an architectural avant-garde project couldbe understood at this time, and through which avant-garde moments inrelation to domesticity can still be understood.
Example 2
From smoke‐filled rooms to smoke‐free environments: a history of New Zealand
domestic architecture and smoke
CHRISTINE McCARTHY
School of Design
Victoria University of Wellington
Her publicist has just informed the chain‐smoking [Lynn] Barber that being
photographed smoking in public in New Zealand ranks right up there socially with
people declaring themselves as paedophiles. "Really?" she says, and whips out a pack
of John Player Kingsize with the air of someone suddenly producing a howitzer in a
crowded room.
The introduction of The Smoke‐free Environments Act (NZ) in 1990 marked
a change in the status of the New Zealand public interior, as the legislation
imagines a visually and alfactoriallypure interior space. Smoke was an
insect repellent and essential to the interior of the colonial Maori whare. Its
inclusion enabled the description of the whare as a "dismal edifice teemed
with suffocating vapour, and formed with the wretched inmates, a complete picture of
cheerless barbarism."
This paper will examine New Zealand interiors as defined by smoke. It will
explore the nature of architectural boundary post smoke‐free legislation
which has created a new consciousness about threshold conditions, as
rows of cigarette butts now line the thresholds of New Zealand workplaces,
and as the smoker realises the boundaries between conditions of interiority
and the exterior are defined by the action of lighting up or extinguishing
cigarettes, effecting a performative and ephemeral boundary. (205 words)
7/31/2019 Copying, Quoting and Abstracting
http://slidepdf.com/reader/full/copying-quoting-and-abstracting 11/12
10/08/2010
11
From smoke‐filled rooms to smoke‐free environments: a history of
New Zealand domestic architecture and smoke
CHRISTINE McCARTHY
Her publicist has just informed the chain‐smoking [Lynn] Barber
that being photographed smoking in public in New Zealand ranks
right up there socially with people declaring themselves as
paedophiles. "Really?"
she
says,
and
whips
out
a pack
of
John
Player Kingsize with the air of someone suddenly producing a
howitzer in a crowded room.
The introduction of The Smoke‐free Environments Act (NZ) in 1990
marked a change in the status of the New Zealand public interior, as
the legislation imagines a visually and alfactorially pure interior space.
Thesis:Change in status of
the interior andnew architecturalboundary
Methodology;examine interiorsdefined by smoke –
Smoke was an insect repellent and essential to the interior of the
colonial Maori whare. Its inclusion enabled the description of the whare
as a "dismal edifice teemed with suffocating vapour, and formed with
the wretched inmates, a complete picture of cheerless barbarism."
This paper will examine New Zealand interiors as defined by smoke. It
will explore the nature of architectural boundary post smoke‐free
legislation which has created a new consciousness about threshold
conditions, as rows of cigarette butts now line the thresholds of New
Zealand workplaces, and as the smoker realises the boundaries
between conditions of interiority and the exterior are defined by the
action of lighting up or extinguishing cigarettes, effecting a
performative and ephemeral boundary. (205 words)
I‘d add how andwhich.
Findings: Aperformative andephemeral boundaryexists
Example 3
Transcribing the Contemporary City:
Le Corbusier, Adelaide and Chandigarh
Antony
Moulis
Within the space of seven months in 1950‐51, Le Corbusier
committed two seminal city plans to paper. One was his
celebrated plan of Chandigarh, the modern capital of the
Punjab, made in February 1951. The other, made earlier in
August 1950, was a re‐drawing of Colonel William Light’s
Plan of Adelaide, South Australia, the result of a chance
meeting between Le Corbusier and a Professor of the
Universit of Adelaide on secondment in the Americas This .
paper brings attention to the unusual circumstances
surrounding the making of Le Corbusier’s Adelaide plan and
observes parallels in the planning of Chandigarh and the
processes of design and drawing attributed to Le Corbusier
through his association with the CIAM group. Out of this
discussion the paper also reconsiders the question of
Chandigarh’s origins as a work of design and speculates on
the significance of the Adelaide drawing to Le Corbusier’s
post‐war career. (149 words)
7/31/2019 Copying, Quoting and Abstracting
http://slidepdf.com/reader/full/copying-quoting-and-abstracting 12/12
10/08/2010
12
Transcribing the Contemporary City:
Le Corbusier, Adelaide and Chandigarh
Antony Moulis
Within the space of seven months in 1950‐51, Le Corbusier
committed two seminal city plans to paper. One was his
celebrated plan of Chandigarh, the modern capital of the
Punjab, made in February 1951. The other, made earlier in
August 1950, was a re‐drawing of Colonel William Light’s
Plan of Adelaide, South Australia, the result of a chance
meeting between Le Corbusier and a Professor of the
Thesis: (inferred)Chandigarh was
influenced byLight’s Adelaide
Methodology;examine parallelsbetween Adelaideand Chandigarh
.
paper brings attention to the unusual circumstances
surrounding the making of Le Corbusier’s Adelaide plan and
observes parallels in the planning of Chandigarh and the
processes of design and drawing attributed to Le Corbusier
through his association with the CIAM group. Out of this
discussion the paper also reconsiders the question of
Chandigarh’s origins as a work of design and speculates on
the significance of the Adelaide drawing to Le Corbusier’s
post‐war career. (149 words)
and Corb’sdrawing/designprocess
Findings:Aspeculation thesignificance ofAdelaide to Corband Chandigarh’sorigins