copying, quoting and abstracting

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 

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Page 1: Copying, Quoting and Abstracting

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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 

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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

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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. 

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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

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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

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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

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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

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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 

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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.

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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)

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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)

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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