ENGLISH LITERATURE

M.A. THESIS
STYLE BOOK
Feb 2013

1) M.A. Thesis Proposal

An M.A. thesis proposal (not more than 2000 words) includes the following
sections:
I.
General Overview
II. Statement of the Problem
III. Significance of the Problem
IV. Delimitation
V.
Approach and Methodology
VI. Literature Review
VII. Tentative Outline
VIII. Definition of Terms
IX. Works Cited
General Overview:
The target author(s) and the critic(s) of the proposal should be introduced in this
section. The biographical account and historical framework should be dealt with
sufficiently and pertinently. It is quite essential to localize the author and the critic,
that is to say, provide an account of the literary, theoretical and philosophical trends to
which they belong. It is possible to give a plot summary of the literary texts here.

Note: It is better to divide General Overview into sections based on the

author(s) and critic(s)
Statement of the Problem:
This is basically the what-ness of thesis, and the expansion of thesis title. Bringing
quotations from the literary and critical texts can help you illuminate the problem.
Thus, exemplification of the problem can be deemed as the key to a well-established
research problem. Keep in mind that you are not supposed to elaborate on the
theoretical terminology and framework of the proposal here; the Approach and
Methodology section serves this purpose. So use as many theoretical jargons as you can
without bringing them much into light.

Note: Incorporate some discussion questions you are going to address in your
thesis. Based on the answers to these questions you will compose the Conclusion,
so avoid haphazard questions.
Significance of the Problem:
Here you should give some convincing reasons that this research is worth being
undertaken. You should specifically explain how this thesis could contribute to human
knowledge.
Delimitation:
Here you draw the main borderlines regarding your theoretical area, literary texts
you are going to study, etc. In order to limit the scope of theory, you can simply list or
name the theoretical concepts extrinsic to your work. There is no need to explicate
them.
Approach and Methodology:
In this section you introduce your main approach or approaches by explaining
your theoretical framework. Based on this framework, you should also introduce a
strategy of reading in order to achieve coherence. The reading strategy configures the
three main chapters of the thesis in a way that the theoretical concept of each chapter
correlates to the concepts in the succeeding chapters.
Literature Review:
In Literature Review you are supposed to write the gist of the books and articles (major
sources) you have read so far and feel that they could be helpful for the course of your
research. In this section you should indicate the significance and relevance of these
texts to your argument. Needless to say that compiling a list of relavant and significant
works is a work in progress.
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 Tentative Outline:
This comes in the form of an outline (titles for the main chapters with sub-headings
for each chapter). Do not forget that the thesis outline you suggest in your proposal is
tentative. The outline will inevitably change through the research.
Definition of Terms:
You are supposed to define any jargon terms here if you hav e any. They should be
alphabetically ordered.
Note: Bold the term and put a colon after it.
Works Cited:
At this stage of your research, the bibliography of your proposal should have at least 15
sources (including the primary sources). The materials you have read and yet not
referred to should also be included in the bibliography.
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Steps in Formulating Thesis Question

i. Thesis Scope or Idea
a)
thesis idea is often a very broad subject that relates to a field of
study. The thesis idea can be manipulated in many different
ways in order to uncover a specific thesis topic. Students should
begin their theses with the thesis idea and then narrow the idea
down to one particular topic that falls under the broader idea.
ii. Thesis Topic
a) The thesis topic is a narrower subject than the thesis idea.
However, just like the idea, the topic can be further refined to a
series of sub-topics.
iii. Thesis Question
a)
thesis question is an inquiry about a particular topic that
results in a specific assertion (thesis) about that topic. They are
brainstorming tools. Thesis question is often confused with
actual theses, but a thesis question is only the stepping-stone to
a thesis. A true thesis will not exist in question form, but in
declarative form, meaning the thesis must be a statement that
asserts rather than a question that asks. Therefore, it is
sometimes easier to develop a thesis in response to a question, as
it is typically easier to pose questions than it is to make
assertions.
b) Should be open-ended: An open-ended question is one that can
be responded to in many different ways and requires some depth
to truly answer, as opposed to a close-ended question, which
typically has one, finite answer. So, to develop a thesis question
on any topic, all a writer must do is start asking and answering
open-ended questions. Typically, the more detailed thesis
questions result in better theses.
c) Should invoke thought (Innovation).
d) Should be clear and concise, without too many variables.
e) Should introduce a new concept with or ahead of its
zeitgeist.
f) Should give a solution to thesis Problem or Gap
g) Should be feasible: How long will it take to address the
dissertation research question? Do you have the

appropriate skill set and knowledge to address the

dissertation research question?

M.A. Thesis Format

Cover
It is used on the cover of the thesis. The same page should be used in Persian as the
back cover of thesis. See Sample Sheets 1 and 2.
Title Page
It is the same as the cover page. It is the opening page of the thesis. It should appear in
Persian at the end of thesis.
In the Name of God
This page should appear in English at the beginning and in Persian at the end of thesis.
Dedication
This page should appear in English at the beginning and in Persian at the end of thesis.
Acknowledgements
Your thesis should include a page in which you acknowledge the help, direction, advice
and supervision of the thesis.
Abstract
An abstract is a brief, accurate, and comprehensiv e summary of the contents of the thesis w ithout
added interpretation or criticism. It allows readers to survey the contents of the thesis. In
preparing the abstract, it is important to keep the sentences short and simple by
covering with just one topic each and excluding irrelevant information. After finishing
the whole content, re-read the thesis and note down salient points, including the nature
of the problem, objectives, approach and methodology, results, conclusions and
suggestions for further research. Do not put anything which was not present in the
text, or repeat the title. Do not cite any references, figures, or tables in the abstract. If
there is a need to cite references, the sources should be provided in bracket in the
abstract.
An abstract mainly includes:
1. Problem/purpose of the thesis
2. Methodology
3. Conclusions
An abstract should be:
1. Accurate: An abstract should reflect correctly the objectives and contents of the
thesis. Do not include information that does not appear in the body of the thesis in
the abstract. It is suggested that the author compare the abstract with the headings of
thesis outline in order to verify the accuracy of the abstract.
2. Self-contained: Define all unique terms, abbreviations, and acronyms in the
abstract. Include names of the authors (initials and family name) and dates of
publication in citations of other publications.
3. Concise and specific: Each sentence should be as informative as possible,
especially the lead sentence. Make it brief. The total length of the abstract should not
exceed 300 words, in two or three paragraphs. Begin the abstract with the most

important information but do not repeat the title. It may include the purpose of the
research, the results and conclusions.
4. Coherent and readable: Write clearly. Here are some suggestions as to write
clearly:
Use verbs rather than the noun equivalents.
Use the active rather than the passive voice, but without personal pronouns
(I or we).
Use the present tense to describe results without continuing applicability or
conclusions drawn.
Use the third rather than the first person.
Describe the main findings concisely and summarize the conclusions.
Write with a non-specialist style in mind.
Use past tense for what was found.
Include as much as possible the key words from the text in the abstract.
Avoid unfamiliar terms, acronyms, abbreviations, or symbols; or define
them if there is no choice.
Avoid citing references unless the reference inspired the researcher to
investigate further.
Table of Contents
The contents should list the chapter headings, sections and subsections of the different
chapters along with page numbers of each. It should be possible to get a complete
picture of the thesis by looking at the contents. While the contents cannot be as brief
as listing only the chapter headings, it need not be as elaborate as to list all paragraph
titles within subsections. It is preferable to include the chapter, section and subsection
headings only in the contents with appropriate page numbers.
Note: It should be numbered. The heading, Table of Contents, should be centered.
See Sample Sheet 4.
Chapters
Chapters are given descriptive titles that indicate their content and role in the thesis.
Chapters have their own introductions and conclusions, which relate them to each
other and to the development of the thesis as a whole.
Note: The first page of each chapter should not be numbered.
The opening page of a chapter should start from the middle of the page.
The title of each chapter should be centered. See Sample Sheet 5.
Introduction
The first chapter of the thesis is the Introduction. An Introduction should contain the
following sub-headings in order:
General Background
The Argument
Literature Rev iew (optional)
Thesis Outline
Approach and Methodology
Definition of Terms
General Background: This section deals with biographical account, historical context,
theoretical context, etc.
The Argument: Here, the researcher expands on what was suggested as the Statement of
the Problem and the Significance of the Problem in the proposal. What is
going to be proved is supposed to be put forward directly in this section.
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Literature Rev iew : The major sources used could be introduced here if your supervisor
decides that they should be introduced first. Major sources are the books
(literature or criticism) or articles that the thesis is strongly dependent on.
In some theses, it will be appropriate to concentrate the review of the literature
and extended general discussion in introductory and concluding chapters, in
other works, the review and discussion should be distributed throughout the
thesis.
Thesis Outline: A brief account on each succeeding chapter should be written here. One
or two paragraphs for each chapter should be enough.
Approach and Methodology: In this section the method and approach of the research
should be explained. The usual method of research in humanities in general and
literature in particular is library based (with the use of electronic sources).
Literary approaches refer to the following: Historical-Biographical, Formalistic
(New Criticism), Psychological, Psycho-analytical, Mythological (Archetypal),
Structuralist, Post-Structuralist, New-Historicist, Deconstructive, Feminist,
Sociological, Reader-Oriented, Narratologist. Based on your approach you need
to introduce a Reading Strategy. A Reading Strategy is the explanation of the
steps you take when studying your literary texts.
Depending on the nature and the significance of the theoretical framework, the
mehod, and the approach, it may come within the introduction as indicated here
or might need a separate chapter.
Definition of Terms: If there are any jargons used in the research they could come under
this heading. These could include technical terms used in linguistics, psychology,
film studies, sociology, philosophy, etc.
Conclusion
The last chapter of the thesis is the Conclusion. A Conclusion could contain the
following sub-headings in order. Your supervisor might give you other suggestions for
the Conclusion:
Findings and Implications
Suggestions for Further Research
Findings and Implications: Here, the researcher explains what the results of the research
are in concrete form. He/She will answer the discussion questions and comes up
with conclusions based on these answers in the form of implications of the
research.
Suggestions for Further Research: This section could provide some guidelines for further
studies of the subject to which the present research could act as a background.
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Number of Chapters
An M.A. thesis should contain an Introduction and a Conclusion plus three main
chapters. Total number of chapters will add up to five.
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Length of the Thesis

The thesis should be between 18000 and 25000 words including Works Cited and
Appendices.
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Supervision
Your Supervisor (British) or Thesis Advisor (American) (Ostad-e-Rahnama) is
the main person guiding you throughout your research. You are supposed to check

the outline of each chapter with him/her before you embark on writing. He/She
will read the first draft of your chapters one by one as well as the whole
dissertation in its final draft. The supervisor must be consulted on the general
form and the content of the thesis up to the stage of the final draft.
Your Thesis Reader (Ostad-e-Moshav er) are assigned to make sure more guidance
and opinions on your research. It is advisable that you hand in a copy of your
thesis to your reader when you have passed the first-draft-phase and the thesis has
started to get into shape. However, you should not leave his/her reading to a very
final stage. In other words, you should leave enough time to incorporate your
readers suggestions and corrections.
Your Thesis Examiner (Ostad-e-Dav ar) will be assigned by the department to read
your dissertation in its final draft (when the thesis is approved by your supervisor
and readers). A complete copy of the thesis must be handed in a soft-bound
form to the examiner. He/she might come up with some corrections before or
after your v iv a (thesis defense session) which you are obliged to take note of before
binding the thesis.

Viva
Your defense session (v iv a or v iv a v oce) could last up to one hour.
Your presentation could last between 20 to 30 minutes and the following are only
suggestions for what you could present in a viva session:
a) acknowledgements (thanking the people who helped you through your research;
b) an introduction (background, your motivation to embark on working on the
project, your argument, your outline); c) a quick overview of your main chapters;
d) your concrete findings.
If possible avoid repetition of information in the viva. The defense should deal
mostly with your arguments and how well you have understood them.
The main criteria for your thesis mark are: your viva presentation, the contribution
that your research makes to the field of knowledge, your writing competence, the
structure of your thesis (argumentation, coherence), and your response to v iv a
questions.
Some of the questions you might be asked in the viva session:
1)
What contribution this thesis had to human knowledge?
2)
Explain more about your approach and methodology.
3)
What are we supposed to conclude from this research?
4)
Why have you chosen these particular literary texts?
5)
What is the relationship and relevance between chapters or their relevance to the
title of the thesis?
6)
What were the main motivations behind this research?
However examiners are asked to consider, where appropriate, eight questions. These are:
does the candidate show sufficient familiarity with, and understanding and
critical appraisal of, the relevant literature?
does the thesis provide a sufficiently comprehensive investigation of the topic?
are the methods and techniques adopted appropriate to the subject matter and
are they properly justified and applied?
are the results suitably set out and accompanied by adequate exposition and
interpretation?
are conclusions and implications appropriately developed and clearly linked to
the nature and content of the research framework and findings?
has the research question(s) in fact been tested?

is the literary quality and general presentation of the thesis of a suitably high
standard?
does the thesis as a whole constitute a substantive original contribution to
knowledge in the subject area with which it deals?

Some questions to ask yourself when reviewing your drafts:

does the content match the title?
are important points emphasised enough?
is the content within each section appropriate?
is there a logical sequence?
are information sources acknowledged?
do the conclusions relate to the objectives?
have I followed the conventions and regulations?
is the meaning of each sentence clear - or open to interpretation?
can long sentences be broken down?

3) M.A. Thesis Stylesheet (MLA)

Font Style
Font style should be in Times New Roman or a font very similar to this font.
Font Size
The following sizes are based on the format of Times New Roman:
Text: 12
Indented (Block) Quotations: 11
Sub-headings: 13 (Bold)
Titles: 16
Abstract: 11
Bibliography: 11
Margins
The following margins are the default (standard) margins in Microsoft Word:
Top: 3 centimeter
Bottom: 2 centimeter
Left: 4 centimeter
Right: 2 centimeter
Space Between Lines
Text: Double space
Indented Quotations: 1.5 space
Abstract: Single space
Bibliography: Single space (with one extra space between each entry)
Pagination
Pages should be numbered consecutively and clearly on the top right-hand corner.

Quotations
Quotations should not replace the main argument; they should support or
contradict (when you want to introduce counter-arguments) it.
As a rule, quotations, paraphrases and summaries should not take more than a
third of the whole thesis. In other words, two third of a thesis is your arguments,
inferences, etc.
Paraphrases and summaries should also be acknowledged.
If the quotation you are using has any grammatical or spelling mistakes, you are
not allowed to correct them. Use the exact words in your reference and then use
the phrase sic. It will look like [sic.] in brackets after the work. This indicates
that, in your opinion, the word or phrase in the quotation contains a mistake.
All quotations and paraphrases should have references in the form of in-text
citation (see "Citing Sources in the Text"). Not acknowledging a quotation,
paraphrase or summary is considered an act of plagiarism (see "Plagiarism").
Prose quotations of no more than four lines and requiring no special emphasis can
be put in quotation marks and incorporated into the text. The period should come
after the parenthetical reference of your quotation.
Prose quotations of more than four lines should be indented. They should be
written on a new line, and should not have quotation marks (Block Quotations).
A colon is used in these cases though sometimes the context requires another
punctuation mark or none. These quotations should have a margin of extra 1
centimeter from right and left. The font size is usually one size smaller than the
body text and the space between lines should be 1.5 compared with double space
for the body text. Always leave an extra double space before and after a block
quotation. The period should come before the parenthetical reference of your
quotation.
Verse of up to three lines and requiring no special emphasis can be put in
quotation marks, separated by a slash (/) with a space on each side, and
incorporated into the text.
Verse of more than three lines should be indented. It should be written on a new
line, and should not have quotation marks. The parenthetical reference follows
the last line of your quotation (as in prose quotations); if it does not fit, begin a
new line and place the reference flush with the right margin of the page. If the
verse line is too long to fit within the right margin, it should be continued on the
next line with an additional quarter inch indentation. If the quotation begins in
the middle of a line, the segment should appear in the same place as the original,
and should not be shifted to the left margin.
Dramatic dialogue between two or more characters should be indented. Begin with
the completely capitalized name of a character followed by a period. The first line
of the speech follows the period, but all subsequent lines of the same speech
should be indented by a quarter inch.

Ellipsis
For an ellipsis within a sentence use three periods with a space before each and
after the last. If the ellipsis appears at the end of your sentence use three periods
with a space before each following a sentence period (four periods with no space
before the first or after the last).
Quotation with an ellipsis in the middle:
He claims the play is not about . . . acting a part.
Quotation with an ellipsis in the middle and a parenthetical reference:
He claims the play is not about . . . acting a part (28).

Quotation with an ellipsis at the end:

He claims the play is not about Hamlet or his ability in acting a part. . . .
Quotation with an ellipsis at the end followed by a parenthetical reference:
He claims the play is not about Hamlet or his ability in acting a part . . . (28).
Quotation omitting a whole sentence or more, or a paragraph is indicated by four
periods; however the four periods must be preceded and followed by grammatically
complete sentences:
In his book Shakespeare and Lies, Sam Spade claims, The play is not about Hamlet
or his ability in acting a part in a convincing manner. . . . Many of Shakespeares
plays have been similarly misinterpreted (20).

Omission of a line of verse is indicated by a line of spaced periods of about the

same length of a complete line of the poem.
In Worcester, Massachusetts,
I went with Aunt Consuelo
to keep her dentists appointment
.............................
in the dentists waiting room.
(Elizabeth Bishop, In the Waiting Room, lines 1-5)

Quotation with an ellipsis at the end:

In Worcester, Massachusetts,
I went with Aunt Consuelo
to keep her dentists appointment
and sat and waited. . . . (1-4)

Punctuation
Commas, periods, and question marks should come straight after the preceding
word with no extra space in between.
Short quotations come within double quotation marks in the text without any
change in the font size or shape.
Each bibliography and endnote entry ends with a period.
Punctuation with Quotations
Quotations are preceded by a colon if they are formally introduced and by a comma or
no punctuation if the quotation is an integral part of the sentence.
Hamlet had a big problem: He could not act (25).
Hazlitt thought the problem was that Hamlet could not act (25).
He, according to Hazlitt, could not act (25).
Parentheses and Square Brackets
All references should be given parenthetically. Use square brackets for parentheses in
parentheses, for added material in quotations, and for information missing in cited
works.
Works Cited

In bibliography you do not give any page number except in the case of articles that
you state the first and the last page of the article.
As a general guideline, your bibliography could contain at least 30 sources. The
proportion of articles to books should be nearly equal. In other words, you need to
find relevant books along with significant articles for your research. Obviously, the
quality and the number of the sources are eventually determined by the supervisor
and the reader.
Type the entries in single space with one extra space between each entry. Indent the
second or third line of each entry if there are any.

The following samples based on MLA style should cover most of your needs.
Type of Document
Book
Book two authors
Book more than two
authors
Book revised edition
Book edited
Book no author
Book in volumes
Book translated
Work
from
collection/anthology
Journal article
Journal article two
authors
Journal article with
more than two authors
Journal article on-line
Magazine article
Newspaper article
Thesis/Dissertation
Web site professional
Web site personal
Discussion list or list
server posting

(MLA) Works Cited

Smith, John. Miltons Style. New York: Random House, 1999.
Smith, John, and Jane Marshall. Miltons Style. New York:
Random House, 1999.
Smith, John et al. Miltons Style. New York: Random House,
1999.
Smith, John. Miltons Style. 2nd ed. New York: Random
House, 1999.
Smith, John, ed. Miltons Style. New York: Random House,
1999.
The Literate Life: Exploring Language Standards. Urbana:
National Council of Teachers, 1997.
Smith, John A., and Jane Ann Marshall, eds. Dictionary of
Milton. Vol. 3. New York: Random House, 1999.
Smith, John. Miltons Style. Trans. Jane Marshall. New York:
Random House, 1999.
Smith, Tom. Humour in Milton. Milton Encyclopedia. Eds.
Smith and Marshall. New York: Random House, 1999: 2580.
Marshall, Jane. Metaphor in Milton. Poetry Yesterday 26, 12
(August 1998): 50-65.
Marshall, Jane, and John A. Smith. Metaphor in Keats.
Romantic Poetry 29, 6 (1991): 342-365.
Marshall, Jane, John A. Smith, and Jack Danvers. Gothic
Imagery. Symbolist Weekly 73 (1971): 88-98.
Marshall, Jane. Metaphor in Milton. Poetry Yesterday 26
(1998). 15 Jan. 1999. Web.
Smith, John. Milton for Politicians. New sw eek 7 Dec. 1980:
50-51.
Marshall, Jane. Life of Milton. The New York Times 10 Feb.
2001: 1, 15.
Smith, John. A political study of Milton. Diss. University
Of Maryland. 1985.
Nichols, Wendalyn. Sensitive Language. Words@Random.
11Jan. Random House.com. Web. 2000.
Guerrero, Donna. La Profesoressa: Trav el in Italy. Geocities.com.
Web. 14 Jan. 2000.
Smith, John. Miltons use of foreign pronunciation. Online posting. 20 Jan. 2000. Milton Society Listserve. Web. 14
Feb. 2000.

E-mail

Marshall, Jane. Miltons language. E-mail to J. Smith, 19

March 2000.
Two or more works by Costello, Elaine. Random House Dictionary of Language. New
York: Random House, 1994.
one author
---. Signing: How to Speak Silently. New York: Bantam, 1995.
Citing an entire website Felluga, Dino. Surv ey of the Literature of England. Purdue U,
Aug. 2006. Web. 31 May 2007.
A tweet

Brokaw, Tom (tombrokaw). SC demonstrated why all the

debates are the engines of this campaign. 22 Jan. 2012, 3:06
a.m. Tweet.

Interview conducted by Purdue, Pete. Personal interview. 1 Dec. 2000.

yourself
Published interview
Gaitskill, Mary. Interview with Charles Bock. Mississippi
Rev iew 27.3 (1999): 129-50. Print.
Speeches

Stein, Bob. Computers and Writing Conference

Presentation. Purdue University. Union Club Hotel, West
Lafayette, IN. 23 May 2003. Keynote Address.

Painting, sculpture,
photograph

Goya, Francisco. The Family of Charles IV. 1800. Museo del

Prado, Madrid.

Film

The Usual Suspects. Dir. Bryan Singer. Perf. Kevin Spacey,

Gabriel Byrne, Chazz Palminteri, Stephen Baldwin, and
Benecio del Toro. Polygram, 1995. Film.

Film on DVD, CD, etc.

Ed Wood. Dir. Tim Burton. Perf. Johnny Depp, Martin

Landau, Sarah Jessica Parker, Patricia Arquette. Touchstone,
1994. DVD.

Digital Files
MP3s, JPEGs)
Video games

(PDFs, Beethoven, Ludwig van. Moonlight Sonata. Crownstar, 2006.

MP3.
Sid Meiers Civ ilization Rev olution. Firaxis Games. Take-Two
Interactive, 2008. Xbox 360.

Citing Sources in the Text

The most common style of reference in MLA is by authors last name and page
number. As a general rule, if the source is mentioned in your sentence, the name is no
longer necessary. All references will refer to the alphabetical list of sources in the
bibliography at the end of the thesis. The following are some of the most common
formats. For further information refer to the MLA Handbook.

Reference source not mentioned in your sentence:

Medieval Europe was a place of raids, pillages as well as markets and fairs
(Townsend 10).
If the entry in your bibliography contains more than one writer with the name
Townsend, provide the writers first initial in your reference (A. Townsend 10). If
they share the same initial, provide the full first name.
If two or three names begin the entry, give the last name of each person listed:
(Townsend, Johnson, Marshall xiii). If more than three: (Townsend et al. 255).

Reference source mentioned or implied in your sentence:

According to Townsend, medieval Europe was a place of raids and pillages

(10).
Others, like Kerrigan and Braden (210-15), disagree.
This point has already been argued (Thomson 122-35).
Only one scholar has seen this relation (Daiches 2: 776-77).

Citing volume and page numbers of a multi volume work:

Separate the two by a colon and a space without using the words volume and
page, or their abbreviations: (Wellek 2: 1-10). If referring to the whole volume:
(Wellek, vol. 2).

Citing a work listed by title:

When referring to a work alphabetized by title in your bibliography, use a
shortened version (if necessary) which precedes the page number(s). Since your list
is alphabetical,
abbreviate the first word of the title.
A New York Times editorial called Ellison a writer of universal reach (Death).
This would refer in your bibliography to: Death of a Writer. Editorial. New York
Times 20 Apr. 1994, late ed.: A18.
The Eighteenth Century was the first great age of the novel (Novel). This
would refer in your bibliography to: Novel. The Encyclopedia Americana. 1993 ed.

Citing two or more works by the same author:

Put a comma after the author's name and add the title of the work or a shortened
version: (Frye, Double Vision 85). If the name is mentioned in your text: (Double
Vision 85). If the name and title are mentioned in your text: (85).

Citing literary works:

Sometimes you need to provide more than page numbers (parts, chapters,
sections, scenes, etc.) to help the reader locate your reference. In these cases, give
the page number first, add a semicolon, and then give other identifying
information, using appropriate abbreviations: (130; ch. 9), (271; bk. 4, ch. 2).
A reference to a play would follow act, scene, line order: (3. 2. 633-34).

Citing more than one work in a single parenthetical reference

Cite each work normally and separate them with semicolons: (Kaku 42; McRae
101-22).

Using notes with parenthetical documentation:

Two kinds of notes may be used, either as footnotes or endnotes.
(1) Content notes offering the reader comment, explanation, or information that
the text cannot accommodate.
(2) Bibliographic notes containing either several sources or evaluative comments
on sources.

Punctuation Rules: When you give a parenthetical reference for short quotations
(quotations within the text in double quotations) your parenthesis comes after the
ending double quotation mark and before the ending period. In "block
quotations," the parenthetical reference comes after the ending period.

You should always state the book or the article you have read yourself. Citing an
article which was itself cited in a secondary text is not acceptatble. In these cases
you add the phrase "Cited in ___" to the Citation format already explained in this
handout.

Plagiarism
If you use any idea or even a single phrase that does not belong to you in your thesis
and is not acknowledged in the form of giving the reference, this is considered as an
act of plagiarism. To plagiarize means:
-

to steal and pass off (the ideas or words of another) as ones own
to use (anothers production) without crediting the source
to commit literary theft
to present as new and original an idea or product derived from an existing
source.

FORMS OF PLAGAIRISM (UNIVERSITY OF NORTH CAROLINA)

1. Direct Plagiarism
Material
From: Ekman, Paul, Wallace V. Friesen, and Phoebe Ellsworth. Emotion in the Human
Face: Guidelines for Research and an Integration of Findings. New York: Pergamon, 1972.
Print.
Page 1: The human face in repose and in movement, at
the moment of death as in life, in silence and in speech,
when alone and with others, when seen or sensed from
within, in actuality or as represented in art or recorded
by the camera is a commanding, complicated, and at
times confusing source of information. The face is
commanding because of its very visibility and
omnipresence. While sounds and speech are intermittent,
the face even in repose can be informative. And, except
by veils or masks, the face cannot be hidden from view.
There is no facial maneuver equivalent to putting one's
hands in one's pockets. Further, the face is the location
for sensory inputs, life-necessary intake, and
communicative output. The face is the site for the sense
receptors of taste, smell, sight, and hearing, the intake
organs for food, water, and air, and the output location
for speech. The face is also commanding because of its
role in early development; it is prior to language in the
communication between parent and child.
Misuse of Source
(italicized passages indicate direct plagiarism):
Many experts agree that the human face, whether in repose or in mov ement, is a
commanding, complicated, and sometimes confusing source of information. The face is
commanding because it's v isible and omnipresent. Although sounds and speech may be
intermittent, the face ev en in repose may give information. And, except by v eils or masks, the

face cannot be hidden. Also, the face is the location for sensory inputs, life-supporting intake, and
communication.
Comment
The plagiarized passage is an almost verbatim copy of the original source. The writer
has compressed the author's opinions into fewer sentences by omitting several phrases
and sentences. But this compression does not disguise the writer's reliance on this text
for the concepts he passes off as his own. The writer tries to disguise his indebtedness
by beginning with the phrase "Many experts agree that. . . . " This reference to "many
experts" makes it appear that the writer was somehow acknowledging the work of
scholars "too numerous to mention." The plagiarized passage makes several subtle
changes in language (e.g., it changes "visibility and omnipresence" to "it's visible and
omnipresent"). The writer has made the language seem more informal in keeping with
his own writing style. He ignores any embellishments or additional information given
in the source-passage. He contents himself with borrowing the sentence about how only
masks and veils can hide the face, without using the follow-up elaboration about there
not being a "facial equivalent to putting one's hands in one's pockets." He also reduces
the source's list of the face's diverse activities at the end of the paragraph. Had the
writer enclosed the borrowed material in quotation marks and credited the authors of
the Emotions book with a parenthetical citation, this would have been a legitimate use
of a source.
2. The Mosaic
Source
From: Fishman, Joshua. Language in Sociocultural Change. Stanford: Stanford University
Press, 1972. Print.
Page 67: In a relatively open and fluid society there will
be few characteristics of lower-class speech that are not
also present (albeit to a lesser extent) in the speech of the
working and lower middle classes. Whether we look to
phonological features such as those examined by Labov
or to morphological units such as those reported by
Fischer (1958) (Fischer studied the variation between -in'
and -ing for the present participle ending, i.e. runnin' vs.
running and found that the former realization was more
common when children were talking to each other than
when they were talking to him, more common among
boys than girls, and more common among "typical boys"
than among "model boys"), we find not a clear-cut
cleavage between the social classes but a difference in rate
of realization of particular variants of particular
variables for particular contexts. Even the widely
publicized distinction between the "restricted code" of
lower-class speakers and the "elaborate code" of middleclass speakers (Bernstein 1964, 1966) is of this type, since
Bernstein includes the cocktail party and the religious
service among the social situations in which restricted
codes are realized. Thus, even in the somewhat more
stratified British setting, the middle class is found to
share some of the features of what is considered to be
"typically" lower-class speech. Obviously then,
"typicality," if it has any meaning at all in relatively open

societies, must refer largely to repertoire range rather

than to unique features of the repertoire.
Misuse of Source
(italicized passages indicate direct plagiarism):
In a relativ ely fluid society many characteristics of lower-class speech will also be found
among the working and lower middle classes. Labov and Fischer's studies show that
there is not a clear-cut cleav age betw een social classes but only a difference in the frequency of
certain speech modes. All classes share certain speech patterns. The difference among
classes would only be apparent by the frequency with which speech expressions or
patterns appeared. By this standard, then, Bernstein's distinction between the "restricted
code" of the lower-class speakers and the "elaborated code" of middle-class speakers is
useful only up to a point, since Bernstein mentions cocktail parties and religious
services as examples of "restricted speech" groupings. "Typicality" refers more to speech
"range" than to particular speech features.
Comment
While this passage contains relatively few direct borrowings from the original source,
all its ideas and opinions are lifted from it. The writer hides her dependency on the
source by translating its academic terms into more credible language for a novice in
sociology.
3. Paraphrase
Source : The Sun Also Rises by Ernest Hemingw ay. Cliffs Notes, n.d. Web. 4 August 2010.
If the old traditional values are no good anymore, if they
will not serve man, what values then will serve man?
Hemingway rejects things of abstract qualities courage,
loyalty, honesty, bravery. These are all just words. What
Hemingway would prefer to have are concrete things.
For Hemingway a man can be courageous in battle on
Tuesday morning at 10 o'clock. But this does not mean
that he will be courageous on Wednesday morning at 9
o'clock. A single act of courage does not mean that a
man is by nature courageous. Or a man who has been
courageous in war might not be courageous in some civil
affair or in some other human endeavor. What
Hemingway is searching for are absolute values, which
will be the same, which will be constant at every moment
of every day and every day of every week.
Ultimately, therefore, for Hemingway the only value that
will serve man is an innate faculty of self-discipline. This
is a value that grows out of man's essential being, in his
inner nature. If a man has discipline to face one thing
on one day he will still possess that same degree of
discipline on another day and in another situation. Thus
Francis Macomber in the short story "The Short, Happy
Life of Francis Macomber," has faced a charging animal,
and once he has had the resolution to stand and
confront this charging beast, he has developed within
himself a discipline that will serve him in all situations.
This control can function in almost any way in a
Hemingway work.

Misuse of Source:
Hemingway tries to discover the values in life that will best serve man. Since
Hemingway has rejected traditional values, he himself establishes a kind of "code" for
his heroes. This code is better seen than spoken of. The Hemingway hero doesn't speak
of abstract qualities like courage and honesty. He lives them. But this living of values
entails continual performance the Hemingway hero is always having his values put to
the test.
How can the hero be up to this continual test? Hemingway stresses the faculty of
self-discipline as the backbone of all other virtues. Self-discipline places man's good
qualities on a continuum. The dramatic change in Francis Macomber in "The Short,
Happy Life of Francis Macomber" stems more from his new-found self-control than
from any accidental combination of traits.
Comment
This illustrates plagiarism since the writer used the notion of the "Hemingway code
hero" presented in Cliffs Notes as the sole basis for his own essay. He has absorbed his
source's concepts, re-phrased them, and, perhaps, made them simpler. But there is a
one-to-one relationship between the development of ideas in the Cliffs Notes and the
plagiarists rendition.
4. Insufficient Acknowledgement
Source: Laven, Peter. Renaissance Italy: 1464-1534. New York: Capricorn, 1964. Print.
The tenacious particularism of the Italian state gave rise
to a wide variety of constitutional solutions and class
structures throughout Italy. Even conquered territories
and those swallowed up by bigger neighboring powers
often managed to retain much of their internal
organization as it had been. If power changed hands, the
instruments and forms of power usually remained the
same. Since the economic needs of such territories did
not suddenly alter with a change of government or
master, those classes which had been important before
the change tended to continue to be important
afterwards as well. Only when the nature of the change
was economic and social might there have been a reversal
in the relationships of classes; but even in this there was
no sudden revolution in the structure of classes.
Misuse of Source:
In his comprehensive study, Renaissance Italy, Peter Laven discusses the peculiar
organization of Renaissance city-states: The tenacious particularism of the Italian
states gave rise to a wide variety of constitutional solutions and class structures
throughout Italy. Even conquered territories and those swallowed up by bigger
neighboring powers often managed to retain much of their internal organization as it
had been(130). This means that if power changed hands, the instruments and forms of
power usually remained the same. Since the economic needs of such territories did not
suddenly alter with a change of government or master, those classes which had been
important before the change tended to continue to be important afterwards as well.
Only when the nature of the change was economic and social might there have been a
reversal in the relationships of classes; but even in this there was no sudden revolution
in the structure of classes.

Comment
This half-crediting of a source is a common form of plagiarism. It stems either from a
desire to credit one's source and copy it too, or from ignorance as to where to footnote.
The general rule is to footnote after rather than before your resource material. In this
case, the plagiarist credits historian Peter Laven with two quoted sentences and then
continues using the author without giving acknowledgement. The writer disguises the
direct plagiarism as a paraphrase by using the falsely-explanatory phrase "This means
that ..." in the third sentence. This example of plagiarism is especially reprehensible
because the writer seemingly acknowledges his source--but not enough.
FORMS OF PLAGAIRISM (NORTH WESTERN UNIVERSITY)
Common Forms of Plagiarism
- Downloading an assignment from an online source and submitting it as your
own work.
- Buying, stealing or borrowing an assignment and submitting it as your own
work.
- Copying a section of a book or an article and submitting it as your own
work.
- Copying, cutting and pasting text from an electronic source and submitting it as
your own work.
- Using the words of someone else and presenting them as your own.
- Using significant ideas from someone else and presenting them as your own.
- Copying the written expressions of someone else without proper
acknowledgement.
- Relying too much on other people's material
Avoid repeated use of long quotations. Too many direct quotations (even with
quotation marks and with proper acknowledgement) result in your sources
speaking for you, meaning your own contribution is minimal. Use your own
words more and rely less on quotations.
FORMS OF PLAIGARISM (PLAGARISM.ORG)
Sources Not Cited
1.The Ghost Writer
The writer turns in anothers work, word-for-word, as his or her own.
2.The Photocopy
The writer copies significant portions of text straight from a single
source, without alteration.
3.The Potluck Paper
The writer tries to disguise plagiarism by copying from several different
sources, tweaking the sentences to make them fit together while
retaining most of the original phrasing.
4.The Poor Disguise
Although the writer has retained the essential content of the source, he
or she has altered the paper's appearance slightly by changing key words
and phrases.
5.The Labor of Laziness
The writer takes the time to paraphrase most of the paper from other
sources and make it all fit together, instead of spending the same effort
on original work.
6.The Self-Stealer
The writer Borrows generously from his or her previous work,
violating policies concerning the expectation of originality adopted by
most academic institutions.

Sources Cited (But Still Plagiarized)

1.The Forgotten Footnote
The writer mentions an author's name for a source, but neglects to
include specific information on the location of the material referenced.
This often masks other forms of plagiarism by obscuring source
locations.
2.The Misinformer
The writer provides inaccurate information regarding the sources,
making it impossible to find them.
3.The Too-Perfect Paraphrase
The writer properly cites a source, but neglects to put in quotation
marks text that has been copied word-for-word, or close to it. Although
attributing the basic ideas to the source, the writer is falsely claiming
original presentation and interpretation of the information.
4.The Resourceful Citer
The writer properly cites all sources, paraphrasing and using quotations
appropriately. The catch? The paper contains almost no original work!
It is sometimes difficult to spot this form of plagiarism because it looks
like any other well-researched document.
5.The Perfect Crime
Well, we all know it doesnt exist. In this case, the writer properly quotes
and cites sources in some places, but goes on to paraphrase other
arguments from those sources without citation. This way, the writer tries
to pass off the paraphrased material as his or her own analysis of the
cited material.
Page Format
Indent the first word of a paragraph 0.64 cm.
Indent quotations one cm from the left margin. See Quotations
Double-space all lines in the text, except the block quotations (space 1.5, font 11).
Number all pages of the manuscript in the upper right-hand corner, with a margin
of 4 cm from the right and 2 cm from the top.
Sentences
Avoid using too short or too long sentences.
Avoid using we (referring to the researcher) or you (referring to the reader) in
your thesis. Some research guides suggest that students do not refer to themselves
as I in their thesis. They suggest that researchers use either passive form or use
terms like the researcher or the thesis.
Do not use contracted forms such as Im, cant, dont, doesnt. Negative form of
can is spelled cannot.
Paragraphs
A paragraph is supposed to be about one subject. It usually includes a topic
sentence, supporting sentences, and concluding sentences. A paragraph cannot
consist of only one or two sentences.
Indentation

All paragraphs should be indented with no extra space between paragraphs. The
only exceptions are the first paragraphs of a chapter and the first paragraphs after
the sub-headings.

The Design of a Thesis

Each chapter should start with about two paragraphs for introduction (what you
intend to argue in the chapter) and end with about two paragraphs for
conclusion (what you have already argued in the chapter).
All chapters should contain sub-headings that divide the main argument of the
chapter into smaller units.
All book titles in your dissertation come in italics (e.g. Brav e New World) and the
article titles come within double quotations (e.g. The Literature of Exhaustion).
Short story titles and poem titles should be placed in double quotation marks and
drama titles come in italics. Long poems (e.g. The Waste Land or Paradise Lost) come
in italics.
Your main chapters (analysis chapters) should have equal importance, focus,
relevance and significance to your thesis sentence.
Start the first paragraph of each chapter from the middle of the page.
The text in a thesis should be printed in justified manner.
Word Processing
Do not save all your chapters in one computer file. Create separate files for each
chapter.
Always keep an updated copy of your files both on the hard disc of the computer
and on a floppy disc or CD as well.

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.

The Order of Sections in a Thesis

Cover
See Sample Sheet 1
Title-Page
See Sample Sheet 1
In the Name of God
Dedication
Acknowledgments
Abstract
Table of Contents
See Sample Sheet 4
Introduction
See Sample Sheet 5
Main Chapters
Conclusion
Appendices (pictures, literary texts, interviews, etc.) (if applicable)
Bibliography
See Sample Sheet 6
Thesis Information Sheet and Abstract (Persian)
See Sample Sheet 7
Title-Page (Persian)
See Sample Sheet 2
Cover (Persian)
See Sample Sheet 2

Sample Sheet 1
In the Name of God

Shahid Beheshti University

Faculty of Letters and Humanities
Department of English
A Thesis
Submitted in the Partial Fulfillment of the Requirements
for the Degree of M.A. in English Literature

Title
.
..

By:

Thesis Supervisor: .
Thesis Reader : ...

Tehran, Iran
Month Year

Sample Sheet 2

..

................................. :

................................. :

............... :

Sample Sheet 3

TABLE OF CONTENTS

Abstract

Acknowledgements

Chapter One
Introduction

1.1 General Background

1.2 The Argument
1.3 Literature Rev iew
11
1.4 Thesis Outline
1.5 Approach and Methodology
1.6 Definition of Terms

4
8

15
17
19

Chapter Two
The Crisis of Representation

22

2.1 The Redefinition of Representation

2.2 Spatialization of Time in Modernism
2.3 The Tension of Time/Space Domination in Postmodernism

24
32
40

Chapter Three
Space in Postmodern Narrative

48
49

3.1 Labyrinthine Spaces

3.2 Simulated Spaces
3.3 Dislocated Spaces

54
61

Chapter Four
Time in Postmodern Narrative

66
68
76

4.1 The Representation of History

4.2 Phenomenological Time

Chapter Five
Conclusion

5.1 Summing Up
5.2 Findings and Implications
5.3 Suggestions for Further Research

Bibliography

84

85
91
95
98

Sample Sheet 4

CHAPTER ONE
Introduction

The central value system, to which

capitalism has always appealed to validate
and gauge its actions, is dematerialized and
shifting, time horizons are collapsing, and
it is hard to tell exactly what space we are in
when it comes to assessing causes and
effects, meanings or values. (Harvey 235)

Space and time as two fundamental dimensions of an individuals experience have been
of great significance throughout the ages. They are indeed central to our every day
conceptions of ourselves and of reality. Since space and time deal with the integral
aspects of art and literature, such as representation, perception, experience, and history,
they are particularly central to the understanding of the literary atmosphere of the
twentieth century. This chapter, by concentrating on the distinguishing line between
modernism and postmodernism, examines the representational strategies with regard to
space and time in postmodern narrative.

Philosophical and Scientific Background

Since the nature of space and time was under scrutiny from the very early years of

Sample Sheet 5
conclude that, for Ortega y Gasset, metaphors are used in art not because they are
going to represent reality in a more effective way. Instead, they take the place of reality
and objectify art. In other words, man in a world surrounded by fear,
incomprehensibility and chaos replaces reality with metaphor (Gasset 34).

Spatialization
Kant was perhaps the first philosopher who declared that representation is
spatialization. For him, in order to represent time we have to spatialize it. In his
Critique of Pure Reason, Kant writes: Time has to do neither with shape nor position,
but with the relation of representations to our inner state. Then, he adds that for the
very same reason that time is interior and shapeless, we cannot represent it without
spatial analogies (123).
Heidegger took a further step and declared that the very process of
representation is metaphorizing or spatializing the temporal existence of things
(Dasein). William Spanos, based on Heideggers ideas, believes that representation
domesticates temporality (Spanos 45). He writes:
The reification and domestication of temporal existence since Descartes, according to
Heidegger, take the form of representation (Vorstellung): the placing of the Ob-jectum before
or in front of the subject. In thus object-ifying the Seinenden (the existents or things-assuch), in thus replacing them in front of the subjects eyes as objective presence whose
relationship to the subject is determined in advance by the subject, the strategy of representation transforms time into picture, immobilizes be-ing and renders its differential
and emergent force safe and utterly manageable. (Spanos 46)

Therefore, the spatialized world of modernism deceptively helps us to find our way
through the indeterminacy of temporality. It patterns temporality into a familiar shape.

Sample Sheet 6
BIBLIOGRAPHY

Barth, John. The Literature of Exhaustion. The Nov el Today. Ed. Malcolm Bradbury.
London: Fontana Press, 1990: 71-86.
Barthes, Roland. The Semiotic Challenge. Trans. Richard Howard. Oxford: Basil
Blackwell, 1988.
Bassnett, Susan. Translation Studies, Revised Edition. London & New York:
Routledge, 1991.
Beja, Morris. Film and Literature: An Introduction. London: Longman, 1979.
Bloom, Harold et al. Deconstruction and Criticism. London and Henley: Routledge &
Kegan Paul, 1979.
Borges, Jorge Luis. Labyrinths. Eds. Donald A. Yates and James E. Irby. New York: New
Directions, 1964.
Boundas, Constantin V. and Dorothea Olkowski, eds., Gilles Deleuze and the Theater
of Philosophy. New York & London: Routledge, 1994.
Breslin, James E. B. From Modern to Contemporary: American Poetry 1945-1965. Chicago:
University of Chicago Press, 1984.
Buttgieg, Joseph A. Worringer among the Modernists. The Question of Textuality. Eds.
William V. Spanos, Paul A. Bove, and Daniel OHara. Bloomington: Indiana
University Press, 1982: 359-365.
Foucault, Michel. Questions on Geography. Pow er / Know ledge: Selected Interv iew s and
Other Writings 1972-1977. Sussex: The Harvester Press, 1980: 63-77.
Foucault, Michel. Space, Knowledge, and Power. The Foucault Reader. Ed. Paul
Rabinow. London: Penguin Books, 1984: 239-256.
Heffernan, James A. W. Space and Time in Literature and the Visual Arts. Soundings
70, 1-2 (Spring-Summer 1987): 95-119.
Kaufmann, David. Adorno and the Name of God. Flashpint: A Multidisciplinary
Journal in the Arts and Politics 1 (Summer 1997). 2 Dec. 1998
<http://webdelsol.com/FLASHPOINT/adorno.htm>
Masuzawa, Tomoko. The Haunted House of Meaning: Tradition, or the
Management of the Sacred Past in Durkheim, Habermas, Benjamin. Diss.
University of California. 1985.