Chicago
(UK
and
Ireland)



This
is
a
footnoting
style.
Use
Microsoft
word
or
comparable
software
package
to

insert
notes.
Go
to
‘Insert’,
‘Footnote’
and
use
Arabic
(1,
2,
3)
numerals
not

Roman
numerals.



Using
quotations

• Use
single
quotation
marks
to
indicate
direct
quotations
and
the

definition
of
words

• In
quoted
passages
follow
the
original
spelling,
punctuation
etc.

• Short
quotations
(less
than
40
words)
should
be
enclosed
in
single

quotation
marks
(‘…’)
and
be
part
of
the
main
text

• Longer
quotations
should
start
on
a
separate
line,
with
no
quotation

marks,
and
indented
throughout.
Do
not
italicize
quotations.

• Double
quotation
marks
(“…”)
are
used
for
a
quote
within
a
quote



Referencing
films
and
actors

• On
the
first
occasion
that
you
mention
a
film,
you
ought
to
include
the

director
and
date,
ie:
The
Quiet
Man
(John
Ford,
1952).
Film
titles
should

always
be
in
italics
as
in
this
example.



Paraphrasing

• This
is
when
you
take
another
author’s
ideas
and
put
them
into
your
own

words.

You
are
still
copying
someone
else’s
work,
so
you
must
reference

it.

You
do
not
need
to
use
inverted
commas
when
you
paraphrase,
but

you
must
clearly
show
the
reader
the
original
source
of
your
information.

You
must
be
very
careful
to
indicate
when
your
indirect
quotation
starts.

Paragraphs
with
references
at
the
end
are
often
unclear
as
the
reader
is

left
to
guess
which
section
of
the
paragraph
is
the
student’s
work
and

which
is
an
indirect
reference.



Referencing
­
A
guide
to
using
the
Footnotes
system

Footnotes
are
notes
relating
to
the
text
and
placed
at
the
foot
of
a
page.
They
are

used
for
documentation
and
citation
of
relevant
sources.
Sometimes
they
are

collected
together
at
the
end
of
a
chapter,
or
at
the
end
of
the
whole
work,
in

these
cases
they
are
then
often
referred
to
as
Endnotes.
Students
may
choose

between
using
footnotes
and
endnotes.



Footnotes
should
be
used:

• whenever
you
quote
directly

• to
develop
an
idea
or
expand
a
quotation
where
to
do
so
in
the
text
would

really
disturb
the
balance
of
the
current
argument

• to
refer
the
reader
to
another
part
of
the
text,
ie.
to
make
cross
references

• to
state
a
source,
especially
of
statistical
material

• to
acknowledge
a
borrowing.



Guidelines
for
using
footnotes



 1

 • Reference
numbers
should
normally
be
in
superscript
(appearing
above

the
line
of
text)
and
without
punctuation.
e.g.
26;
however,
if
necessary,

they
can
also
be
shown
in
brackets
e.g.
(26).

• Notes
should
be
numbered
consecutively
(1,
2,
3
…)
throughout
the
text.

• Reference
numbers
should
be
placed
at
the
end
of
sentences,
alternatively

they
can
be
places
at
a
break
in
the
sentence
if
there
will
be
more
than

one
note.

• Reference
numbers
should
be
placed
at
the
end
of
quotes
(not
following

the
author’s
name).

• Notes
should
not
duplicate
information
already
made
clear
in
the
text.

• Though
students
may
choose
whether
to
use
footnotes
or
endnotes,
they

should
not
use
a
combination
of
both.

• Reference
numbers
should
not
be
repeated
when
referring
to
a
source

cited
previously.
Always
use
a
new
reference
number
in
such
cases.

• Taylor
&
Francis
Reference
Style
L

How
to
cite
references
in
your
text.



The
most
common
short
form
consists
of
the
last
name
of
the
author
and

the
main
title
of
the
work
cited,
usually
shortened
if
more
than
four

words,
as
in
examples
4–6
below.

1.
Samuel
A.
Morley,
Poverty
and
Inequality
in
Latin
America:
The
Impact

of
Adjustment
and
Recovery
(Baltimore:
Johns
Hopkins
University
Press,

1995),
24‐5.

2.
Regina
M.
Schwartz,
‘Nationals
and
Nationalism:
Adultery
in
the
House

of
David’,
Critical
Inquiry
19,
no.
1
(1992):
131–2.

3.
Ernest
Kaiser,
‘The
Literature
of
Harlem’,
in
Harlem:
A
Community
in

Transition,
ed.
J.H.
Clarke
(New
York:
Citadel
Press,
1964).

4.
Morley,
Poverty
and
Inequality,
43.

5.
Schwartz,
‘Nationals
and
Nationalism’,
138.

6.
Kaiser,
‘Literature
of
Harlem’,
189,
140.



One
author

1.
Salman
Rushdie,
The
Ground
beneath
Her
Feet
(New
York:
Henry
Holt,

1999).

2.
Roger
Martin
du
Gard,
Lieutenant­Colonel
de
Maumort,
trans.
Luc

Brébion
and
Timothy
Crouse
(New
York:
Alfred
A.
Knopf,
2000).

Two
authors

2.
Kurt
Johnson
and
Steve
Coates,
Nabokov’s
Blues:
The
Scientific
Odyssey

of
a
Literary
Genius
(Cambridge,
MA:
Zoland
Books,
1999).

6.
Guy
Cowlishaw
and
Robin
Dunbar,
Primate
Conservation
Biology

(Chicago:
University
of
Chicago
Press,
2000),
104–7.

When
both
authors
have
the
same
family
name,
the
name
is
repeated.

3.
Milton
Friedman
and
Rose
Friedman,
Two
Lucky
People:
Memoirs

(Chicago:
University
of
Chicago
Press,
1998).

More
than
three
authors

4.
Jeri
A.
Sechzer
and
others,
eds.,
Women
and
Mental
Health
(Baltimore:

Johns
Hopkins
University
Press,
1996),
243.

7.
Sechzer
and
others,
Women
and
Mental
Health,
276.

13.
Edward
O.
Laumann
et
al.,
The
Social
Organization
of
Sexuality:
Sexual



 2

 Practices
in
the
United
States
(Chicago:
University
of
Chicago
Press,
1994),

262.

Edited
book

3.
Philip
B.
Kurland
and
Ralph
Lerner,
eds.,
The
Founders’
Constitution

(Chicago:
University
of
Chicago
Press,
2000),
216.

Editor,
compiler
or
translator
in
place
of
author

3.
Ori
Z.
Soltes,
ed.,
Georgia:
Art
and
Civilization
through
the
Ages
(London:

Philip
Wilson,
1999),
280.

4.
Theodore
Silverstein,
trans.,
Sir
Gawain
and
the
Green
Knight
(Chicago:

University
of
Chicago
Press,
1974),
34.

5.
Soltes,
Georgia,
285;
Silverstein,
Sir
Gawain,
38.

4.
Richmond
Lattimore,
trans.,
The
Iliad
of
Homer
(Chicago:
University
of

Chicago
Press,
1951),
91–2.

Chapter
in
single­author
book

1.
Brendan
Phibbs,
‘Herrlisheim:
Diary
of
a
Battle’,
in
The
Other
Side
of

Time:
A
Combat
Surgeon
in
World
War
II
(Boston:
Little,
Brown,
1987),

117–63.

Chapter
in
multi­author
book

3.
Anne
Carr
and
Douglas
J.
Schuurman,
‘Religion
and
Feminism:
A

Reformist
Christian
Analysis’,
in
Religion,
Feminism,
and
the
Family,
ed.

Anne
Carr
and
Mary
Stewart
Van
Leeuwen
(Louisville,
KY:
Westminster

John
Knox
Press,
1996),
11–32.

Journal
and
newspaper
articles.

8.
John
Maynard
Smith,
‘The
Origin
of
Altruism’,
Nature
393
(1998):
639.

10.
William
S.
Niederkorn,
‘A
Scholar
Recants
on
His
‘Shakespeare’

Discovery’,
New
York
Times,
June
20,
2002,
Arts
section,
Midwest
edition.

Online
multimedia

In
addition
to
the
regular
author
information,
include
a
URL
and
an
access

date.


3.
Richard
W.
Stoffle,
Lawrence
Loendorf,
Diane
E.
Austin,
David
B.
Halmo,

and
Angelita
Bulletts,
‘Ghost
Dancing
the
Grand
Canyon’,
Current

Anthropology
41,
no.
1
(2000),

http://www.journals.uchicago.edu/CA/journal/issues/v41n1/001001/0
01001.html
(accessed
August
14,
2001).

1.
Alison
Mitchell
and
Frank
Bruni,
‘Scars
Still
Raw,
Bush
Clashes
with

McCain’,
New
York
Times,
March
25,
2001,

http://www.nytimes.com/2001/03/25/politics/25MCCA.html
(accessed

January
2,
2002).





Use
of
Ibid.

• The
abbreviation
ibid.
(from
ibidem,
‘in
the
same
place’)
refers
to
a
single

work
cited
in
the
note
immediately
preceding.
It
must
never
be
used
if
the

preceding
note
contains
more
than
one
citation.
It
takes
the
place
of
the

name(s)
of
the
author(s)
or
editor(s),
the
title
of
the
work,
and
as
much
of

the
succeeding
material
as
is
identical.
If
the
entire
reference,
including

page
numbers
or
other
particulars,
is
identical,
the
word
ibid.
alone
is

used.
The
word
ibid.
is
set
in
roman
and
followed
by
a
full
stop.





 3

 5.
Farmwinkle,
Humor
of
the
Midwest,
241.

6.
Ibid.,
258–9.


References:



At
the
end
of
your
essay,
you
should
include
a
list
of
references.
These
should

reflect
your
footnotes.
Do
not
include
books
you
have
not
referenced.



Book:

Brown,
Jacqueline
Nassy.
Dropping
Anchor,
Setting
Sail:
Geographies
of
Race
in

Black
Liverpool.
Princeton,
NJ:
Princeton
University
Press,
2005.

Book
(two
authors)

Stam,
Robert
and
Alessandra
Raengo.
Literature
and
Film:
A
Guide
to
the
Theory

and
Practice
of
Film
Adaptation.
Oxford:
Blackwell,
2005.

Chapter
in
Book:

Boyce,
Frank.
‘From
Victorian
“Little
Ireland”
to
heritage
trail:
Catholicism,

community
and
change
in
Liverpool’s
docklands’.

In
The
Irish
in
Victorian

Britain:
the
Local
Dimension,
ed.
Roger
Swift
and
Sheridan
Gilley,
277‐97.


Dublin:
Four
Courts,
1999.


Journal,
magazine
article:

Hurst,
Brian
Desmond.
‘The
world’s
only
new
art
form’,
Kinematograph
Weekly,

17
December
1936,
4.

Creeber,
Glen.
‘Old
Sleuth
or
New
Man?
Investigations
into
rape,
murder
and

masculinity
in
Cracker
(1993–1996)’.
Continuum:
Journal
of
Media
&

Cultural
Studies,
Vol.
16,
No.
2
(2002):
169‐183.

On­line
source:

Goldman,
Lea
and
Kiri
Blakeley.
‘The
20
Richest
Women
in
Entertainment’.

Forbes.
http://www.forbes.com/2007/01/17/richest‐women‐
entertainment‐tech‐media‐
cz_lg_richwomen07_0118womenstars_lander.html
(accessed
Jan
7,
2010).





Fore
more
detailed
guides
to
referencing,
please
consult
the
MHRA
Handbook,

online
or
in
the
TCD
library.





 4