Lastname, Firstname, ‘Article Title’, Journal Title, Volume.Issue (Year), x-xx [accessed day month year] Bibliography format: Lastname, Firstname of poet, ‘Poem Title’, in Collection Title, ed. by Firstname Lastname of editor (Place of publication: Publisher, Year), p. x OR pp. x-xx

Footnote example: Arthur Cotterell, ‘Persephone’, in A Dictionary of World Mythology(2003) < https://www-oxfordreference-com.oxfordbrookes.idm.oclc.org/view/10.1093/acref/9780192177476.001.0001/acref-9780192177476-e-263> [accessed 24 October 2023]. Footnote format: Firstname Lastname of photographer, Title of Photograph, Year, photograph, location details [accessed day month year]. In a sense, this slant towards today is all well and good; I like plenty of contemporary or recent poets. (Truth be told, most of my favorite poets are 20th century.) But, as I read the Norton, I still constantly found myself thinking of Orwell’s Confessions of a Book Reviewer, in which he writes “if one says [...] that King Lear is a good play and The Four Just Men is a good thriller, what meaning is there in the word ‘good’.” In this spirit, what is a reader supposed to take away from this selection? Kelen, Sarah A. (December 2004). "Which Middle Ages? Literature Anthologies and Critical Ideologies". Literature Compass. 1 (1): **. doi: 10.1111/j.1741-4113.2004.00030.x.

Sylvia Plath, ‘Daddy’, in The Norton Anthology of Poetry, ed. by Margaret Ferguson, Mary Jo Salter, and Jon Stallworthy, 5th edn (London: W. W. Norton, 2005), pp. 1840-42 (p.1840), ll. 2-4. Footnote example: James Northcote, Othello, The Moor of Venice, 1826, oil on canvas, Manchester Art Gallery, UK.

Bibliography example: Macrae, Andrea, ‘Introduction to World Literature’, ENGL4004 World Literature, recorded lecture, Oxford Brookes University, 21 September 2020, [accessed 26 October 2020] Bibliography format: Lastname, Firstname, ‘Entry Title’, in Book Title, ed. by Firstname Lastname (Year) [accessed day month year]. Lastname, Firstname, Book Title, trans. by Firstname Lastname (Place of publication: Publisher, Year) Bibliography example: Miller, Kei, ‘Place Name: Oracabessa’, The Poetry Society (2015) [accessed 8 April 2021]Well, if that was the way it was fifteen years ago, think how that will be reinforced by the scrutiny of the classroom by those who think of it as a factory. Or by those who know nothing of teaching, like the US Secretary of Education, Arne Duncan, who only taught for two years--gym. Your production line's doing WHAT? Song prosody? Where will the standardized test examine that? Tim Kendall (D. Phil. Oxford University) is Professor of English at the University of Exeter. He is author of The Art of Robert Frost (2012) and has edited The Oxford Handbook of British and Irish War Poetry (2007), and Poetry of the First World War: An Anthology (2013), among other works. Kendall also served as producer for the BBC2 documentary Sylvia Plath: Life Inside the Bell Jar. He is currently working on an anthology of Second World War poetry, Poetry of the Second World War. Bibliography format:Lastname, Firstname, Book Title, ed. by Firstname Lastname (Place of publication: Publisher, Year) Well, this is certainly the longest book I've ever read in my entire life-time. It took me maybe a month or so to read, but boy was that a busy month, and one in which I had the luxury to devote nearly all my time to this book. That's right, roughly eight hours a day for 30 or so days.

The 1970s saw the emergence of The Oxford Anthology of English Literature; its editorial team included leading scholars Harold Bloom, Frank Kermode, and Lionel Trilling. It was discontinued. Bloom, a former student of Abrams', noted: "We were defeated in battle." [1] Next edition, they were all cut. And I dumped the anthology. Evidently, all the freshman lit-comp teachers in the country were pretty used to doing what they did, could not use the wonderful innovations. You'd think frosh comp would be generally staffed by the younger and more flexible teachers, but perhaps when you include all the adjunct and experienced teachers who missed tenure, you have a group of fairly careful people unwilling to take risks. Further references to the Harry Potter books as a collection will be referred to as ' Harry Potter series (1997-2007)'. The name of the editor or translator follows the title, as in the examples (right). For editors, use the format 'ed. by'; for translators, use the format 'trans. by'.Bibliography example: Kafka, Franz, Metamorphosis and Other Stories, trans. by Michael Hofmann (London: Penguin, 2007), Kindle ebook Saupe, Karen (2001). "Roundtable: Norton and Longman Travel Separate Roads". Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture. 1: 201–207. doi: 10.1215/15314200-1-1-201. S2CID 36011929. Another option was the "Major Authors" edition. Compressed into the single volume was a selection of major authors of each period, from the anonymous author of Beowulf to J. M. Coetzee. [ citation needed] 9th edition [ edit ] Footnote example: Andrea Macrae, ‘Introduction to World Literature’, ENGL4004 World Literature, recorded lecture, Oxford Brookes University, 21 September 2020, 19:30, [accessed 26 October 2020]. The third edition of the Norton Anthology of Poetry, published in 1983, was my mother’s when she was studying English. It was also one of the first anthologies of poetry I read in English, when I was maybe five or so (I don’t remember the exact year, but I was definitely in the single digits). I’d definitely credit this anthology with being instrumental in my appreciation for good poetry, particularly because—as an academic text—it showed me how good poetry can do things to you.

Margaret Ferguson (Ph.D. Yale) is Professor of English and Comparative Literature at the University of California-Davis. She is the author of Dido's Daughters: Literacy, Gender, and Empire in Early Modern England and France (2003) and Trials of Desire: Renaissance Defenses of Poetry (1984). Ferguson is coeditor of Feminism in Time; Women, Property, and the Letters of the Law; Literacies in Early Modern England; and a critical edition of Elizabeth Cary's Tragedy of Mariam. Professor Ferguson has served as president of the Modern Language Association and is a member of the American Academy of Arts and Sciences. Tim Kendall (D. Phil. Oxford University) is Professor of English at the University of Exeter. He is author of The Art of Robert Frost (2012) and has edited The Oxford Handbook of British and Irish War Poetry (2007), and Poetry of the First World War: An Anthology (2013), among other works. Kendall also served as producer for the BBC2 documentary Sylvia Plath: Life Inside the Bell Jar. He is currently working on an anthology of Second World War poetry, Poetry of the Second World War. Mary Jo Salter (M.A. Cambridge University) is Kreiger-Eisenhower Professor in The Writing Seminars at Johns Hopkins University, where she teaches poetry and poetry-writing. She has published several books of poems, including Unfinished Painting (1989), Sunday Skaters (1994), Open Shutters (2003), and, most recently, The Surveyors (2017). A former vice president of the Poetry Society of America, she has also served as poetry editor of The New Republic. If you're using articles found on the database Factiva, these do not have individual URLs, so use the basic URL for the database as shown in the examples (right). In footnote references, you need to specify the section of the play you are citing or quoting, including act, scene and line numbers if these are available, separated by full stops. For acts of plays, use roman numerals (e.g. VIII or viii) . These can be upper or lower case but be consistent. For scenes and lines, use regular Arabic numerals (e.g. 2). Note that unlike references to poems, you do not include ‘l.’ for ‘line’ or ‘ll.’ for ‘lines’.

For Instructors

The Norton Anthology of English Literature: Major Authors Edition, 1st ed., ed. Abrams et al., 1962, LCCN 62-9514 I take it on every business trip and just dig into it every night, for reading one poem, then it is light’s out……..I Love it, it’s the best. The Longman Anthology of British Literature is also a competitor. Of this relationship, Joyce Jensen of The New York Times wrote in 1999, "The first stone in the war between Longman and W. W. Norton, the David and Goliath of the anthology publishing world, has been cast. With the recent publication of The Longman Anthology of British Literature, Longman has mounted a challenge to Norton to become the literary anthology of choice in colleges and universities around the country." [8] Longman Anthology editor David Damrosch commented on the seventh edition of The Norton Anthology, arguing: