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MA Literary Seminar Professor…………………

Institute of English Cultures and Literatures

Style Sheet

Your thesis should include the following components: the title page in English and Polish
(Appendix B), the table of contents, an introduction, the main body of your text, a
conclusion, bibliography, optional appendices, and a summary. Two additional pages with key
words and copyright licence are also required by our university authorities: the former
(Appendix C) should be place immediately following title pages, the latter (Appendix D) at
the very end of your thesis as its last page.

PLEASE, NOTE: a summary of 1-2 pages in Polish (including the title) should be
placed at the end of your manuscript, following Bibliography.

1. Title pages in English and in Polish:

(a) name of institution
(b) your full name and the title of the thesis in CAPITALS;
(c) type of thesis
(d) underneath, the name of your supervisor;
(e) language of your thesis
(f) year and place
See appendix B

2. Table of contents, labelled CONTENTS:

(a) titles of chapters; (b) titles of subdivisions in each chapter; (c) bibliography; (d) appendix
or appendices, if there are any; (e) summary. ALL with page numbers.

3. Margins:
(a) 4cm on the left side, 2,5-3 cm on the right side;
(b) numbers of pages at the top of each page;
c) use double space throughout your thesis, except for indented quotations.

4. Titles of chapters - in CAPITALS.


Parallel section and subsection titles should also be parallel in both grammatical and graphic
form (i.e., they should use not only the same syntactic structure, but also similar size and
type of print).

5. Titles in text:
(a) enclose in "quotation marks" (DO NOT italicise) titles of articles, essays, short stories,
short poems, songs, chapters and sections of books, unpublished works (e.g., dissertations);
(b) italicize: titles of published books, plays, long poems, pamphlets, periodicals, operas,

6. Quotations:
(a) all quotations should correspond exactly with the originals in wording, spelling,
capitalization, and interior punctuation. Exceptions (e.g. italicised sections) should be
explicitly indicated, e.g., [emphasis mine] OR [italics supplied].

(b) for ellipsis within a sentence, use three periods . . . , being careful to leave a space before
the first period. To indicate ellipsis after the conclusion of a complete sentence, use three
spaced periods following the sentence period. . . . (i.e., four periods with no space before the
It is also possible to use three unspaced periods in square brackets [...] to indicate ellipsis, but
the MLA Style sheet favours the former style; whichever way you choose be consistent
throughout you dissertation.

(c) interpolation of your own comment or explanation in quoted matter is permissible if

enclosed [in square brackets], never parentheses.

(d) verse quotations of a single line or short prose quotations (up to 100 words) should be
run on, in “double quotation marks,” as part of your text (quotations within quotations should
be marked by single 'quotation marks').

(e) longer quotations (100 words or more) should be separated from the context, not
enclosed in quotation marks, but indented and single-, or 1,5-spaced (indent a setoff quotation
ca 1,5 cm from both left and right margin).
Do not indent the first line of the quoted passage more than its remaining part.

(f) give reference at the end of any quoted matter (either a footnote number or, if you refer to
a given work frequently, an abbreviated title with page references in parentheses). See
examples in Appendix B.

(g) put all commas and periods inside quotation marks, unless a parenthetical reference
intervenes. Other punctuation goes inside quotation marks only when it is actually part of the
matter quoted.
Appendix A - Footnotes and Bibliography

1. General
(a) place footnotes at the bottom of each page
(b) for numbering footnotes use Arabic figures (superscript) typed slightly above the line
after all punctuation except a dash, always after a quotation, not after the author's name or the
introductory verb.

2. Footnotes – books / articles in books: in your first footnote reference, use the following
order, subject to omission of unnecessary items:
(a) author’s or authors’ names in normal order, followed by a comma; OR editor’s name in
normal order, followed by a comma, followed by “ed.,”;
(b) for articles in books: title of article in the book, followed by a comma and cited in
quotation marks, (the comma inside: “…,”), followed by “in:”
(c) title of the work, italicized, followed by a comma;
(d) editor’s or translator’s name in normal order, preceded by ”ed.” or ”trans.” without
(e) place, publisher, date of publication – all within parentheses, the place followed by a
colon, the publisher by a comma;
(f) volume number, in capital Roman numerals, preceded and followed by a comma;
(g) page number/s in Arabic numerals (unless the original has Roman numerals) preceded by
“p.” or “pp.” and followed by a period.

3. Footnotes – articles in periodicals: in your first footnote reference, use the following
order, subject to omission of unnecessary items:
(a) author’s name in normal order, followed by a comma;
(b) title in full, followed by a comma, enclosed in “quotation marks,” (the comma inside the
quotation marks);
(c) name of the periodical, italicized and followed by a comma; do not place “in:” before the
name of the periodical;
(d) volume number in Arabic numerals, preceded by “Vol.” followed by a comma;
(e) issue number in Arabic numerals preceded by “No.”;
(f) the year enclosed in parentheses, followed by a comma;
(g) page numbers in Arabic numerals, preceded by “p.” or “pp.” followed by a period.

4. Subsequent references: use the author’s last name, followed by an intelligible short title,
followed by a comma and page reference.

5. Sample footnotes

5.1 Books
Northrop Frye, Anatomy of Criticism: Four Essays (Princeton: Princeton University Press,
1957), p. 52.
Frye, Anatomy of Criticism, p. 52.

5.2 Articles in books

Kemp Malone, “Etymologies for Hamlet,” in: Studies in Heroic Legend and Current
Speech, ed. Simon Einarsson and Neil Eliason (Copenhagen: Rosenkilde and Bagger, 1959),
pp. 204-25.

5.3 Articles in periodicals

David E. Bynum, “Themes of the Young Hero in Serbocroatian Oral Epic Tradition,”
PMLA, Vol. 83 (1963), pp. 1296-1303.
John R. Frey, “America and Her Literature Reviewed by Postwar Germany,” American-
German Review, Vol. 20, No. 5 (1954), p. 6.
Frey, “America and Her Literature,” pp. 9-12.

6. Bibliographical entries for the Footnote/Endnote system

Compile all items in a single list labelled BIBLIOGRAPHY.
If it seems desirable to classify bibliography entries, consult your supervisor.

6.1 Books
(a) author's name, reversed for alphabetizing, followed by a period. Surname is followed by a
comma; add ed(s). preceded by a comma if the name refers to EDITOR(S) instead of author;
(b) full title with subtitles included, followed by a period;
(c) translator's name preceded by "Trans." and followed by a period;
(d) place, publisher and date of publication, followed by a period. No parentheses.

6.2 Articles in periodicals

(a) author's name, reversed for alphabetizing, followed by a period;
(b) title in full, followed by a period, enclosed in quotation marks;
(c) name of the periodical, italicised followed by a comma;

(d) volume number in Arabic numerals, preceded by “Vol.” followed by a comma;

(e) issue number in Arabic numerals preceded by “No.”;
(f) the year followed by a comma;
(g) page numbers in Arabic numerals, preceded by "p." or "pp." followed by a period.
6.3 Articles in books
(a) author's name, reversed for alphabetizing, followed by a period;
(b) title in full, followed by a period, enclosed in quotation marks, followed by "In:";
(c) title of the book italicized, followed by a comma;
(d) editor(s)'s name(s) preceded by "ed(s).", followed by a period;
(e) place, publisher and date of publication, followed by a comma. No parentheses;
(f) page numbers in Arabic numerals, preceded by "p." or "pp." followed by a period.

7. Sample bibliographical entries

7.1 Books
Genosko, Gary. Baudrillard and Signs. Signification Ablaze. London and new York:
Routledge, 1994.
Heidegger Martin. The Basic Problems of Phenomenology. Trans. Albert Hofstadter.
Bloomington and Indianopolis: Indiana University Press, 1988.
Easthope, Anthony and Kate McGowan, eds. A Critical and Cultural Theory Reader.
Sydney: Allen and Unwin, 1992.
Ninel, I. N. Epistemic Root Relations in Generic Objects. New Aksom: Free Press, 1984.

7.2 Articles in periodicals

Colapietro, Vincent M. "The Vanishing Subject of Contemporary Discourse:
A Pragmatic Response." The Journal of Philosophy, Vol. 87, 1990,
pp. 644-655.

7.3 Articles in books

Biemel, Walter. "Heidegger's Concept of Dasein." In: Heidegger's
Existential Analytic, ed. Frederick Elliston. The Hague, Paris, New
York: Mouton, 1978, pp. 231-264.
Driesses, Henk. "Gestured Masculinity: Body and Sociability in Rural
Andalusia." In: A Cultural History of Gesture, ed. Jan Bremmer and
Herman Roodenburg. Ithaca, New York: Cornell University Press,
1992, pp. 237-252.

8. Internet sources

To document internet sources include as many items from the list below as are relevant and
Author’s Lastname, Author’s Firstname. “Title of Document.” Name of editor or translator.
Title of Complete Work (if applicable). Version of File Number (if applicable). Document
date or date of last revision (if different from access date). Protocol and address, access path
or directories (the full http address for www sites) (date of access in parantheses).
Example: Burka, Lauren P. “A Hypertext History of Multi-User Dimensions.” The MUDdex.
1993. http:/ (5 Dec. 2006)

Appendix B-1 the title page - English



Author’s first name and surname


[Tutuł pracy:]

Praca w języku angielskim

Supervisor: Professor Xxxxxxx Xxxxxxx



Appendix B-2 the title page - Polish



Imię i nazwisko autora


[Tutuł pracy:]

Praca w języku angielskim

Promotor: prof. zw. dr hab. Xxxxxxx Xxxxx



Appendix C – Consent/Key words

Wyrażam zgodę na udostępnienie mojej pracy magisterskiej dla celów naukowo-badawczych.

Data ……………………………………………

Podpis autora …………………………………..

Słowa kluczowe: ………………………………………………………..

Oświadczenie autora pracy

Świadoma/y odpowiedzialności prawnej oświadczam, że niniejsza praca dyplomowa została

napisana przeze mnie samodzielnie i nie zawiera treści uzyskanych w sposób niezgodny z
obowiązującymi przepisami.

Oświadczam również, że przedstawiona praca nie była wcześniej przedmiotem procedur

związanych z uzyskaniem tytułu zawodowego w wyższej uczelni.

Oświadczam ponadto, że niniejsza wersja pracy jest identyczna z załączoną wersją


Sosnowiec, …………………………..

Appendix D – Copyright licence

Załącznik nr 1
do Zarządzenia nr 57
Rektora UŚ z dnia 8 grudnia 2006r.

Imię i nazwisko autora


Imię i nazwisko promotora


Wydział /Jednostka niebędąca


Kierunek studiów/dziedzina nauki

Specjalność /dyscyplina naukowa

Tytuł pracy

Niniejszym oświadczam, że zachowując moje prawa autorskie, udzielam Uniwersytetowi

Śląskiemu nieodpłatnej licencji niewyłącznej do korzystania z ww. pracy bez ograniczeń
czasowych, w następującym zakresie:

- rozpowszechniania pracy poprzez publiczne udostępnianie pracy w wersji

drukowanej i elektronicznej , w taki sposób, aby każdy mógł mieć do niej dostęp w
miejscu, w którym praca jest przechowywana tj.: w Archiwum Uniwersytetu Śląskiego
lub w Bibliotece Uniwersytetu Śląskiego,

- rozpowszechniania pracy poprzez publiczne udostępnianie pracy w wersji

elektronicznej w sieci Internet w domenie oraz w innych serwisach
internetowych, tworzonych z udziałem Uniwersytetu Śląskiego.

/podpis /

Plagiarism and Collusion

Students are reminded that plagiarism and collusion are offences which will not be tolerated.
Serious penalties may be exacted for breaches of this rule.

Collusion refers to any form of joint effort, between students, or between students and other
persons, intended to deceive an assessor as to who was actually responsible for producing
material submitted for assessment.

Plagiarism refers to the practice of borrowing from the work of another scholar without
indicating by a reference and/or by quotation marks where exact phrases are borrowed or
when the ideas expressed are not one’s own.

It should be noted that in the cases of both collusion and plagiarism it is because a student
fails to acknowledge the help obtained from another person/source that these practices are
considered offences.The attempt to claim credit for work that is not one’s own is against the
ethos of scholarship.