Basics of scientific citation: method. a manual for students and undergraduates studying in special fields. 1-23 01 04 "Psychology" / T. O. Kulinkovich. - Minsk: BSU, 2010. - 58 p.
(excerpt)
“An essential component of any scientific work is scientific citation. Scientific works provide references to sources from which materials or individual results are borrowed, or on the ideas and conclusions of which the problems, tasks, issues to which the work is devoted are developed. Such links make it possible to find relevant sources, check the accuracy of the citation, and obtain the necessary information about these sources (its content, language, volume).
The use of bibliographic references in scientific works is mandatory and is used in the following cases:
When quoting text fragments, formulas, tables, illustrations;
When borrowing provisions, formulas, tables, illustrations, etc. not as a quotation;
When paraphrased, non-verbal reproduction of a fragment of someone else’s text;
When analyzing the content of other publications in the text;
If necessary, refer the reader to other publications where the material discussed is given more fully.
Missing a link constitutes a copyright violation, and an incorrect link is considered a serious error. All sources given in the list of references must be indicated in the text of the article.
The appearance in the text of the work of quotations and references that are not presented in the list of references, and vice versa, the appearance in the list of references of sources that are not referenced in the text of the work is a gross mistake.
When assessing the bibliographic apparatus of a work, no less attention is paid to the quality of cited sources. The main requirements for the sources cited in the work are their authority and relevance to the topic under study. The most authoritative sources of information for scientific work are the latest scientific articles and monographs (including foreign ones). When citing these sources, you should pay attention to the scientific qualifications of the authors, as well as the authority of the journal in which the article was published.
When developing a scientific problem theoretically, the student should also show familiarity with classical works by citing relevant sources in the work. You can obtain information about the most famous scientific works in the field under study in reference and educational literature, in bibliographies of scientific articles and monographs, as well as from your supervisor.
Pay attention!
· If the same material is republished more than once, reference should be made to its latest edition. Earlier editions may be referenced only where they contain relevant material not included in recent editions.
· Citation of educational and reference publications in scientific works should be limited. You should avoid references to popular publications, as well as materials whose authorship cannot be determined, even if the information provided in them corresponds to the topic of scientific work.
· Indicating a reference to a bibliographic source in a scientific work assumes that the author of the work has personally familiarized himself with this publication and can, if necessary, support a scientific discussion (for example, when defending a scientific work) regarding the content of this source.
· When using theoretical principles, ideas, evidence, research results of other authors in scientific work, it is necessary to provide links to the authors and sources of information provided.
· When writing a scientific work, there are times when it is necessary to draw the reader’s attention to a large cross-section of literary sources, but it is not possible to cite references to them in the work due to their large number. Such cases are separately discussed in the text of the work, a link is given to the latest or most well-known works on the topic, and the reader is recommended, if desired, to independently consider other sources.
To correctly format references to the works of other authors in a scientific work, you should adhere to the following rules and recommendations:
1. When referring to other authors, you should indicate not only the surname, but also the initials of the author. This recommendation is often ignored in educational and scientific literature, so you can find references to authors without indicating their initials. If a student's paper cites an author from a secondary source that does not include his initials, information about the author can be found in the secondary source's bibliography or found in other sources (for example, the Internet).
2. In scientific texts, it is customary to indicate the initials of the cited authors before the surname, and not after it.
3. It is not recommended to write the entire names of quoted authors, even if their names are well known (S. Freud, not Sigmund Freud, etc.). The entire text of the work should be formatted in the same style, indicating only the initials and surnames of the cited authors.
6. When quoting, make sure that you do not confuse the cited author with a famous namesake and do not quote twice a researcher who has changed his last name or taken a pseudonym.
7. Most often, mistakes are made when mentioning in the works of female scientists whose surnames and initials do not allow one to draw a conclusion about their gender.
In scientific papers, the most common type of citation is indirect citation, or paraphrase. .
Paraphrase- retelling a quotation (usually a small fragment) in your own words with a mandatory link to the source of quotation. When presenting information in your own words, distortion of the original meaning of the text is not allowed.
The use of paraphrase in scientific work is indispensable in the following cases:
The original quotations are too lengthy to be quoted directly;
It is necessary to present summarized information with simultaneous reference to several sources;
It is necessary to briefly outline the content of the theoretical concept or procedure and the results of the studies referenced in the work.
To support your own arguments with a reference to an authoritative source or for a critical analysis of a particular work of print, you should provide quotations. Academic etiquette requires accurate reproduction of the quoted text, since the slightest reduction in the quoted excerpt can distort the meaning that the author intended in it.
The most famous representatives of R.f.sh. Shklovsky, Tynyanov, Eikhenbaum, Yakobson. Rus. Lit-conduct of the 20-30s means. degree was determined by the influence/repulsion of the ideas of the formalists, in the 60-70s. there was their secondary adoption of Russian. culture.
R.f.sh. occupies a special place in the history of the special period of Russian. culture - 90s 19th century - beginning 30s 20th century - period of diversity complexity, gap-transition between two relatively stable eras: Russian. classic culture tu. floor. 19th century and Soviet “classical.” (totalitarian) culture. The first attempts to change the existing (positivist) the order of development and societies, the functioning of humanitarian (in this case, aesthetic-philol. and aesthetic-artistic-science.) sciences were undertaken by the Symbolists, and the outstanding role of Andrei Bely in this is as undeniable as the contribution of Vyach. Ivanov and Merezhkovsky in the problems of philosophy of culture. However, a real and successful change in traditions. art criticism (purposefully - philology of literary studies) occurred as a result of the action of two factors: materials and methods of new linguistics (members of OPOYAZ and linguists close to it L. Yakubinsky, R. Yakobson, E. Polivanov), on the one hand, a new literary and artistic practice (futuristically oriented Shklovsky and O. Brik, critic of the aesthetic movement Eikhenbaum)- on the other. Theor. achievements of linguists (de Saussure, I.A. Baudouin de Courtenay, later N. Trubetskoy), rethinking the works of philologists Veselovsky and Potebnya, as well as taking into account the works of Zap. art theorists (Wölflin, O. Walzel) made this possible. Outstanding role in the development of R.f.sh. belongs to the versatile personality of Tynyanov.
The renewal, first of all, of literary studies was natural in Russian literature-centric. culture. The nature of this update was to shift the emphasis from loading a work of art with more and more new meanings and connections (historical, social, philosophical mystical) to detect specificity in it. internal meaning, born from the relationship of its elements and revealing thus. its purpose. devices and purposes. The initially proposed system of concepts - material (art material), reception (technique for creating a form) and motivation (motivation for using the technique)- for all its simplicity and sketchiness, it nevertheless reveals to both the creator and the recipient the principle, the secret of art, which consists in the fact that the secret being revealed does not exist, only the laws of the definition exist. type of cultural activity, each time leading to a predictable but ambiguous result, i.e. to a result that is predictable and clear in some features, but unexpected and indefinable. in other
For Russian cultural traditions such are not only non-ideological, but also non-monistic. the ideas were quite new, but, despite the fact that they were perceived as shocking, they were generally consistent with the movement of socio-cultural renewal. Subsequently, these views were restructured in the direction of moving away from schematization to the development of ideas of functionality and systematic art. funds.
Place R.f.sh. in culture, however, is not limited to the novelty of theories. positions and specifics scientific achievements. Very significant in the light of modern times. cultural representations turns out to be the connection of its representatives with cultural practice (artistic and creative activities in literature and cinema). The combination of understanding internal patterns separated from others, specific. type of activity, with the practice of art causing a wide cultural reaction. creativity indicates a living contact of research with the very essence of the phenomenon being studied.
In addition to creating your own lit. works (Shklovsky, Tynyanov, Brik, etc.) this was manifested in the serious influence of the ideas of R.f.sh. for creativity association of writers of this period (LEF, “Serapion’s Brothers”, partly OBERIU), as well as in the wide resonance of discussions about the formal method that took place in the 20s. In addition, the scientific ideas of the formalists were perceived by young scientists who attended their courses in certain educational institutions.
In the 30s and subsequent years, the “defeated” officials. Marxist criticism, forced to admit their “mistakes” and discarded into theory. underground, formalists with their historical-literary, historical-art. and art historian works made a contribution to the culture of the Soviet period, representing in it a high standard of humanitarian scholarship, and later, in the 60s. , gradually turned into a legend-memory of the pluralism of the 20s. , when their theory. constructions were acceptable and published.
In general, raising the question of systematicity and internal patterns of correlation of elements and their evolution within one cultural series (in this case literary and cinematic) very fruitful in cultural studies. respect, because such a theory. “specific” immersion in the autonomy of a phenomenon allows you to build a methodology that can be transferred to objects of other cultural series, and in the practice of cultural activity it turns into an opportunity to solve a number of issues, problems, and propose designs for real cultural projects (artistic works, educational and cultural systems, organization of cultural activities).
Formalistic (first!) mediation of modern ideas. linguistics regarding cultural phenomena had a great influence on the development of the humanities in the 20th century. , especially on scientists of systemic semiotics. directions. Diff. the degree of recognition of this influence is present in the self-awareness of culturologists Lotman, V.V. Ivanov, B. Uspensky, R. Barth, Lévi-Strauss, Foucault and others. Theor. Bakhtin's self-determination was largely formed in polemics with the formalists. In accordance with this modern achievements of aesthetics, art history, ethnography, folklore, communication theory and cultural studies are associated with the advanced works of Russian. formalists.
A completely new contribution by R.f.sh. in Russian culture has become its own special tone and mood - an important factor that forms its own. style, which is felt in the works of its representatives: the spirit of romantically sublime “master’s” fun, the guild spirit of the search for optimism, which is very new relative to Russian. classic culture, and also sharply different from the official optimism of the Soviet state. propaganda and therefore absolutely intolerant of it. With the feeling of the inherent spirit of independence, solidarity, mastery and special happiness of the consciousness of one’s gift in this style are also associated the features of legend in the perception of the meaning of R.f.sh. in Russian history culture of the 20th century , which appeared in the 60s. and persisting to this day in the form of special respect for her. Remaining within the limited limits of the method of analogies and metaphors. constructions, you can even see in Russian. formalism (i.e. in concrete science directly connected with cultural practice) the last missing component is romantic. synthesis, which completes the development of neo-romanticism, broadly interpreted as the final word and “great style” of the era that opens the 20th century.
Lit.: Engelhardt B.M. Formal method in the history of literature. L., 1927; Yuri Tynyanov. Writer and scientist. M., 1966; Shklovsky V.B. Hamburg account. Articles - memoirs - essays (1914-1933). M., 1990; It's him. About the theory of prose. M.; L., 1925; It's him. Once upon a time. M., 1966; Tynyanov Yu.N. Poetics. History of literature. Movie. M., 1977; Eikhenbaum B.M. About literature. M., 1987; Jacobson P.O. Works on poetics. M., 1987; Medvedev P.N. Formal method in literary studies. M., 1993; Galushkin A.Yu. New materials for the bibliography of V.B. Shklovsky // De visu. 1993. No. 1; Eriich V. Russian Formalism: History, Doctrine. Gravenhage, 1953; Hansen-Love A. Der russische Formalismus. W., 1978.
L. B. Shamshin
Culturology. XX century Encyclopedia. 1998 .
Russian formal school
☼ literary-theoretical direction that appeared in the 10-20s. and influenced not only the formation of modern times. lit. theory, but also for the development of other humanities, as well as art. practice (literature, cinema, theater). In 1916-25 there was an organization of Russian formalists - the Society for the Study of Poetics. language (OPOYAZ), published “Collections on the theory of poetic. language” (1916-19).
The first work is considered to be V. Shklovsky’s declaration “The Resurrection of the Word” (1914). Basic works were published in the 20s. and were republished abroad in the 50-60s, and in Russia in the 70-80s. The most famous representatives of R.f.sh. Shklovsky, Tynyanov, Eikhenbaum, Yakobson. Rus. Lit-conduct of the 20-30s means. degree was determined by the influence/repulsion of the ideas of the formalists, in the 60-70s. there was their secondary adoption of Russian. culture.
R.f.sh. occupies a special place in the history of the special period of Russian. culture - 90s 19th century - beginning 30s 20th century - period of diversity complexity, gap-transition between two relatively stable eras: Russian. classic culture tu. floor. 19th century and Soviet “classical.” (totalitarian) culture. The first attempts to change the existing (positivist) order of development and societies. The functioning of the humanities (in this case, aesthetic-philological and aesthetic-artistic-science) sciences was undertaken by the symbolists, and the outstanding role in this of Andrei Bely (see Bely) is as undeniable as the contribution of Vyach. Ivanov and Merezhkovsky (see Merezhkovsky) into the problems of philosophy of culture. However, a real and successful change in traditions. art history (purposefully - philology, literary studies) occurred as a result of the action of two factors: materials and methods of new linguistics (members of OPOYAZ and linguists close to it L. Yakubinsky, R. Yakobson, E. Polivanov), on the one hand, a new literary and artistic practice (futuristically oriented Shklovsky and O. Brik, critic of aesthetic movements Eikhenbaum) - on the other. Theor. achievements of linguists (de Saussure, I.A. Baudouin de Courtenay, later N. Trubetskoy - see Trubetskoy), rethinking the works of philologists Veselovsky and Potebnya, as well as taking into account the works of Western. art theorists (Wölfflin, O. Walzel) made this possible. Outstanding role in the development of R.f.sh. belongs to the versatile personality of Tynyanov.
The renewal, first of all, of literary studies was natural in Russian literature-centric. culture. The nature of this update was to shift the emphasis from loading a work of art with more and more new meanings and connections (historical, social, philosophical, mystical) to discovering specific things in it. internal meaning, born from the relationship of its elements and revealing thus. the purpose of its design and purpose. The initially proposed system of concepts - material (the material of art), technique (technique for creating a form) and motivation (motivation for using the technique) - for all its simplicity and sketchiness, nevertheless reveals to both the creator and the recipient the principle, the secret of art, which is that the revealed secret does not exist, there are only patterns of definition. type of cultural activity, each time leading to a predictable but ambiguous result, i.e. to a result that is predictable and clear in some features, but unexpected and indefinable. in other
For Russian cultural traditions such are not only non-ideological, but also non-monistic. the ideas were quite new, but, despite the fact that they were perceived as shocking, they were generally consistent with the movement of socio-cultural renewal. Subsequently, these views were restructured in the direction of moving away from schematization to the development of ideas of functionality and systematic art. funds.
Place R.f.sh. in culture, however, is not limited to the novelty of theories. positions and specifics scientific achievements. Very significant in the light of modern times. cultural representations there is a connection between its representatives and cultural practice (artistic and creative activities in literature and cinema). The combination of understanding internal patterns separated from others, specific. type of activity, with the practice of art causing a wide cultural reaction. creativity indicates living contact of research with the very essence of the phenomenon being studied.
In addition to creating your own lit. works (Shklovsky, Tynyanov, Brik, etc.) this was manifested in the serious influence of the ideas of R.f.sh. for creativity associations of writers of this period (LEF, “Serapion Brothers”, partially OBERIU), as well as in the wide resonance of discussions about the formal method that took place in the 20s. In addition, the scientific ideas of the formalists were perceived by young scientists who attended their courses in certain educational institutions.
In the 30s and subsequent years, the “defeated” officials. Marxist criticism, forced to admit their “mistakes” and discarded into theory. underground, formalists with their historical-literary, historical-art. and art historian means they contributed work. contribution to the culture of the Soviet period, representing in it a high standard of humanitarian scholarship, and later, in the 60s, gradually turned into a legend-memory of the pluralism of the 20s, when their theor. constructions were acceptable and published.
In general, raising the question of systematicity and internal patterns of correlation between elements and their evolution within one cultural series (in this case, literary and cinematic) is very fruitful in cultural studies. respect, because such a theory. “specific” immersion in the autonomy of a phenomenon makes it possible to build a methodology that can be transferred to objects of other cultural series, and in the practice of cultural activity it turns into an opportunity to solve a number of beings. problems, propose designs for real cultural projects (artistic works, educational and cultural systems, organization of cultural activities).
Formalistic (first!) mediation of modern ideas. linguistics regarding cultural phenomena had a great influence on the development of the humanities in the 20th century, especially on scientists of systemic semiotics. directions. Diff. the degree of recognition of this influence is present in the self-awareness of culturologists Lotman a, V.V. Ivanov, B. Uspensky, R. Barthes, Levi-Strauss, Foucault and others. Theor. Bakhtin's self-determination was largely formed in polemics with the formalists. In accordance with this modern achievements of aesthetics, art history, ethnography, folklore, communication theory and cultural studies are associated with the advanced works of Russian. formalists.
A completely new contribution by R.f.sh. in Russian culture has become its own special tone and mood - an important factor that forms its own. style, which is felt in the works of its representatives: the spirit of romantically sublime “master’s” fun, the guild spirit of the search for optimism, which is very new relative to Russian. classic culture, and also sharply different from the official optimism of the Soviet state. propaganda and therefore absolutely intolerant of it. With the feeling of the spirit of independence, solidarity, mastery and special happiness inherent in this style, the consciousness of one’s gift is also associated with legendary features in the perception of the meaning of R.f.sh. in Russian history cultures of the 20th century, which appeared in the 60s. and persisting to this day in the form of special respect for her. Remaining within the limited limits of the method of analogies and metaphors. constructions, you can even see in Russian. formalism (i.e. in concrete science directly connected with cultural practice) the last missing component of the romantic. synthesis, which completes the development neo-romanticism, broadly interpreted as the final contain. word and “big style” of the era that opens the 20th century.
Lit.: Engelhardt B.M. Formal method in the history of literature. L., 1927; Yuri Tynyanov. Writer and scientist. M., 1966; Shklovsky V.B. Hamburg account. Articles - memoirs - essays (1914-1933). M., 1990; It's him. About the theory of prose. M.; L., 1925; It's him. Once upon a time. M., 1966; Tynyanov Yu.N. Poetics. History of literature. Movie. M., 1977; Eikhenbaum B.M. About literature. M., 1987; Jacobson P.O. Works on poetics. M., 1987; Medvedev P.N. Formal method in literary studies. M., 1993; Galushkin A.Yu. New materials for the bibliography of V.B. Shklovsky // De visu. 1993. No. 1; Eriich V. Russian Formalism: History, Doctrine. Gravenhage, 1953; Hansen-Love A. Der russische Formalismus. W., 1978.
L. B. Shamshin.
Cultural studies of the twentieth century. Encyclopedia. M.1996
Large explanatory dictionary of cultural studies.. Kononenko B.I. . 2003.
