the oxford guide to style apr 2002

THE
OXFORD GUIDE TO
STYLE

The
Oxford
Guide
to Style
R.
M.
RITTER
OXPORD
UNIVERSITY
PRESS
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Preface
The
Oxford
Guide
to
Style
is the revised and enlarged edition of Horace
Hart's
Rules
for

Compositors
and
Readers
at
the
University
Press,
Oxford.
Over
the course of thirty-nine editions,
Hart's
Rules
has grown to be the stan-
dard work in its
field,
explaining subject
by
subject each major aspect
of
punctuation,
capitalization,
italics,
hyphenation, abbreviations, foreign
languages,
and
other
publishing matters
big
and
small.

Horace Henry
Hart
(1840-1916)
was Printer to the University of Oxford
and Controller of the University
Press
between
1883
and
1915;
he can
fairly
be called one of the most influential printers of the last two cen-
turies. The first edition of
his
Rules
was a slim twenty-four-page booklet
just over
5
by
3
inches,
first produced in
1893.
It
was
originally
intended
only
for printing-house

staff
of
the Clarendon
Press,
the learned
imprint
of
Oxford University
Press.
The
title
page plainly stated
that
the booklet
contained
'Rules
for Compositors and
Readers,
which are to be observed
in
all
cases
where no special instructions are
given'.
Since
the
Press
printed
a good deal of work for
other

publishers,
with
house styles of
their own to be followed, Hart's instructions were from the very first to
be used by default, in the absence of directions to the contrary, rather
than imposed unilaterally
as
a Procrustean
diktat.
After
Hart
found to his amusement, copies
of
his
free booklet on
sale
in
London he decided it would be
sensible
for
OUP
to
print
it for the public
in
1904, as it seemed 'more than complaisant to provide gratuitously
what
may
afterwards
be

sold
for
profit'. Over time,
as
the
size
and
authority
of
the
Rules
grew—aided
by
its
publication and worldwide
dissemination—
the book
assumed
a
life
of
its own
far
beyond the confines
of
Oxford.
Suc-
ceeding
generations have found it indispensable to anyone concerned
with

the
business
of
putting
words into
print.
Like
its companion volume
the
Oxford
Dictionary
for
Writers
and
Editors,
Hart's
Rules
was the first guide
of
its kind, and
both
are considered
classic
works
of
reference: Peter Sut-
cliffe,
in his
Oxford
University

Press:
An
Informal
History,
describes
them
as
'two
of
the most influential books ever published
by
the
Press'.
Readers
familiar
with
Hart's
Rules
will find changes from previous
editions. It
is
quite
natural
that
this should be
so:
if
recreating two such
vi
Preface

long-lived
books teaches one anything it is
that
the language and its
contexts are mutable, and implacably resistant to rationalization.
Consequently instances will occur in which the advice given here may
not be the best choice, and the
prudent
author or editor will act accord-
ingly.
Publishing
today,
with
its fluid roles, complex technology, and diverse
media, would be utterly alien to the world
Hart
knew. Nevertheless, the
fundamental functions
of
author and editor, and the
basic
stages
of
type-
script, proofs, and publication, have not
altered—however
much their
form
has—and
these

Hart
would recognize immediately. For no
matter
what
changes
occur in the expectations and
responsibilities
of
those who
originate,
manipulate, and disseminate words, and in the means by
which they go about it, the
goal
remains to accomplish each task
efficiently
and accurately. In
part
for this reason I use
editor
wherever
possible
in this
guide
to denote
anyone
involved
with
adjusting
text.
This

term
is
intentionally
vague,
to reflect the variety
of
titles and duties now
commonplace in
publishing:
it
is
less
useful to mark out
obligations
than
ensure the result
is
as
intended, whether on paper,
online,
or somewhere
in
between.
Examples and their representation are
designed
to be
as
straightforward
and intuitive as
possible.

Italic type
is
generally
used to indicate specific
examples
of
usage.
Exceptions occur when some ambiguity might other-
wise
arise,
as
in
passages
discussing
the
use
of
italic
versus
roman
type.
In
such cases examples are printed within quotation marks, in italic or
roman type
as
necessary.
It would be too much to hope
that
a wide-ranging book devoted
specifically

to matters
that
even
very
clever
people
get
wrong would
itself
be free from error, despite the best efforts
of
others to point the
way
for
me.
As
such,
advice
on how
this
text
may
be improved or corrected
is
wel-
come,
as
it
has
always

been for previous editions.
Acknowledgements
From the first,
Hart's
Rules
always relied on the knowledge of
experts
in
the field, and this new edition is no exception. Much
of
this edition was
compiled in conjunction
with
the second edition
of
the
Oxford
Dictionary
for
Writers
and
Editors,
which presents a welcome
opportunity
for me to
thank once
again
those who
generously
gave

their
time
and expertise to
both
volumes.
The
text
is derived from the archives, experience, and practical know-
ledge
of Oxford University
Press,
especially the former Arts and Refer-
ence Desk-Editing
Department
and the Oxford
English
Dictionary
Department.
It
also
represents the accumulated experience and wisdom
of
countless people throughout the many editions
of
this work's precur-
sors.
Thus my
first
debt
of

gratitude
is
to the generations
of
compositors,
editors, academics, proofreaders, authors, and readers whose labour
established and moulded the material included in this book, and whose
influence endures on every
page.
I
should like
also
to thank the many people associated
with
the
Press
and University who have generously shared their enormous talents in
many
areas,
in particular Bonnie Blackburn, Kate Elliott, Edwin and
Jackie
Pritchard, Chris Rycroft,
J.
S.
G.
Simmons,
Delia
Thompson, George
Tulloch, Colin Wakefield, Hilary Walford, John Was, Connie
Webber,

Stanley
Wells, and Ingrid
Winternitz.
I am grateful to Barbara
Horn
for
her
reorganizing
and streamlining
of
the
text;
I
am particularly grateful
to Sarah Barrett for undertaking the formidable task
of
copy-editing the
final version
of
this work.
I
have been fortunate, as
I
was
equally for the
Oxford
Dictionary
for
Wñters
and

Editors,
in being
able
to
draw
upon
the extraordinary
range
and
depth
of
knowledge
of
my former
colleagues
at the
Press,
many
of
whom
have
taken considerable
time
and
trouble
to help me over the
years:
the task
would have been unthinkable
without

them.
In particular I thank
Cyril Cox, Mick
Belson,
Elizabeth Stratford, Enid Barker, and Milica
Djuradjevic, all of
whom
represent an irreplaceable source of editorial
expertise. Once
again
I
must
single
out
Leofranc
Holford-Strevens,
whom
it has been my great good fortune to
count
as
both
colleague
and friend,
viri
Acknowledgements
and
who has remained a
patient
and inexhaustible
fount

of
knowledge
for
this book in particular and
OUP
in
general:
in doing
so
he continues
to fulfil the role
of a
Laudian
'Architypographus'.
The
year-long
sabbatical
that
enabled me to complete this book at home
was,
after a decade
of
pursuing it
part-time,
a rare luxury. And
so
I
must
finally
thank my wife, Elizabeth, and my children, Olivia,

James,
and
Theodore, who
managed
to make its completion
that
much
more
enjoy-
able.
Oxford
Trinity
Term
2001
http:
I/www.
titter,
org.
uk
RMR
Contents
Recommended
works of reference x
1.
2.
3.
4.
5.
6.
7.

8.
9.
10.
11.
12.
13.
14.
15.
16.
The
parts of a book
Preparation of copy and proofs
Abbreviations and symbols
Capitalization and
treatment
of names
Punctuation
Italic,
roman, and other
type
treatments
Numbers
Quotations
Lists
and tables
Illustrations
Languages
Science
and mathematics
Specialist

subjects
Copyright and other publishing responsibilities
References
and notes
Indexing
1
29
62
71
112
154
166
192
202
219
235
370
401
490
504
577
ndex 595
Recommended
works of reference
The list below represents a selection of some useful editions in their
latest, and therefore most
accessible,
form. Space does not
permit
inclu-

sion
of
the many excellent
specialist
works
available
for particular fields;
similarly,
foreign-language
dictionaries have not been included. Recom-
mended
English-language
dictionaries are the
New
Oxford
Dictionary
of
English
(Oxford: OUP, 1998) and the
Concise
Oxford
Dictionary,
10th edn.
(Oxford:
OUP,
1999);
for
US
English,
Merriam-Webster's

Collegiate
Dictionary,
10th edn. (Springfield,
Mass.:
Merriam-Webster, 1996) and
The
American
Heritage
Dictionary,
4th edn.
(Boston:
Houghton Mifflin, 2000).
R.
W. Burchfield (ed.), The New Fowler's Modern English
Usage,
3rd edn. (Oxford: OUR
1998).
Judith Butcher, Copy-Editing: The Cambridge Handbook for
Editors,
Authors and
Publishers,
3rd edn. (Cambridge:
CUR
1992).
The
Chicago Manual of
Style,
14th edn.
(Chicago:
University of Chicago

Press,
1993).
Peter
T.
Daniels and
William
Bright
(eds.),
The World's
Writing
Systems
(New York: OUR
1996).
Margaret Drabble
(ed.),
The Oxford Companion to English Literature, 6th edn. (Oxford:
OUR
2000).
H.
W. Fowler and
F.
G. Fowler, The King's English (Oxford: OUR
1973).
Joseph
Gibaldi and Walter
S.
Achtert, MLA Handbook for Writers of
Research
Papers,
5th edn. (New York: Modern Language

Association,
1999).
Sir
Ernest
Gowers,
The Complete Plain Words
(Harmondsworth:
Penguin,
1987).
Sidney
Greenbaum,
The Oxford English Grammar (Oxford: OUR
1996).
Tom
McArthur
(ed.),
The Oxford Companion to the English Language (Oxford: OUR
1992).
Eric
Partridge,
Usage
and Abusage, 3rd edn. (Harmondsworth: Penguin,
1999).
R.
M. Ritter
(ed.),
The Oxford Dictionary for Writers and Editors, 2nd edn. (Oxford: OUR
2000).
Allan M.
Siegal

and
William
G.
Connolly, The New York
Times
Manual of Style and
Usage,
revised
edn. (New York, NY:
Times
Books,
1999).
Marjorie
E.
Skillen, Robert M.
Gay,
et
al.,
Words
into
Type,
3rd edn. (Englewood Cliffs,
NJ:
Prentice-Hall,
1974).
William
Strunk
Jr.
and E.
B.

White, The Elements of
Style,
4th edn.
(Needham
Heights,
Mass.:
Allyn
&
Bacon,
2000).
United
States
Government Printing Office Style Manual (Washington,
DC:
US
Government Printing Office,
2000).
Recommended
works of
reference
xi
A
complete
list of British Standards
Institution
publications may be
found in
their
yearbook and website. Standards in fields relevant to this
guide are

as
follows:
BS
ISO
999:1996
Information
and Documentation: Guidelines for the Content,
Organization
and Presentation of Indexes
BS
1629:1989
Recommendation for
References
to
Published
Materials
BS
1749:1985
Recommendations
for Alphabetical
Arrangement
and
the Filing Order of
Numbers
and
Symbols
BS
2979:1958
Transliteration of Cyrillic
and

Greek
Characters
BS
4148:1985,
ISO
4-1984
Specification for
Abbreviation
of
Title
Words and Titles of
Publications
BS
4280:1968
Transliteration of Arabic
Characters
BS
4812:1972
Specification
for
the Romanization of
Japanese
BS
5261
Copy
Preparation and Proof Correction (parts
1-3)
BS
5555:1981,
ISO

1000-1981
Specification for
SI
Units
and
Recommendations for the
Use
of
their
Multiples
and
of Certain Other Units
BS
5605:1990
Recommendations
for
Citing
and Referencing Published
Material
BS
5775-0:1993
(ISO
31-0:1992)
Specification for Quantities, Units and
Symbols:
General
Principles
BS
6371:1983
Recommendations

for
Citation
of Unpublished Documents
BS
6505:1982
Guide to the Romanization of Korean
BS
7014:1989
Guide to the Romanization of
Chinese
Knowledge
is
of
two
kinds.
We
know
a
subject
ourselves,
or
we
know
where
we
can
find
information
upon
it.

SAMUEL
JOHNSON
Comme
quelqu'un
pourrait
dire
de
moi
que
j'ai
seulement
fait
ici
un
amas
de
fleurs
étrangères,
n'y
ayant
fourni
du
mien
que
le
filet
à
les
lier.
MONTAIGNE

mann
The
parts of
a
book
1.1
General
principles
A
book is composed of
three
main segments: the preliminary
matter
{prelims
or
front
matter),
the
text,
and the endmatter. Each of these is in
turn
composed of certain items, subject to a
given
order and presenta-
tion. This chapter explains some of the distinctions between these
items, which combine in various ways to form a published work.
Many
of
them
are shared to some degree

with
other publications and
documents, though it is rare for any work to include all of
them.
Electronic
publications especially will have few of these in the trad-
itional
sense,
and their
arrangement—joined
by
hyperlinks—may
appear
very
different.
Most
publications
are
based
on
page
extents
that
are
a
multiple
of
thirty-
two (sometimes sixteen)
pages,

which allows for the
optimum
use of
sheets
during printing.
When
planning a book this multiple, called an
even
working,
is
what
publishers aim
at—or
just under, to be on the
safe
side:
a
256-page
book
is
perfect, a
253-page
book
is
tolerable
(a
few
blank
pages
at the end

do
no
harm),
but a
257-page
book
is
problematic. While
fitting
a
publication to an even working
is
not normally an author's, or
even editor's, concern,
both
should be aware of the concept, in
case
an
odd
fit
during setting
necessitates
adjusting the arrangement
of
items in
the book.
1.2
Preliminary
matter
Preliminary

matter
is any material
that
precedes the
text.
Normally it is
the
part
of a work providing basic information about the book for
bibliographic
and trade purposes, and preparing readers for
what
follows.
It is usually paginated in lower-case roman numerals rather
than arabic numbers; however, the introduction can begin the arabic
pagination
if it acts as the first chapter, rather than
falling
outside the
2
The
parts
of a
book
|
CHAPTER
1
body
of
the main

text—as
in the
case
where a book
is
divided into parts,
for
example.
Publishers
try to keep prelims to
a
minimum: paperbacks and children's
books generally have fewer preliminary pages than hardbacks
and
monographs; journals and other periodicals have fewer still. No rigid
rules govern the arrangement of preliminary
matter,
although publish-
ers
routinely develop a house style for its sequence based on the sorts of
publication they produce and
the
combination of preliminary
matter
common to
them.
Books
in a series should have a consistent order, and
those on a
single

list or subject tend to.
Generally, the more important
of
the prelim
sections
start on
a
new
recto
(right-hand
page),
sometimes ending
with
a blank
verso
(left-hand page)
if
the
text
is one page
in
length
or
finishes
on
a
recto. Others of
lesser
importance start only on
a

new
page,
and two
or
more sections (espe-
cially
lists)
may be combined
to run
together on
a
single
page
if
space
demands and
logic
allows. The decision is based on
what
preliminary
matter
is to be
included
in a
given work,
how
long each section
is
(often—but
not

always—equated
with
how
important
it
is),
and the
number
of
pages
available.
In addition
to
space,
a
consideration
is
bleed-through from
the
other
side
of
a
page:
a
one-line dedication
or
epigraph falling on
a
recto,

for
example, often requires a blank verso to avoid the image of the verso's
type
showing
through on
a
nearly
empty preceding
page.
(Bleed-through
is
for the most
part
unnoticeable on
pages
with
similar
amounts
of
text.)
Where
space permits
it
is safest to
put
any dedication or epigraph on
a
new recto
with
a

blank verso. But
a
book much pushed
for
space—to
accommodate
an
even working,
for
example—may
actually demand
setting the dedication on the half-title verso.
Assuming
sections
of
standard length
and no
page restrictions,
the
following
order of preliminary
matter
may be recommended:
series
title
(new recto)
publisher's
announcements (verso)
half-title
frontispiece

title
page
title
page verso
dedication
foreword
preface
acknowledgements
contents
(new recto)
(new verso)
(new recto)
(verso)
(new page)
(new recto)
(new recto)
(new page)
(new recto)
table
of
cases
(new page)
table
of
statutes (new page)
list
of
illustrations, figures,
plates,
maps,

etc. (new page)
list
of
tables (new page)
list
of
abbreviations (new page)
list
of
symbols (new page)
list
of (or
notes
on)
contributors (new page)
epigraph (new page)
introduction
(new recto)
CHAPTER
1
I
The
parts
of
a
book
3
1.2.1
Endpapers
Endpapers

are the (usually blank) sheets at the beginning and end of a
book,
half
of
each pasted to the
inside
of
the
cover,
half
forming
a
flyleaf.
As
such they form
part
of
the binding rather than the
text.
If
endpapers
are
to have printing, such as illustrations or
figures,
those not
solely
decorative should be repeated within the
text.
This is because libraries
often

conceal
or obscure endpapers
by
fastening
labels
or dust jackets to
them,
and may remove
them
entirely through rebinding. Paperback
books have no endpapers, so a hardcover book issued in simultaneous
or subsequent softcover will lose this feature.
1.2.2
Half-title
and
verso
The
half-title
(formerly
also
called the
bastard
title)
page
is
typically
on the
first recto (p. i) after the flyleaf. It contains only the main
title
of the

volume, not the series title, subtitle, or author's or publisher's name.
Its
verso
(p.
ii)
is
often
blank,
although it can hold publisher's announce-
ments, such as series title, list of other titles in the same
series,
other
titles
by
the same author, or
general
editors or
advisers;
exceptionally, it
can
hold a
frontispiece.
Some
books incorporate the half-title verso into
a
double-page spread
design
for the
title
page.

1.2.3
Frontispiece
A
frontispiece
is an illustration
that
faces the
title
page when the work is
opened. Consequently it is always printed on a verso, which
is—un-
usually—blank
on its preceding recto. Primarily a
frontispiece
illustra-
tion is one
that
warrants being placed in a significant position,
customarily because it is an important image representative of the
whole of the work (such as a portrait, map, or facsimile relating to the
book's subject), because it
is
the
only
illustration in the work, or because
it requires special
treatment.
For example, a halftone (photo) frontis-
piece
may

need to be printed on
glossy
art paper to reproduce the image
properly; this page is
then
tipped
in—fixed
to a page by a strip of paste
along
the inner vertical
edge—during
printing.
A
colour halftone must
always
be
tipped
in unless the entire work is printed on paper suitable
for
colour
images.
All frontispieces not entailing special paper are
printed on the same kind of paper as the
text.
Tipped-in frontispieces
are
unnumbered; those printed on
text
paper are numbered and in-
cluded in the pagination.

A
frontispiece
should not
be
set
landscape
(turned
on the
page),
and may
need to be cropped to accommodate this. Like any other illustration, it
requires a caption.
4
The
parts
of
a
book
I
CHAPTER
1
Frontispieces
may not
always
be reproduced in all subsequent editions
of
a
work. Tipped-in frontispieces are rare in paperbacks, for example,
which
also

may not use the same quality of paper. For this reason
authors should avoid
cross-referring
to a frontispiece in
text.
1.2.4
Title
page
The
title
page—properly
full-title
page,
as
distinct
from
half-title
page—is
on
the first recto after the half-title (p. iii). It contains the full
title
and
subtitle of the work, volume
number
if
any,
name of the author(s) or
general
editor(s),
and the publisher's name (imprint). It

may
also
include
a
series
title, translator's name, illustrator's name, place of publication
or cities in which the publisher has its main
offices,
publisher's
logo
or
colophon
(see
also
1.4.6),
and year of publication.
Authors' names should be
styled
with
initials
or
given
name(s)
in full
as
the authors prefer. Styles vary for their presentation: authors' names
can
appear
above
or below the title, and

may
or
may
not be preceded
by
By,
or be followed by
degrees
or affiliations.
Joint authors need to
agree
on the order
of
their
names.
Authors can be
listed
in order of seniority, according to the
proportion
of material
contributed,
or alphabetically.
A
volume editor's name is preceded by
Edited
by,
Selected
and
edited
by,

or
General
Editor,
as appropriate.
A
transla-
tor's name
is
preceded
by
Translated
by,
and an illustrator's name
may
be
preceded by
Illustrations
by
or
With
illustrations
by.
1.2.5
Title
page
verso
This
page
(p.
iv)

is
also
referred to
as
the
full-title
verso,
copyright,
imprint,
or
biblio
page,
and
contains
the
essential
printing
and
publication
history
of
the work,
including
publisher's
imprint,
date
of
publication, publishing
history,
copyright

notices,
assertion
of
moral
rights,
current
edition and
impression,
geographical limitations on
sales,
cataloguing in publica-
tion data
(including
ISBN
etc.),
performing
rights
agencies,
and printer's
name and location. This accumulation of
data
has given modern books
much
more crowded
title
versos
than those
of
former
years,

and
there
is
an
increasing desire among many publishers to make
them
less
clut-
tered.
Publisher's
imprint
A
publisher's
imprint
comprises the name of the publisher (or publishing
division
if
this
bears
a separate
name),
its
full
registered
address,
place
of
publication, and
date,
usually

printed
at the foot
of
the
title
page.
It
may
include the
names
of
associated
companies,
agencies,
or
offices,
and the
cities
in which they are located, as on the
imprint
page
in this volume.
CHAPTER
1
I
The
parts
of
a
book

5
Works set wholly in Latin have Latin imprints, in which the place of
publication is in the locative
form—for
example
Londinii
('at London'),
Oxonii
('at Oxford'),
Novi
Eboraci
('at New
York')—in
other
languages
the
nominative
has
tended to take
over:
Pans
for
'À
Paris',
Praha
for
'V
Praze',
etc.
Date

of
publication
If
the date
of
publication
is
not included on the
title
page,
it
is
stated on
the imprint page (or both). In this
case,
it may be combined
with
the
publisher's imprint:
First
published in
2002
by Oxford University
Press,
Great
Clarendon
Street,
Oxford 0X2
6DP
Publishing

history
In
the
case
of
co-publication, the name and full
address
of
the publisher
of a
particular edition is stated first,
with
the name and city of
publica-
tion of
co-publishers
following. Thus the imprint page for a co-publica-
tion published in Great
Britain
would read:
Published
in Great Britain in
2002
by Oxford University
Press,
Great
Clarendon
Street,
Oxford
OX2

6DP
Published
in the United
States
in
2002
by Oxford University
Press Inc.,
New
York
The imprint page for the same book published in the
USA
would read:
Published
in the
United
States
in
2002
by Oxford University
Press Inc.,
198
Madison
Avenue,
New
York,
NY
10016
Published
in Great Britain in

2002
by Oxford University
Press,
Oxford
Mention
should
be
made
of
subsequent publication
of
the
same
title, the
same
work
with
a different title, a later edition
with
additional content,
or the same work in translation.
Copyright
notices
Copyright notices take different forms depending on the country of
publication, and whether the work
is
an
original
edition,
reissue,

paper-
back
of
original
hardback,
translation,
etc.
Different parts
of a
work
may
be covered by separate copyrights, such as an introduction or notes,
parts
of an
anthology,
or individual chapters in a multi-author
text.
Publishers
who include such notices normally follow a standard
tem-
plate. The following
is
an example:
All rights
reserved.
No
part
of
this
publication

may
be
reproduced,
stored in a
retrieval
system,
or transmitted, in any
form
or by any
means,
without
the
prior
permission
in
writing
of Oxford University
Press,
or
as
expressly
permitted
by law, or under
terms
agreed
with
the appropriate reprographics
rights organization.
Enquiries
concerning reproduction outside the

scope
of
the
above
should
be
sent
to the
Rights
Department, Oxford University
Press,
at the
address
above.
For
general
guidelines
on copyright
see
CHAPTER
14.
6
The
parts
of a
book
|
CHAPTER
1
Assertion

of
moral
rights
Standardly,
this takes the form of
a
statement such as
The
moral
right
of [author's name] to be
identified
as
the author of this
work
has
been
asserted
in
accordance
with
the Copyright
Designs
and
Patents
Act
1988.
or simply
The
author's moral rights have been

asserted.
For
more on moral rights
see
14.2.4.
Current
edition,
impression,
and
imprint
The edition, impression, and reprint
of a
work
may
be listed on the
title
verso;
all
three
terms are distinct, and require some explanation.
In bibliographical terms, an
edition
is the state of a book or similar
creation at its first publication. Separate editions are
also
counted after
each
revision,
enlargement, abridgement, or change
of

format (second,
third, etc.), or
if
it becomes revised, enlarged, abridged, paperbacked, or
the like. An edition is distinct from a reprinting
that
contains no sub-
stantial alteration, which is an impression or reprint. In trade practice
the number of the edition is indicated as
1/e,
2/e,
3/e,
etc. or superscript
\
2
,
3
,
etc. following the title,
signifying
a
first,
second, third, etc. edition.
Any of these
three
forms can be used in bibliographical references,
providing it
is
imposed consistently.
An

impression
denotes all the copies
of a
book etc. printed at one press
run from the same type, plates, etc. In trade practice this is indicated
by
1/i,
2/i,
3/i,
etc. which stands for the first, second, third, etc. impres-
sion.
Impression
also
has the technical
meanings
of
the
product
from one
cycle
of
a
printing machine, the indentation in the paper by a printing
surface,
or the pressure between printing and impression surfaces.
In printing,
reprint
has
three
meanings:

a second or new impression
of
any
printed work,
with
only minor corrections; a
reimpression
with
no
corrections at
all;
or printed
matter
taken from some other publication
for
reproduction.
When
copy
is
centred, reprints can
be
indicated on the
title
verso by
a
centred line
of
alternating
figures,
normally one to ten

(1
3579108
642);
each digit stands for the number
of a
reprint. One figure
is
deleted
with
every subsequent printing
so
that
the
smallest
remaining
digit
marks the reprint number: 3 5 7 9
10
8 6 4 2 indicates a second
reprint,
357910
864a third reprint, and
so
forth.
When
copy
is
full left,
figures are in
descending

order.
More than nine reprints are indicated
by
higher
numbers.
Geographical
limitations
on
sales
The
sales
of some works may be circumscribed by geographical
areas.
CHAPTER
1
I
The
parts
of
a
book
7
Any
such limitations are denoted
by,
say,
For
sale
only
in

Canada
or
Not
for
sale
outside
the
UK.
Cataloguing
in
publication
(CIP)
data
Some
national
libraries—typically
the
British
Library
and the
Library
of
Congress—compile
CIP data, which is drawn from a sample of pages
sent to
them
by the publisher before publication. Some publishers
include this information, when it is available, or simply state:
Data
available.

CIP
data cannot be altered in
any
way;
this includes the
Library
of
Congress's
US spelling of
cataloging.
Errors of fact can be corrected
only
with
written
permission from the
issuing
library.
International
Standard
Book
Number
(ISBN)
The
ISBN
is a unique number
assigned
to every edition of
every
book.
Thus a book will have one

ISBN
for a hardback edition, a different
ISBN
for
a paperback edition, a different
ISBN
for a revised or new edition,
and
a different
ISBN
for a co-publication in another
language.
Each
volume of a multi-volume work will have a separate
ISBN
if it is for
sale
separately, as well
as
an
ISBN
for the set.
The
ISBN
is
always
ten digits divided into four parts, separated by en
spaces
or hyphens. The first
part

(one to five
digits),
called the
Group
Identifier, identifies the national,
language,
or geographical area in
which the book is published. The Publisher Prefix (one to seven
digits)
identifies
the publisher. The Title
Number
(one to six
digits,
depending
on the number of
digits
preceding them) identifies the specific volume
or edition
of
a
work. The Check Digit
(always
one digit, 1-9 or
X
for ten)
is
used to check
that
the number

is
correct. The
ISBN
is
also
part
of
any
bar code found on the back of
a
work or its dust jacket.
International
Standard
Series
Number
(ISSN)
The
ISSN
is a unique number
assigned
to a serial publication such as a
journal,
magazine,
yearbook,
or monograph
series;
the number
does
not
vary

from
issue
to
issue.
If
the publication
is
composed
of
books,
as
with
some
series
monographs, each volume is
assigned
an
ISSN
as
well
as
an
ISBN.
The
ISBN
is printed on the same page as the work's copyright
notice, or
with
the instructions for ordering
publications.

Since
the last
letter
in
ISBN
and
ISSN
stands
for
number,
the phrase
ISBN
number
or
ISSN
number
is
tautological.
Performing
rights
agencies
Performing
rights and copyright organizations license the public per-
formance of non-dramatic musical works on behalf of the copyright
owners;
their names and addresses can appear on the
title
verso of
printed music and related copy. Common agencies include ASCAP
8

The
parts
of a
book
|
CHAPTER
1
(American
Society
of
Composers,
Authors, and
Publishers),
BMI
(Broad-
cast
Music Incorporated), and
SESAC
(Society of European Songwriters,
Artists and Composers).
Printer's
and
binder's
names
and
locations
Some
publishers include the name
of
the printer and binder

responsible
for
producing the work.
Where
this
changes
for subsequent
versions
of
the work, the data will need to be adjusted.
Other
information
Some
publishers may include the font type and size used in the
text,
though this may
also
be found (sometimes together
with
the printer's
and
binder's names and location) on the
bottom
of the work's final
blank
verso.
In specialist works this may have a bibliographic interest,
though in
general
it

is
of
most immediate use to anyone who wishes to
match the type.
1.2.6
Dedication
A
dedication is a
highly
personal item, for which no rules can be
given.
Commonly centred on the page, it is open to a variety of typographic
treatments, which should suit its subject and
satisfy
its author. Except
when a book is
part
of a
series,
there
is no reason why a dedication's
presentation may not vary between otherwise equivalent volumes.
When
adjusting prelims to fit the available space, a dedication's size
and
autonomy often
prompts
its relocation to a convenient
verso,
pref-

erably
where its
significance
is not impaired.
1.2.7
Foreword
The foreword is an article about the book
written
by someone other
than the author. The name of its author usually appears at the end,
though it may be given under the heading, and may appear in the
contents list. The
title
or affiliation of the foreword writer may
also
appear under his or her name.
1.2.8
Preface
The preface is the author's introductory
address
to the reader, in which
he or she explains the purpose, prospective
readership,
and scope
of
the
book,
including
what
the author

has
decided to include and to omit. It
is
also
the place for a brief acknowledgement to
colleagues
or
advisers
in
the absence
of
an
acknowledgements section.
A
preface may serve the same purpose for the editor of
a
multi-author
CHAPTER
1
I
The
parts
of
a
book
9
book, in which
case
it
is

sometimes
called
an
editor's
or
editorial
preface.
It
may,
but need not, be
signed
with
a date and location.
When
a new preface accompanies a new edition, it precedes the
original
preface, which
is
then
titled
Preface
to
the
First
Edition.
The new preface is
titled
Preface
to
the

Second
Edition,
Preface
to
the
Paperback
Edition,
Preface
to
the
Abndged
Edition,
Preface
to
the
Student's
Edition,
and so forth as appro-
priate.
Successive
editions are numbered consecutively and continue to
be placed in reverse numerical order. A collection of several prefaces
may
be distinguished further by adding dates:
Preface
to
the
Thirty-Ninth
Edition
(1983).

Works
that
accumulate many prefaces may have the
less
significant
ones weeded out to conserve space, or include only the first
and last of
them.
1.2.9
Acknowledgements
Acknowledgements are
of
two
types:
those
recognizing
ideas,
assistance,
support,
or inspiration, and those cataloguing sources of copyright ma-
terial.
The former
is
a
matter
of
academic integrity, requiring
a
writer to
give

credit for another's aid or
thoughts—whether
or not the same
words are used to express
them.
The latter
is
a
legal
requirement, requir-
ing
a writer to obtain
permission—from
the
original
author or from his
or her publisher or copyright
holder—if
the writer quotes the author's
words (otherwise than covered by 'fair
dealing').
Acknowledging the
source of illustrations (figures, tables, diagrams, etc.) is a function of
stating
that
the writer has obtained permission to reproduce
them.
In
text
it is best to separate the two types of acknowledgement, in

keeping
with
their distinct functions. A work
with
both
types will be
likely
to have the first integrated into
a
preface, and the second either
as
a
separate section or at the end of the preface. Copyright acknowledge-
ments most often form a separate section. For acknowledgements in
general
see
14.4.3;
for illustrations acknowledgements
see
10.8.
1.2.10
Contents
The contents list is titled only
Contents,
not
List
of
Contents
or
Table

of
Contents.
It records the
title
and beginning page number of
every
separ-
ately
titled section
that
follows it, including
all
lists
in the prelims, parts
and chapters, and all endmatter. It may list the
frontispiece,
but not the
dedication or epigraph.
Lists
are referred to
as
list
of—
in
the contents list even though their own
headings
are simply
Illustrations,
Abbreviations,
etc.

Use the word
Part
and list the
part
titles in full, but do not
give
a page