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How to reference a book using the Chicago Manual of Style
The most basic entry for a book consists of the author’s name, the title of the book, publisher city, publisher name, and the year of publication.
Last Name, First Name. Title of Book. Publisher City: Publisher Name, Year Published.
Brown, Dan. The DaVinci Code. New York: Scholastic, 2004.
The first author’s name should be reversed, with a comma being placed after the last name and a period after the first name (or any middle name/initial). The name should generally be written as it appears on the title page, although certain adjustments may need to be made. Titles and affiliations associated with the author should be omitted. A suffix, such as a roman numeral or Jr./Sr. should appear after the author’s given name, preceded by a comma.
For a book written by two or more authors, list them in order as they appear on the title page. Only the first author’s name should be reversed, while the others are written in normal order. Separate author names by a comma.
Smith, John, Jane Doe, and Bob Anderson. The Sample Book. Pittsburgh: BibMe, 2008.
The full title of the book, including any subtitles, should be stated and italicized. If the book has a subtitle, the main title should be followed by a colon (unless the main title ends with a question mark, exclamation point, or dash). The complete title should be followed by a period.
The publication information can generally be found on the title page of the book. If it is not available there, it may also be found on the copyright page. List the publication city, followed by a colon and the publisher name. The publisher name may be given in full or it can be abbreviated. In all cases, introductory articles (e.g. The, A, An) and some business titles (e.g. Inc., Ltd., S.A.) are omitted. Other business titles (e.g. Co., & Co., Publishing Co.) are often omitted, but can be retained. “Books” is usually retained. “Press” may be omitted or retained – if it is used with a university name, it must be retained. The word “University” can be abbreviated as “Univ.” The publisher is followed by a comma, and then the year of publication. End the citation with a period.
If you are citing a specific chapter from the book, include the following information before the book title: the chapter name and a period in quotations, and the text “In”. Also include either the inclusive page numbers of the chapter (along with a period after the year of publication) or the chapter number (along with the text “Chap.”, preceding the “In” text before the book title).
Smith, John. “The First Chapter.” Chap. 1 in The Sample Book. Pittsburgh: BibMe, 2008.
Smith, John. “The First Chapter.” In The Sample Book. Pittsburgh: BibMe, 2008. 12-20.
When a book has no edition number/name present, it is generally a first edition. If you have to cite a specific edition of a book later than the first, you should indicate the new edition in your citation. If the book is a revised edition or an edition that includes substantial new content, include the number, name, or year of the edition and the abbreviation “ed.” in parentheses between the book title and the period that follows it. “Revised edition” should be abbreviated as “Rev. ed.” and “Abridged edition” should be abbreviated as “Abr. ed.” “Second edition, revised and enlarged” can be abbreviated simply as “2nd ed.” The edition can usually be found on the title page, as well as on the copyright page, along with the edition’s date.
Smith, John. The Sample Book. 2nd ed. Pittsburgh: BibMe, 2008.
Smith, John. The Sample Book. Rev. ed. Pittsburgh: BibMe, 2008.
If the book is a reprint edition and is a newly republished version of an older book, include the original year of publication and a period after the period that follows the book title. Place the word “Reprint” and a comma before the publication city. The publication year at the end of the citation should be the year of the book’s reprinting.
Smith, John. The Sample Book. 1920. Reprint, Pittsburgh: BibMe, 2008.
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7. The contemporary Sublime
Christine Battersby, Gender and Genius: Towards a Feminist Aesthetics, London 1989.
Bill Beckley (ed.), Sticky Sublime, Allworth Press, New York 2001.
Harold Bloom, The Anxiety of Influence: A Theory of Poetry (1973), second edn., Oxford University Press, Oxford and New York 1997.
D.B. Brown and D. Young, Mariele Neudecker: Over and Over, Again and Again, Tate St Ives, London, 2004.
Jean-François Courtine (ed.), Of the Sublime: Presence in Question, State University of New York Press, Albany 1993.
Clayton Crockett, A Theology of the Sublime, Routledge, London 2001.
Jacques Derrida, ‘Parergon’, The Truth in Painting, trans. by Geoffrey Bennington and Ian McLeod, University of Chicago Press, Chicago and London 1987.
Barbara Freeman, The Feminine Sublime: Gender and Excess in Women’s Fiction, University of California Press, Berkeley and London 1995.
Luke Gibbons, Edmund Burke and Ireland: Aesthetics, Politics and the Colonial Sublime, Cambridge University Press, Cambridge 2003.
P. Hamilton, “From Sublimity to Indeterminacy: New World Order or Aftermath of Romantic Ideology”, in Romanticism and Postmodernism, ed. Larrisey, E., Cambridge 1999.
Neil Hertz, The End of the Line: Essays on Psychoanalysis and the Sublime, Columbia University Press, New York and Guildford 1987.
W.J. Hipple, The Beautiful, the Sublime and the Picturesque in Eighteenth-Century British Aesthetic Theory, Carbondale 1957.
Fredric Jameson, ‘The Cultural Logic of Late Capitalism’, Postmodernism, or, the Cultural Logic of Late Capitalism, Verso, London 1991.
S. Kemal and Gaskell, I. Landscape, Natural Beauty and the Arts, Cambridge 1995.
Julia Kristeva, Powers of Horror: An Essay on Abjection, trans. by Leon S. Roudiez, Columbia University Press, New York 1982.
B.H. Lopez, Arctic Dreams: Imagination and Desire in a Northern Landscape, New York 2001.
Jean-François Lyotard, The Inhuman: Reflections on Time, trans. by Geoffrey Bennington and Rachel Bowlby, Polity Press, Cambridge 1991.
Jean-François Lyotard, Lessons on the Analytic of the Sublime, Stanford University Press, Stanford 1994.
Jean-François Lyotard, ‘The Sublime and the Avant-Garde’, trans. by Lisa Liebmann, Artforum, vol.22, no.8, April 1984, pp.36–43.
R. Macfarlane, Mountains of the Mind 2003.
Paul De Man, Aesthetic Ideology, ed. Andrzej Warminski, University of Minnesota Press, Minneapolis 1996.
Catherine Maxwell, The Female Sublime From Milton to Swinburne: Bearing Blindness, Palgrave Macmillan, Basingstoke 2001.
Milbank, J. “Sublimity: The Modern Transcendent”, in Transcendence: Philosophy, Literature and Theology Approach the Beyond ed. Schwartz, R., London 2004.
V. Mosco, The Digital Sublime: Myth, Power and Cyberspace, Cambridge, Mass., 1996.
H. Murakami, After the Quake, New York 2003.
Barnett Newman, ‘The Sublime is Now’, Barnett Newman: Selected Writings and Interviews, ed. by John Philip O’Neill, University of California Press, Berkeley 1990, pp.172–3.
David Nye, American Technological Sublime, MIT Press, Cambridge, Mass. and London 1994.
Gene Ray, Terror and the Sublime in Art and Critical Theory: From Auschwitz to Hiroshima to September 11, Palgrave Press, New York 2005.
Robert Rosenblum, Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko, New York 1975.
N. Jardine, J.A. Secord, and E.C. Spray (eds.), Cultures of Natural History, Cambridge 1996.
Slavoj iek, The Sublime Object of Ideology, Verso, London and New York 1989.
Slavoj iek, The Art of the Ridiculous Sublime: On David Lynch’s Lost Highway, University of Washington Press, Washington 2000.