MLA第9版で文学を引用する方法（指定された場合はシカゴ）

単独の書籍：

著者の姓, 名. 書籍のタイトル. 出版社, 年.

アンソロジー所収の作品：

著者の姓, 名. "作品のタイトル." アンソロジーのタイトル, edited by 編者名, 出版社, 年, pp. ページ.

本文中（散文）：

(著者 ページ) または 著者は…と書く (ページ).

本文中（番号付き戯曲）：

(著者 1.2.15–17) — 使用した版の幕、場、行。

The notes and bibliography system, Chicago's oldest and most flexible, can accommodate a wide variety of sources, including unusual ones that don't fit neatly into the author-date system. For this reason, it is preferred by many working in the humanities, including literature, history, and the arts.

When the source being documented forms part of a larger whole, the larger whole can be thought of as a container that holds the source. For example, a short story may be contained in an anthology. The short story is the source, and the anthology is the container.

Generally, if you’ve consulted the digital edition of a work, that is the edition you should include in your works-cited list. It is not necessary to track down the page numbers for the print edition if you consulted the digital or open access edition, nor should you include both the print and digital editions of the same book in your works-cited list, unless you consulted both.

Manuscripts should follow MLA style as set out in the most recent edition of the MLA Handbook.

Authors must fully cite in the manuscript, at submission, their use of all content (whether text, images, data, or other) created by an AI tool.

Following the guidelines established by the journal's publishing partner, Cambridge University Press, AI tools cannot be considered authors of works submitted to the journal.

Note that a place of publication is no longer required in book citations (see CMOS 14.30).

初出注（Yu）：

1. Charles Yu, Interior Chinatown (Pantheon Books, 2020), 45.

短縮注：

2. Yu, Interior Chinatown, 48.

参考文献：

Yu, Charles. Interior Chinatown. Pantheon Books, 2020.

翻訳書、初出注（Liu）：

1. Liu Xinwu, The Wedding Party, trans. Jeremy Tiang (Amazon Crossing, 2021).

Kindle小説、初出注（Roy）：

1. Arundhati Roy, The God of Small Things (Random House, 2008), chap. 6, Kindle.

leftover-CMOS-Melville-pre-1900-place、初出注：

1. Herman Melville, Moby-Dick; or, The Whale (New York, 1851), 627, https://melville.electroniclibrary.org/moby-dick-side-by-side.

In-text citations are brief, unobtrusive references that direct readers to the works-cited-list entries for the sources you consulted and, where relevant, to the location in the source being cited.

An in-text citation begins with the shortest piece of information that directs your reader to the entry in the works-cited list. Thus, it begins with whatever comes first in the entry: the author’s name or the title (or description) of the work. The citation can appear in your prose or in parentheses.

All in-text references should be concise. Avoid, for instance, providing the author’s name or title of a work in both your prose and parentheses.

Works Cited：

Baron, Naomi S. “Redefining Reading: The Impact of Digital Communication Media.” PMLA, vol. 128, no. 1, Jan. 2013, pp. 193–200.

地の文での引用：

Naomi Baron broke new ground on the subject.

括弧、ページなし：

At least one researcher has broken new ground on the subject (Baron).

According to Naomi Baron, reading is “just half of literacy. The other half is writing” (194).

Reading is “just half of literacy. The other half is writing” (Baron 194).

著者1名の書籍：

Mantel, Hilary. Wolf Hall. Picador, 2010.

匿名作品、翻訳者を名指し：

Beowulf. Translated by Alan Sullivan and Timothy Murphy, edited by Sarah Anderson, Pearson, 2004.

批評の編纂集：

Sánchez Prado, Ignacio M., editor. Mexican Literature in Theory. Bloomsbury, 2018.

Achebe, Chinua. Things Fall Apart. 1959. Penguin Books, 2017.

Achebe, Chinua. Things Fall Apart. Penguin Books, 2017. Originally published by McDowell Obolensky, 1959.

The printing of a source should not be indicated in the source’s works-cited-list entry. An edition number, however, can be listed in the Version element according to the MLA format template, as shown in the example below:

公式の版の例：

Yeats, W. B. The Collected Poems of W. B. Yeats. 2nd ed., Scribner, 1996.

Use the Version element to specify that the work you are citing is an e-book—that is, a book that lacks a URL and that you use software to read on a personal device or computer.

公式の電子書籍標本：

MLA Handbook. 9th ed., e-book ed., Modern Language Association of America, 2021.

leftover-EPUB-8th-Handbook-supplemental：

MLA Handbook. 8th ed., e-book ed., Modern Language Association of America, 2016. EPUB.

When citing an e-book in your text, avoid using device-specific numbering systems.

ページのない電子書籍の注：

(ch. 1, n5)

ダウンロードしたオーディオブック：

Atwood, Margaret. The Handmaid’s Tale. Narrated by Claire Danes et al., Audible, 2017. Audiobook.

本文中のタイムスタンプ：

(Atwood 01:47:12-29)

公式のカセット形式標本：

Berendt, John. Midnight in the Garden of Good and Evil. Narrated by Jeff Woodman, Random House Audio, 1997. Audiobook, 10 cassettes.

leftover-Heaney-Audible-B002V5CVPY-503：

Heaney, Seamus, translator. Beowulf. Narrated by Heaney, audiobook, abridged edition, HighBridge Audio, 2006. Audible.com, www.audible.com/pd/Classics/Beowulf-Audiobook/B002V5CVPY/.

If the poem is short (no longer than a page or its online equivalent), do not cite any number in the text. The page number or web location that appears in the poem’s works-cited-list entry will be specific enough to identify a borrowing from such a short text.

If the poem is longer than a page (or its online equivalent) and is published with explicit numbers marking lines or other parts (e.g., stanzas, cantos, books), cite the line numbers and other part numbers but not page numbers. If lines alone are numbered, use the form “line 57” or “lines 119–20” in the first citation, and cite the line numbers alone, without the label line or lines, in the later citations.

If other parts are numbered as well as lines, combine the numbers without a label. For instance, if books and lines are numbered, “9.19” means book 9, line 19.

If the poem is longer than a page and is not published with explicit numbers marking lines or other parts, cite page numbers (as you would for a work in prose) if the poem is in print. If no page numbers are present (as is often the case online), none can be cited.

詩集所収の印刷詩：

Hemans, Felicia. “The Image in Lava.” The Poetical Works of Mrs. Felicia Hemans, Grigg and Elliot, 1843, p. 318.

連の区切りを含む行中引用：

“Since here the mournful seal was set / By love and agony! // Temple and tower have mouldered” (lines 3–5).

オンラインの詩：

Rich, Adrienne. “Diving into the Wreck.” Poets.org, Academy of American Poets, poets.org/poem/diving-wreck. Accessed 29 July 2021.

エピローグを最終幕の一部として扱う：

Whereas Prospero has relied on magic to create his dramatic illusions throughout The Tempest, in the epilogue he casts the audience in the role of enchanter: “Let me not,” he says, “dwell / In this bare island by your spell” (5.1.323, 325–26).

エピローグを独自の節として番号付けする：

At the end of Henry V, the chorus alludes to Henry VI: “Whose state so many had the managing / That they lost France and made his England bleed” (Epilogue, lines 11–12).

Works Cited（Taylor Henry V）：

Shakespeare, William. Henry V. Edited by Gary Taylor, Oxford UP, 1982. Oxford Scholarly Editions Online, doi:10.1093/actrade/9780198129127.book.1.

Works Cited（Orgel The Tempest）：

Shakespeare, William. The Tempest. Edited by Stephen Orgel, Oxford UP, 1987. Oxford Scholarly Editions Online, doi:10.1093/actrade/9780198129172.book.1.

In Macbeth, Shakespeare often returns to the idea that appearances can be deceiving. After hearing of the death of the traitorous Thane of Cawdor, who had seemed so loyal, Duncan remarks, “There’s no art, / To find the mind’s construction in the face” (54; 1.4).

The edition of Macbeth I used does not provide line numbers. I cite the play by page number followed by act and scene numbers.

Works Cited：

Shakespeare, William. Macbeth. The Plays of William Shakespeare, vol. 10, edited by George Seeves et al., T. Davison, 1813, pp. 11–295.

De Quincey, Thomas. Excerpt from Confessions of an English Opium-Eater. English Romantic Writers, edited by David Perkins, Harcourt, Brace, Jovanovich, 1967, pp. 725–30.

Duyckinck, Evert A. “An Intellectual Chowder.” Moby-Dick, by Herman Melville, edited by Harrison Hayford and Hershel Parker, Norton Critical Edition, W. W. Norton, 1967, pp. 613–16. Excerpt from “Melville’s Moby-Dick; or, The Whale,” Literary World, vol. 9, 22 Nov. 1851, pp. 403–04.

Authors of introductions, prefaces, afterwords, and the like—collectively called front and back matter—are not usually essential to identifying a work and can be omitted from works-cited-list entries.

序文の著者が版の識別に役立つとき：

Gogol, Nikolai. Dead Souls: A Novel. Translated by Richard Pevear and Larissa Volkhonsky, introduction by Pevear, Vintage Books, 1996.

タイトルのあとに大文字のラベル：

Cervantes, Miguel de. Don Quijote. Translated by Burton Raffel, W. W. Norton, 1999.

コンテナのタイトルのあとに小文字のラベル：

Dostoevsky, Fyodor. Notes from the Underground. Notes from the Underground and The Gambler, translated by Jane Kentish, Oxford UP, 2008, pp. 1–124.

作品全体、貢献者欄の翻訳者：

Zola, Émile. Germinal. Translated by Roger Pearson, Penguin Books, 2004.

翻訳者注の本文中引用：

Zola’s translator explains that the name of the town Le Voreux “suggests the ‘voracious’ nature of the mine” (533n2).

論文が注についてなら、翻訳者を先に：

Pearson, Roger, translator. Germinal, by Émile Zola, Penguin Books, 2004.

ページ上の番号なし注：

(7n) — または文中で注を名指しし、括弧にはページだけを残す。

In his Immortality Ode, Wordsworth lamented the loss of “splendor in the grass,” a feeling linked to childhood (qtd. in Kantor 508).

Works Cited（開いた論文）：

Kantor, Jamison. “Immortality, Romanticism, and the Limit of the Liberal Imagination.” PMLA, vol. 133, no. 3, 2018, pp. 508–25.

According to Alexander Pope, “A little learning is a dang’rous thing” (qtd. in Damrosch 239).

As a wise poet once wrote, “A little learning is a dang’rous thing” (Alexander Pope qtd. in Damrosch 239).

Works Cited：

Damrosch, Leopold, Jr. The Imaginative World of Alexander Pope. U of California P, 1987.

If you are quoting three or fewer lines of poetry, run the lines into the text. (Set a poetry quotation off from the text as a block quotation when it is four or more lines long.)