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Contents

Preface Acknowledgments 1 The Parts of a Published Work 2 Manuscript Preparation and Manuscript Editing 3 Proofs 4 Rights and Permissions BY WILLIAM S. STRONG 5 Grammar and Usage BY BRYAN A. GARNER 6 Punctuation 7 Spelling, Distinctive Treatment of Words, and Compounds 8 Names and Terms 9 Numbers 10 Foreign Languages 11 Quotations and Dialogue 12 Illustrations and Captions 13 Tables 14 Mathematics in Type 15 Abbreviations 16 Documentation I: Basic Patterns 17 Documentation II: Specific Content 18 Indexes Appendix A: Design and Production–Basic Procedures and Key Terms Appendix B: The Publishing Process for Books and Journals Bibliography Index

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Preface

In preparing this fifteenth edition of The Chicago Manual of Style, we have sought to address the increasing proportion of our users who work with magazines, newsletters, corporate reports, proposals, electronic publications, Web sites, and other nonbook or nonprint documents. We have continued, nonetheless, to focus on the specific needs of our core constituency—writers and editors of scholarly books and journals. Because new needs, both technological and literary, prompted a major revision, Chicago consulted a wider range of advisers than ever before. We enlisted scholars, publishing professionals, and writers familiar with book and journal publishing, journalism, and—particularly valuable— electronic publication. Their counsel informs this edition. Computer technology and the increasing use of the Internet mark almost every chapter. New sections have been added on preparing electronic publications (in chapters 1, 2, and 3), including the kind of editing and proofreading these require. Guidance on citing electronic works, accompanied by many examples, is offered in chapter 17. The differing demands of print and nonprint works are noted wherever relevant. We assume throughout that most writers and editors, whether preparing print or nonprint works, use computer software. The figure in chapter 2 that both explains and illustrates how to edit a manuscript on paper is now accompanied by an example of a redlined manuscript edited on screen. New to this edition is a chapter on grammar and usage by Bryan A. Garner, author of Garner’s Modern American Usage (2003). While most of the Chicago Manual deals with “house style” (consistent forms of capitalization, punctuation, spelling, hyphenation, documentation, and so forth), Garner outlines the

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grammatical structures of English, shows how to put words and phrases together to achieve clarity, warns against pomposity, and identifies common errors. Included in this chapter are a glossary of troublesome expressions; guidance on bias-free language; and a list of words with their associated prepositions. As elsewhere in this manual, a conservative approach is tempered by pragmatism. Some elements in this chapter reappear elsewhere in different contexts; for example, restrictive versus nonrestrictive clauses are discussed in chapter 5 from a syntactical point of view and in chapter 6 as part of the treatment of commas. Other important revisions include a section (in chapter 1) on the various elements that make up a scholarly journal; updated and expanded coverage of copyright and permissions matters (chapter 4); a reorganized section on compounds and hyphenation that contains new material but occupies less space (in chapter 7); more attention to Canadian terms and usage (in chapters 8 and 17 and elsewhere); a new section prepared by editors of Gallaudet University Press on the typographic presentation of American Sign Language (in chapter 10); and a largely rewritten chapter on mathematics (chapter 14), which recognizes the almost universal use of computer software by both authors and editors. We have reorganized the chapters on documentation: chapter 16 now outlines the two main systems preferred by Chicago (notes and bibliography on the one hand and the author-date style on the other), and chapter 17 discusses specific elements and subject matter, with examples of both systems in almost every paragraph. In the area of design and manufacture, we have streamlined coverage to reflect what writers and editors need to know about current procedures. This material is presented in appendix A, which includes a list of key terms used in typesetting, printing, and binding. Appendix B diagrams the editing and production processes for both books and journals. The “For Further Reference” sections have been eliminated in favor of a more comprehensive bibliography; the entries, thoroughly updated, are classified by type. To aid navigation, every numbered paragraph now opens with a run-in subhead identifying the subject matter of the paragraph. For a more detailed overview of the manual than chapter titles alone can provide, we have added first-level subheads to the table of contents. As in earlier editions, each chapter opens with a full list of its

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contents. As for the rules that many of us either know or know how to look up, we have changed only a few, and mainly those that have never caught on. For example, in line with almost universal usage in the United States, we now recommend the month-day-year form of dates (January 1, 2003) and present our formerly preferred day-month- year style as a useful option. And we no longer urge deletion of the n in 2nd or the r in 3rd. As always, most Chicago rules are guidelines, not imperatives; where options are offered, the first is normally our preference. Users should break or bend rules that don’t fit their needs, as we often do ourselves. Some advice from the first edition (1906), quoted in the twelfth and thirteenth editions and invoked in the fourteenth, bears repeating: “Rules and regulations such as these, in the nature of the case, cannot be endowed with the fixity of rock-ribbed law. They are meant for the average case, and must be applied with a certain degree of elasticity.” This manual had its origins in the 1890s as a single sheet of typographic fundamentals drawn up by a University of Chicago Press proofreader. From its first publication as a book in 1906 to this fifteenth edition, it has retained its occasionally arbitrary character, for it reflects Chicago’s house style. Ideas generated from within the press and, increasingly, from outside have modified its tone and the thrust of its guidelines over the years. The twelfth edition, the most radically revised, was virtually a new book. The thirteenth and fourteenth continued to draw ideas from authors and editors, from responses to questionnaires, and from letters and telephone calls from (sometimes perplexed) readers. The present edition benefited not only from similar sources but also from a circle of advisers connected by e-mail, from a listserv for university press managing editors, and from the Q&A page in the University of Chicago Press’s own Web site. Many who contributed ideas, words, sections, and examples are listed in the acknowledgments that follow. On behalf of the University of Chicago Press Margaret D. F. Mahan Spring 2003

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Acknowledgments

We are indebted first to Catharine Seybold and Bruce Young, who compiled the pathbreaking twelfth edition of this manual as well as the thirteenth edition, and to John Grossman, who compiled the fourteenth. Their efforts set a high standard that we have sought to emulate in the present edition, which was principally revised by Margaret Mahan. Over the course of the revision, we have benefited from the advice of scholars, authors, and publishing professionals who reviewed material in their areas of expertise or offered fruitful suggestions. These include Ria Ahlström, Susan Allan, Michael Allen, Bruce Barton, Rudolph M. Bell, Laurence L. Bongie, Michael Boudreau, Therese Boyd, T. David Brent, Joseph Brown, Thomas Cable, Gordon Calhoun, Erik Carlson, Perry Cartwright, Rachel Chance, Alicja Chwals, Charlie Clark, Everett Conner, Bruce D. Craig, Anthony Crouch, Bruce O. Dancik, Philippe Desan, Erin DeWitt, Janet Dodd, Wendy Doniger, Fred Donner, Andrei Draganescu, Kate Duff, Jean Eckenfels, Richard Eckersley, Janet Emmons, June P. Farris, Thomas Fischer, Mark Fowler, Beth Garrison, Constance Hale, Holly Halliday, Terence Halliday, Kathleen Hansell, Eugene Harnack, Anthony Hoskins, Joann Hoy, Bob Hudnut, Cheryl Iverson, Tiger Jackson, Elizabeth Jewell, Leslie Keros, Michael Koplow, Kathryn Kraynik, Kathryn Krug, Josh Kurutz, Barbara Lamb, Karen Larsen, John Lipski, Gordon Meade, Julia Melvin, Ineke Middeldorp-Crispijn, Tess Mullen, Nancy Mulvany, David Nadziejka, Jeff Newman, Christina von Nolcken, Eizaburo Okuizumi, Donald O’shea, David Pharies, Cameron Poulter, Brian Prestes, Mary Beth Protomastro, Frank Reynolds, Claudia Rex, Robert J. Richards, Norma Roche, Carol Saller, Jessie Scanlon, Christine Schwab, Lys Ann Shore, Brian Simpson, Barbara Sivertsen, Beverly

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Sperring, Lynn Stafford-Yilmaz, Marta Steele, Sem Sutter, Martin Tanner, Sandy Thatcher, John W. Velz, Lila Weinberg, Paul Wheatley, Martin White, Bob Williams, Bruce Young, and Yuan Zhou. We are also grateful to others, too many to name individually, who responded to queries and informal polls about specific sections of the manual. The entire penultimate draft of the manuscript was read by the members of our Advisory Board, a panel of experts representing various communities of readers: Howard S. Becker, San Francisco David Bevington, Department of English, University of Chicago David Stanford Burr, St. Martin’s Press Patricia L. Denault, Harvard University Bryan A. Garner, LawProse Inc. Ann Goldstein, New Yorker John Hevelin, Sun Microsystems Deanna LaValle High, Association of Governing Boards of Universities and Colleges Mary Knoblauch, Chicago Tribune Ruth Melville, Editor June Smith, Houghton Mifflin Justine Burkat Trubey, R. R. Donnelley and Sons B. Tommie Usdin, Mulberry Technologies Inc. Robert Wald, Department of Physics, University of Chicago

We acknowledge with thanks the work of those who contributed chapters or parts of chapters to this edition: Geraldine Brady, Jenni Fry, Bryan A. Garner, DeLloyd J. Guth, Greg Hajek, Russell Harper, Sylvia Mendoza Hecimovich, Sharon Jennings, Jane Jiambalvo, Mary E. Laur, Mary E. Leas, John Muenning, Colleen Mullarkey, Margaret Perkins, Anita Samen, Jill Shimabukuro, Lys Ann Shore, Steven N. Shore, Philip Smith, Julie Steffen, William S. Strong, Ivey Pittle Wallace, and Martin L. White. Within the University of Chicago Press, special thanks go to Linda J. Halvorson and Mary E. Laur, who coordinated the entire process after the departure of Penelope Kaiserlian in July 2001. Many others have contributed their knowledge and skills to the project on a continuing basis: from manuscript editing, Margaret Perkins and Anita Samen; from production and design, Sylvia Mendoza Hecimovich and Jill Shimabukuro; from information technology, John Muenning and Evan Owens;

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from marketing, Ellen Gibson and Carol Kasper; and from the press administration, A. M. (Lain) Adkins and Mary Summerfield. Amy Collins and Christopher Rhodes provided editorial assistance. M. Sue Ormuz, Siobhan Drummond, and Michael Brehm contributed to various aspects of the production process. Alice Bennett copyedited the final manuscript. On behalf of the press, Jenni Rom proofread the book, and Margie Towery prepared the index. Paula Barker Duffy Director, The University of Chicago Press Spring 2003

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1 : The Parts of a Published Work

Introduction 1.1 A historical note 1.2 Published works 1.3 Leaves and pages, rectos and versos Books

Divisions 1.4 Outline of divisions and parts Front Matter

Half Title and Its Verso 1.5 Half title 1.6 Additional uses of page ii 1.7 List of previous publications 1.8 Frontispiece Title Page 1.9 Information displayed 1.10 New edition 1.11 Author(s) 1.12 Volume editor(s) or translator(s) 1.13 Publisher Copyright Page 1.14 Biographical note 1.15 Publisher’s address 1.16 Copyright notice 1.17 Copyright owner versus publisher 1.18 Year of publication 1.19 Subsequent editions 1.20 Additional copyright information 1.21 Publishing history 1.22 Edition versus impression 1.23 Edition number 1.24 Format of publishing history 1.25 Country of printing 1.26 Impression 1.27 Translation 1.28 International Standard Book Number (ISBN) 1.29 International Standard Serial Number (ISSN) 1.30 Acknowledgments, permissions, and other credits 1.31 Grants 1.32 Cataloging-in-Publication (CIP) data 1.33 CIP data 1.34 Application for CIP data 1.35 Paper durability statement Dedication 1.36 Format and placement 1.37 Appropriate use Epigraph 1.38 Placement 1.39 Source Table of Contents 1.40 Placement 1.41 Format 1.42 Chapters with different authors 1.43 Grouped illustrations List of Illustrations and List of Tables 1.44 Is a list needed?

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1.45 List of illustrations 1.46 Illustration titles 1.47 List of tables Foreword, Preface, Acknowledgments, and Introduction 1.48 Foreword 1.49 Preface 1.50 Author’s signature 1.51 New preface 1.52 Acknowledgments 1.53 Introduction Other Front Matter 1.54 Additional elements 1.55 List of abbreviations 1.56 Publisher’s or translator’s notes 1.57 Editorial method

Text 1.58 Organization of text 1.59 Second half title

Introduction in Text 1.60 Format Parts 1.61 Division into parts 1.62 Part titles and pagination 1.63 Part introduction 1.64 Omission of part title or other uses of it Chapters 1.65 Division into chapters 1.66 Format, placement, and pagination 1.67 Multiple authors and affiliations 1.68 Chapter offprints Other Divisions 1.69 Poetry 1.70 Letters and diaries Subheads 1.71 Use of subheads 1.72 Levels of subheads 1.73 Number of subheads 1.74 Placement and typographic style 1.75 Titles versus numbers 1.76 Numbering sections and subsections 1.77 Omission of note numbers in subheads 1.78 First sentence after subhead 1.79 Other ways to break text Epilogues, Afterwords, and Conclusions 1.80 Concluding elements

Back Matter Appendixes 1.81 Content of an appendix 1.82 Multiple appendixes 1.83 Placement 1.84 Type size Chronology 1.85 Placement Endnotes 1.86 Format and placement Glossary 1.87 Format and placement Bibliography or Reference List 1.88 Types List of Contributors 1.89 Many contributors 1.90 Few contributors Index 1.91 Format and placement Colophon 1.92 Definition

Running Heads 1.93 Definition

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1.94 Running heads in front matter 1.95 Running heads in text 1.96 Subheads as running heads 1.97 Running heads in back matter 1.98 Running heads for endnotes 1.99 Omission of running heads Page Numbers 1.100 Pagination

Front Matter 1.101 Roman numerals 1.102 Display pages and succeeding front matter Text and Back Matter 1.103 Beginning of the text 1.104 Chapter openings and back matter More Than One Volume 1.105 Separate versus consecutive pagination 1.106 Front and back matter

Errata 1.107 Format and placement 1.108 Bound-in errata page Exterior Structure

Cover 1.109 Hard versus soft 1.110 Front, back, and spine 1.111 Paperback covers Jacket 1.112 Content of the jacket Copy and Artwork for the Cover and Jacket 1.113 Credit for artwork 1.114 ISBN, Bookland EAN bar code 1.115 Price code 1.116 Printed bar codes

Electronically Published Books 1.117 Printed versus electronic books

Front Matter 1.118 Elements included 1.119 Copyright information 1.120 Author biographies 1.121 Publication details 1.122 Production details 1.123 Impression numbers 1.124 Cataloging-in-Publication (CIP) data 1.125 International Standard Book Number (ISBN) 1.126 Table of contents 1.127 Lists of illustrations and tables 1.128 Forewords and prefaces, dedications and epigraphs, and other front matter Text 1.129 Organization 1.130 Nonprint elements Notes 1.131 Hypertext links Back Matter 1.132 Elements 1.133 Index 1.134 Page references Running Heads 1.135 Need for running heads Page Numbers 1.136 Method of numbering Documentation and Technical Help 1.137 Types of help

Journals Covers and Spine 1.138 Accuracy and current information 1.139 Spine 1.140 Cover 1 1.141 Cover 2 1.142 Cover 3

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1.143 Cover 4 Front Matter 1.144 Placement of elements 1.145 Information for contributors 1.146 Acknowledgments 1.147 Table of contents 1.148 Section titles 1.149 Special issues 1.150 Editorials Majo

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1 : The Parts of a Published Work

1.1 A historical note The history of publishing since the end of the fifteenth century has been shaped by the application of technology to the conception and manufacture of printed texts. The evolution of this technology has been largely incremental, with occasional revolutionary developments followed by periods of relative stability. The most recent revolution started with the introduction of computer technology into mainstream society—and into the publishing field—in the last quarter of the twentieth century. This technology has transformed the means of editing and producing traditional print texts and has allowed the development of new and still evolving modes of electronic delivery. Everything that follows in this manual is shaped by a recognition of the lasting impact of the electronic revolution on the publishing industry.

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1 : The Parts of a Published Work

1.2 Published works A published work may be produced and delivered in the traditional way—printed on paper and bound—or conveyed in a digital format and displayed on a screen. Because many publishers have been guided by the history and traditions of print publishing even as they have moved toward electronic publishing, and because many of these traditions, including the logical order of elements in a printed work, can be a useful starting point in the design and production of electronic works, each of the major sections that follow begins with the components of printed paper-and-ink publications and then discusses those of electronic publications. Much of what is covered also applies to works other than journals and books. For printed books, see 1.4–116; for electronic books, see 1.117–37; for printed journals, see 1.138–68; for electronic journals, see 1.169–91; for manuscript preparation, see chapter 2.

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1 : The Parts of a Published Work

1.3 Leaves and pages, rectos and versos The trimmed sheets of paper that make up a printed book or journal are often referred to as leaves. A page is one side of a leaf. The front of the leaf, the side that lies to the right in an open book, is called the recto. The back of the leaf, the side that lies to the left when the leaf is turned, is the verso. Rectos are always odd-numbered, versos always even-numbered. For definitions of these and other terms mentioned throughout this chapter, see the list of key terms in appendix A.

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1 : The Parts of a Published Work

1.4 Outline of divisions and parts The interior of a printed book usually comprises three major divisions: the front matter (also called preliminary matter or “prelims”), the text, and the back matter (or end matter). An appropriate sequence for all the component parts of these divisions is presented below; some parts have alternative placements. Few books contain all these parts, and some books have parts not listed. All the listed parts will be discussed in this chapter. Lowercase roman numerals are assigned to pages in the front matter and arabic numerals to all the rest, including the back matter. Starting pages that cannot be determined in manuscript because of the variable lengths of certain parts are simply indicated as recto, the right- hand page being the traditional choice. Note that every page is counted in the page sequence, even those on which no number actually appears, such as the title and half-title pages, copyright page, and blank pages.

FRONT MATTER

Book half

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1 : The Parts of a Published Work

1.5 Half title The half title (on p. i, the first recto) normally consists only of the main title. The subtitle is omitted, and the author’s name does not appear. The verso of the half title (p. ii) is usually blank but may contain text or an illustration. For example, some title pages are presented as a two-page spread across pages ii and iii.

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1 : The Parts of a Published Work

1.6 Additional uses of page ii If the book is part of a series, the title of the series, the volume number in the series, the name of the general editor of the series, and sometimes the titles of books already published may appear on page ii. (A series title may appear on the title page instead.)

If the book is the published proceedings of a symposium, the title of the symposium, the name of the city where it was held, the date when it was held, the committee that planned the symposium, and sometimes the sponsor of the symposium may appear on page ii.

Women in Culture and Society

A Series Edited by Catharine R. Stimpson

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1.7 List of previous publications Some publishers list an author’s previous publications on page ii; Chicago generally lists these on the copyright page (see 1.14) or on the cover (if a paperback) or jacket.

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1 : The Parts of a Published Work

1.8 Frontispiece Page ii sometimes carries an illustration, called a frontispiece. If the frontispiece is printed on a different stock from the text, and thus is inserted separately, it will not constitute page ii, though it will still appear opposite the title page, which is normally page iii (1.9).

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1.9 Information displayed The title page (p. iii or, if a two-page spread, pp. ii–iii) presents the full title of the book; the subtitle, if any (note that there should never be more than one subtitle); the name of the author, editor, or translator; and the name and location of the publisher. If the type size or style of the subtitle differs from that of the main title, no colon or other mark of punctuation is needed to separate them.

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1 : The Parts of a Published Work

1.10 New edition In a new edition of a work previously published, the number of the edition (e.g., Third Edition) should also appear on the title page, usually following the title. See also 1.21–24.

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1 : The Parts of a Published Work

1.11 Author(s) The author’s name, or authors’ names, may appear below or above the title. Given names should not be shortened to initials unless the author’s name is widely known in such a form (e.g., O. Henry, P. D. James). Using a full first name helps to ensure that a name will not be conflated with another in bibliographic listings and library catalogs. Chicago does not print academic degrees or affiliations after an author’s name on the title page, with the exception of MD, which may be retained in the field of medicine. For multiauthor works, see 1.89.

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1.12 Volume editor(s) or translator(s) The usual form for giving the name of a volume editor or translator on the title page is “Edited by John Doe” (not “John Doe, Editor”) or “Translated by Eric Wachthausen.”

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1 : The Parts of a Published Work

1.13 Publisher The publisher’s full name (imprint) should be given on the title page and is usually followed by the name of the city (or cities) where the principal offices are located. The publisher’s logo may also appear there. The year of publication is best avoided on the title page, particularly if it conflicts with copyright information on page iv (see 1.18).

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1.14 Biographical note A brief note on the author or authors (“author” here includes editors, compilers, and translators), listing previous publications and, if relevant, academic affiliation, may appear at the top of the copyright page (see fig. 1.1). It must correspond to related information given on the jacket or cover, though the wording need not be identical. (The biographical note may appear on a separate page, either in the front matter or the back matter, according to the publisher’s preference.) See also 1.120.

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1.15 Publisher’s address The address of the publisher—and sometimes the addresses of overseas agents—may also be given on the copyright page. Chicago usually puts these above the copyright notice. An address may be abbreviated, consisting, for example, only of city and perhaps postal code.

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1.16 Copyright notice The Copyright Act of 1989 does not require that published works carry a copyright notice in order to secure copyright protection. Nevertheless, most publishers continue to carry the notice to discourage infringement. The usual notice consists of three parts: the symbol ©, the year the book is published, and the name of the copyright owner (see fig. 1.1). For electronic books, see 1.119; for journals, see 1.141, 1.177–79; for a full discussion, see 4.38–44.

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1 : The Parts of a Published Work

1.17 Copyright owner versus publisher The name of the copyright owner is not necessarily the name of the publisher. Books published by the University of Chicago Press, for example, are usually copyrighted in the name of the university (“© 2006 by The University of Chicago”). Some authors prefer to copyright their works in their own names (“© 2006 by Alison A. Author”), a preference also discussed in 4.41.

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1.18 Year of publication The year of publication should correspond to the copyright date. From a marketing point of view, if a book is physically available near the end of a year but not formally published until the beginning of the next, the later date is preferred as both copyright and publication date.

© 2010 by Millennial Publishing House

All rights reserved. Published 2010

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1.19 Subsequent editions Each new edition (as distinct from a new impression, or reprinting) of a book is copyrighted, and the copyright dates of all previous editions should appear in the copyright notice (see fig. 1.2). If the new edition is so extensive a revision that it virtually constitutes a new publication, previous copyright dates may be omitted. See also 1.21, 4.40.

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1.20 Additional copyright information The date of copyright renewal or a change in the name of the copyright owner is sometimes reflected in the copyright notice if the work is reprinted. (Copyright may be assigned to the author or someone else after the initial copyright has been registered and printed in the first impression.) Copyright renewal is shown in the following manner:

To indicate a change in copyright ownership, the name of the new copyright owner is substituted for that of the previous owner. The copyright date remains the same unless the copyright has been renewed. Copyrights remain legally valid even if renewal or reassignment information cannot, for some reason, appear in a new edition or printing.

© 1943 by Miriam Obermerker. © renewed 1971 by Miriam

Obermerker

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1.21 Publishing history The publishing history of a book, which usually follows the copyright notice, begins with the date (year) of original publication. If a book is reprinted, the number and date of the current impression are usually indicated. Corrections are sometimes made in new impressions, but if significant revisions are made, the result may be a new edition. The number and date of the new edition become part of the publishing history. The copyright dates of all editions may be accumulated in the copyright notice (see 1.19), but usually only the original edition and latest editions are reflected in the publishing history (see fig. 1.2 and the copyright notice to this manual).

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1.22 Edition versus impression “Edition,” as opposed to “impression,” is used in at least two senses. (1) A new edition may be defined as one in which a substantial change has been made in one or more of the essential elements of the work (e.g., text, notes, appendixes, or illustrations). As a rule of thumb, at least 20 percent of a new edition should consist of new or revised material. A work that is republished with a new preface or afterword but is otherwise unchanged except for corrections of typographical errors is better described as a new impression or a reissue; the title page may include such words as “With a New Preface.” (2) “Edition” may be used to designate a reissue in a new format—for example, a paperback, deluxe, or illustrated version—or under the imprint of a different publisher.

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1.23 Edition number A new edition is best designated on the title page by its number: Second Edition, Third Edition, and so forth. Such phrases as “revised and expanded” are redundant on the title page, since the nature and extent of the revision are normally described in the prefatory material or on the cover. For electronic books, see 1.121.

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1.24 Format of publishing history The sequence of items in the publishing history is as follows: date (year) of first publication or first edition; number and date of current edition; number and date of impression if other than the first (see 1.26). These items may each be on a separate line, or they may be run together. There should be no period at the end of a line, but if the items are run together, they are separated within a line by a period (see figs. 1.1, 1.2). A previous publisher’s name need not be given unless the licensing agreement requires that it appear in the new edition.

First edition published 1995. Second edition 2005

Revised edition originally published 1985

University of Chicago Press edition 2002

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1.25 Country of printing The country in which a book is printed is traditionally identified inside the work. If a book is printed in a country other than the country of publication, the jacket or cover must so state: for example, “Printed in China.”

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1.26 Impression The impression is usually identified by a line of numerals running below the publishing history (see fig. 1.1). The first group of numerals, reading from right to left, represents the last two digits of succeeding years starting with the date of original publication. The second set, following a space of an em (see appendix A) or more and reading from left to right, represents the numbers of possible new impressions. The lowest number in each group indicates the present impression and date. In figure 1.1, therefore, the impression is identified as the first, and the year of printing as 1999; in figure 1.2, the numbers indicate a sixth printing in 1998. This method involves minimal resetting in each new impression, since the typesetter merely deletes the lowest number. Indicating a new impression not only reflects the sales record of a book but also signals that corrections may have been made.

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1.27 Translation If the book is a translation, the original title, publisher, and copyright information should be recorded on the copyright page (see fig. 1.3).

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1.28 International Standard Book Number (ISBN) An ISBN is assigned to each book by its publisher under a system set up by the R. R. Bowker Company and the International Organization for Standardization (ISO). The ISBN uniquely identifies the book, thus facilitating order fulfillment and computer tracking of inventory. For example, in ISBN 0-226-07522-2, the first digit, 0, tells us that the book was published in an English-speaking country; the second group of digits, 226, identifies the publisher (in this instance the University of Chicago Press); the third group identifies the book; and the last digit is the check digit, which mathematically discloses any error in the preceding group. (The ISBN Agency proposes to change the current ten-digit format to a thirteen-digit format in January 2005.) The ISBN is included in the Cataloging-in-Publication (CIP) data received from the Library of Congress (see 1.32–34 and figs. 1.1 and 1.3). If the CIP data are printed elsewhere in the book, or not included at all, the ISBN should nevertheless be included on the copyright page. The ISBN should also be printed on the book jacket and on the back cover of a paperback book. If a book is issued in both cloth and paper bindings, a separate ISBN is assigned to each. When a work comprises two or more volumes, separate ISBNs are assigned to individual volumes that are likely to be sold separately (see fig. 1.4). If the complete work is to be sold as a set only, the same ISBN applies to all volumes. Additional information about the assignment and use of ISBNs may be obtained from the ISBN United States Agency, R. R. Bowker. For electronic books, see 1.125. Note that each version of a book should list the ISBNs for all other versions that were available when the current version was produced.

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