Guide: How to cite a Chapter of an edited book in APS style

Guide: How to cite a Chapter of an edited book in APS style

Cite A Chapter of an edited book in APS style

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Use the following template to cite a chapter of an edited book using the APS citation style. For help with other source types, like books, PDFs, or websites, check out our other guides. To have your reference list or bibliography automatically made for you, try our free citation generator.

Key:

Pink text = information that you will need to find from the source.
Black text = text required by the APS style.

Reference list

Place this part in your bibliography or reference list at the end of your assignment.

Template:

1. Author Surname Author Initial. Chapter Title [Online]. In: Title. Publisher, p. Pages Used. http://Website URL [Date Accessed].

Example:

1. Costello D. Retrieving Kant’s Aesthetics for Art Theory After Greenberg. Some Remarks on Arthur Danto and Thierry de Duve. In: Rediscovering aesthetics: Transdisciplinary Voices from Art History, Philosophy, and Art Practice, edited by Halsall F, Jansen J, O'Connor T. Stanford, California: Stanford University Press, 2009, p. 117-132.

In-text citation

Place this part right after the quote or reference to the source in your assignment.

Template

(1)

Example

'This is what Kant means when he claims that artworks "quicken" the mind, by freeing imagination from the mechanical task of schematizing concepts of the understanding. No longer constrained to present concepts of the understanding in sensible form, as it is in determinate judgment, aesthetic ideas free the imagination to move swiftly over an array of related thoughts. [p.129] By doing so, aesthetic ideas stimulate the mind, albeit in a less structured way than determinate thought, enabling us to think through the ideas presented in a new light.
Now, it might be objected that the forgoing account only works because it takes a representational painting as its object, and that this will be of little use to art in its expanded contemporary context of nontraditional media and forms. To show that this is not the case, I now want to consider a very different example: Art & Language's Index 01, also known as Documenta Index, after the exhibition in which it was first shown in 1972. My choice of a work by Art & Language is far from innocent, given that their work from this period might be thought to show, as well as any individual artwork might, the innaplicabilityof Kant's aesthetics (as mediated by Greenberg) to art after modernism. Against this perception, I propose that this work be understood as a sensible [...] embodiment of the idea of an exhaustive catalogue - necessarily indirect because a truly exhaustive catalogue could not be a possible object of experience in Kant's terms.' [p.130] (1)

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