Bibliographic stories. Guidelines What is a bibliographic story? A bibliographic story is a didactic tool for teaching to quote or to create bibliographies which are able to share the everyday life: a way to make a sectorial and technical subject less hard and more pleasant by putting it in “a real life context”. A bibliographic story keeps all the characteristics of a bibliographic path both for its composition rules and for its quotation characteristics belonging to the text. The distinctive trait is that bibliography becomes an integral part of the story itself. It is almost an annotated bibliography in which the descriptive aspect is represented by the story: the narrative and emotional aspect of the person that is writing. The bibliography is a story that goes through the reading of several documents of different formats and draws a path of thoughts and stories to be told. The important thing is the concurrent presence of these different faces of “information”: film images or only the film audio (or TV audio); the audio of a radio or TV program, etc.; a picture/a sculpture; a book; an e-book; however remaining among the information competences: transliteracy, media literacy, digital literacy that are necessary to recover, through research, the pertinent documents. The bibliographic Story requires the acquisition and the development of several competences: from “ recognizing when information is necessary (information need) and having the ability to localize, evaluate and use effectively the information” to the critical reading, the creative reading and the use of critical thinking, the knowledge of the rules regulating the copyright, the bibliographic rules, the emotional, cognitive and physical aspects bound to the process of information research.
RULES FOR WRITING A BILIOGRAPHIC STORY The “bibliographer narrator” creates his ideal path through documents of different kind and format: printed books, digital materials, iconographic ones, etc. that can be recorded in bibliographic notes and narrative forms. The general Bibliography must be inserted immediately after the first lines of the story. It must be written following the lines of the text and considered graphically like a paragraph of the story that is a part readable like a narrative text . The bibliography is a part of the entire story. It is “story” itself. The surname and in case also the name of the author/authors must be written in bold type. If there is no recognized author such as for anonymous works etc. the main title is written in bold type. This helps to create discontinuities and to go with the reading of the text.
Fabrizio Melchiori. 2013, 2. Ver. – Creative Commons
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Bibliographic stories. Guidelines Examples: Nr. 1 COSÌ, SU DUE PIEDI … Ho seguito un ricordo. Un azzardo, una debolezza … una sottile perversione: Blissett Luther.1 Q. Nuova edizione, Torino, Einaudi, 2000, (Einaudi Tascabili. Stile libero, 724), p.115 ; Calvino Italo. Leggerezza, in Italo Calvino, Lezioni americane. Sei proposte per il prossimo millennio, Milano, Garzanti, 1988, p.6 ; Giotto. Ciclo degli affreschi della Cappella degli Scrovegni. Vita di Gioacchino e Anna, vita di Maria,vita e morte di Cristo, Padova, Cappella degli Scrovegni, 1306; Pirati dei Caraibi. La maledizione della prima luna, dir. GORE VERBINSKI, interpreti Johnny Depp, Orlando Bloom, Keira Knightley, 2003, Film Ruiz Zafón Carlos. Il cimitero dei libri dimenticati, in Carlos Ruiz Zafón, L’ombra del vento, Milano, Oscar Mondadori, 2006, (Oscar bestsellers, 1661), p. 9; Sensini Marcello. Sintassi della frase semplice o proposizione. [Cap.] 4, Gli altri elementi della proposizione: i complementi. [Par.] 2.2, Il complemento partitivo, in Marcello Sensini, La grammatica della lingua italiana, con la collaborazione di Federico Roncoroni, Milano, A. Mondadori, 1997, (Guide e Manuali), p.450; Togni Gianni, Morra Guido. Luna, Milano, Sugarmusic, Parking ,1980. Così, su due piedi, mi è difficile il ricordo di quella mattina, quando ascoltai, per caso, la voce di Italo Calvino. […]
Nr. 2
A strange invitation… The most incredible and unbelievable encounter of my life happened in an ordinary morning of September in Rome, with the sun shining bright on the ancient monuments and all those fat and impertinent pigeons pecking at some breadcrumbs. However, I suppose that it is in days like these, when you don’t expect it, that the most absurd and extraordinary things come out. David Jacques-Louis. Bonaparte franchissant le Grand Saint Bernard, Rueil- Malmaison, Musée National du Chateau de Malmaison,1800/1801. Platone. Simposio, traduzione e commento di Matteo Nucci, introduzione di Bruno Centrone, 6. ed., Torino, Einaudi, 2009, p. XI. Vernant Jean Pierre. Tre dee davanti ad un pomo d’oro, in Jean Pierre Vernant : L’universo, gli dei, gli uomini, 2. ed., Torino, Einaudi, 2000 e 2001, pag 79-80-81. Knapton John Ernest. Ancora guerra, in John Ernest Knapton , Joséphine: dalla Martinica al trono di Francia la donna che sposò Napoleone, 2. ed., Milano, A. Mondadori, 1993. ( Le Scie), p.243. Cesare Gaio Giulio, Le guerre in Gallia- De Bello Gallico , a cura di Carlo Carena, Milano, A. Mondadori, 1991. (Oscar classici greci e latini). Alighieri Dante, la Divina Commedia , Inferno, canto XXXIV, VV 28-29, 37-38, 64-67. Spiazzi Marina. Only connect… new directions. From the origins to the Eighteenth century, 3. ed., Bologna, Zanichelli, page B4/B5. Elizabeth the first, foreign and political affairs, 2009. Metsys Quentin il giovane. Sieve Portrait of Queen Elizabeth I, Siena, Pinacoteca Nazionale, 1583. Shakespeare William. Amleto, traduzione e cura di Agostino Lombardo, 15. ed., Milano, Feltrinelli ( I classici universale economica Feltrinelli), 2009, p. 15. 1The basic elements of a bibliographic note are: Author, Title, ,[Edition], Place of publication, publisher, Publication year. [Collection].
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Bibliographic stories. Guidelines As usual, I was heading for a small bar near my office in order to eat a sandwich or a slice of cake, the only kind of lunch […]
NR. 3
A WORLD OF FANTAISIE Fantaisie couldn’t sleep that night. She was full of thoughts in her mind and nothing could calm her… Burke Edmund. A Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful, with an introductory discourse concerning taste and several other additions, [5 th] ed., London, printed for J. Dodsley in Pall-mall, Part II, Section III, Obscurity, 1767, p.99. Dickens Charles. Grandi speranze, Torino, Einaudi, 1959 e 1998, p.462. Funke Cornelia. Veleno d’Inchiostro, Milano, A. Mondadori, 2006, p. 532. Gier Kerstin. Red. Milano, Corbaccio, 2011. Nota: Tit. orig.: Rubinrot, p.28. Mars Bruno e gli Smeezingtones. Talking to the Moon. Los Angeles, Atlantic/Elektra, “Doo-Wops & Hooligans”, 2010. Album. Ranzoni Daniele. Ritratto del bambino William Morisetti (Willy), CP Archivio Iconografico del Verbano Cusio Ossola, 1885. Troisi Licia. La ragazza drago. I-L’eredità di Thuban, A. Mondadori Editore, 2008, p. 321-322 Not even the fabulous hot chocolate made by her mother worked that time. [...]
The text quoted in the story is introduced by the punctuation of the direct speech: [:] and must be written in italic in square brackets [“]:”Le virgolette citazionali sono indici di polifonia. Per mezzo di loro (come anche mediante il corsivo quando è impiegato con identica funzione) segmenti più o meno lunghi di enunciati, e successioni più o meno ampie di questi ultimi, all’interno del contesto di cui sono parte integrante vengono marcati come appartenenti a contesti «altri». Le virgolette sono segnali espliciti del confine attribuibili a «enunciatori» diversi: a voci differenti dunque.”iYou insert a footnote and you quote following the rule of the abbreviated citation: Surname, main title, page. Example Nr. 4 Francesca era lì, tra i tanti studenti, che ascoltava lo scrittore. Si accorse di me solo alla fine. Tagliò l’aria con il suo sguardo che posò su di me che rimasi di sasso :”In certi momenti mi sembrava che il mondo stesse diventando tutto di pietra: una lenta pietrificazione più o meno avanzata a seconda delle persone e dei luoghi, ma che non risparmiava nessun aspetto della vita. Era come se nessuno potesse sfuggire allo sguardo inesorabile della Medusa2”.
2 Calvino. Lezioni americane, pag. 6
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Bibliographic stories. Guidelines Nr. 5 […] Dad… where are you?:“At night when the stars light up my room /I sit by myself /Talking to the Moon /Tryn' to get to You /In hopes you're on the other side / Talking to me too /Or Am I a fool /who sits alone /Talking to the moon?”3
You can use the most common abbreviations:ii art. cit.
Articolo citato (Article quoted)
cap.
Capitolo (Chapter)
cfr.
Confronta (Compare)
Ibid., Ibidem
Ivi (There), It replaces the data of a work quoted immediately before
ID. Idem
Lo stesso (The same), it replaces the previous author
ms. mss.
Manoscritto, manoscritti (Manuscript, manuscripts)
Op.cit.
Opera citata (Work quoted) it replaces the title of a work quoted if there is no risk for ambiguity
Par.
Paragrafo (Paragraph)
p. pp.
Pagina, pagine (Page, pages)
Passim
Qua e là (Here and there), in different parts of the work
(sic)
Così (written this way)
3 Mars. Talking to the Moon.
Fabrizio Melchiori. 2013, 2. Ver. – Creative Commons
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Bibliographic stories. Guidelines
Fabrizio Melchiori. 2013, 2. Ver. – Creative Commons
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i Bice Mortara Garavelli, Prontuario di punteggiatura, Roma-Bari, Laterza, 2003, p.111. (Universale Laterza, 831) ii JosĂŠ Manuel Prellezo, GarcĂa JesĂşs Manuel. Invito alla ricerca. Metodologia e tecniche del lavoro scientifico; con la collaborazione di G. Caliman ... [et al.], 4. ed. riv. ed aggiornata, Roma, LAS, [2007], p.301. [The order and number of abbreviations has been modified by the author]