I am sure I am not the first person to write on this topic so please feel free to link me to more considered analysis and also to tell me the purpose of citation methods in your discipline.
I began academic life as a historian. As such I learned to work with and to love Chicago. As an editor and author however I have used MLA, and as a student I have used Harvard. Being a dedicated Chicago person I have sworn long and loud about both MLA and Harvard. This post is not about that.
In recent years I have begun to notice that when citation methods are presented to students, they are always presented in discussions of plagiarism. The choice of citation method is always taken for granted as “this is just what the department requires”. There is relatively little discussion of why the choice of a particular citation method in a discipline. The consequence is that students get very anxious about whether they have cited enough or properly and citation becomes functional rather than part of their research process. Below are my own thoughts on why we do what we do with each method. These thoughts may be wrong, but I’ve found that discussing it this way has helped students to see citation as intrinsic to what they write, rather than defensive.
Chicago/footnotes (or if they force you, endnotes): as a historian I am wedded to footnotes. A Chicago footnote gives all the detail you could possibly want; it lets you cite letters, web sites, personal correspondence all in great detail. A standard footnote in my PhD was two lines long
- Ie Esther Farquhar to AFSC, 2 February 1938. Committee on Spain, 1938: Correspondence, Murcia, Esther Farquhar (Box 8).
It would have been longer but that (Box 8) unpacks as General Files 1938 Foreign Service – Spain (Correspondence, Murcia, Esther Farquhar – Finance) in the Bibliography.
What on earth is the point of this? Well as I found last year, at least one person has followed back these detailed footnotes in order to check if I got things right, to recontextualise what I wrote on the basis of the letters either side, and generally to make a very different use of the material than I did.
Chicago enables you to track material to the source and use it for very different purposes. One way to think of it is that Chicago is the thread you follow back in the research labyrinth. Also one asset of Chicago is that it always reminds you when something was produced and can draw your attention even in secondary works to different editions or versions of something.
MLA in text citation and expansive endnotes: MLA citation looks like this (Shakespeare: 2009, 35) the first time it’s used, then (Shakespeare 45). It is usually placed at the end of the sentence, although Debbie Gascoyne offers this configuration if the edition doesn’t matter:
(Hamlet I.ii.75) for act, scene and line – applicable to any printed version of the play but with the full details of the specific edition in the wks cited. Your DWJ book would be (Mendlesohn 43) if that was the only work cited, and if I had more than one work by you it would be (Mendlesohn, DWJ 43). Only (43) if I had mentioned your name in the sentence.
(And that as an author I’ve been asked to use all of these and a few more approaches is one reason why I continue to prefer Chicago).
It can drive historians to distraction. What do you mean Shakespeare 2009? How can you cite him as writing in 2009? But of course that is not what it means and it’s very unfair of historians to complain (although as an editor I’ve seen unfortunate mistakes in which an author has come up with a line of influence that would have required time travel, because they didn’t check dates).
MLA citation is there so that you can check the veracity of what was said: did the author get it right? Have they honoured the context and the meaning of what was said? Which edition of a text are they using if there is an argument over which version of a classic they should use (particularly relevant if there one is working with one of several translations, or a text which the author returned to such as an Agatha Christie novel). MLA is less good for a researcher looking for snippets they can use on an entirely different project but it is good if you are engaged in critical argument and you all want to be (literally) on the same page.
MLA does sometimes use endnotes, but they are mostly not for citations: instead they tend to be used for asides and expansions and sometimes for quips.
Harvard in text citations. These look like this (Mendlesohn, 2009). They appear immediately after the summary of an idea. So:
It has been argued that there are four primary modes of genre fantasy (Mendlesohn 2009).
Only if you actually quote do you give a page number: It has been argued that there are four primary modes of genre fantasy, “Portal-quest, Intrusion, Immersive and Liminal (Mendlesohn, 2009, p. 5).
To users of MLA or Chicago, the first approach is bizarre. It gets even worse if you offer:
Fantasy has been defined as an exercise in belief (Todorov, 1975; Attebery, 1982; Clute, 1995, Mendlesohn, 2009).
What is this about? How are you supposed to track down these ideas given that these are all books?
The answer is that you are not. These are not citations as MLA and Chicago understand them. Instead they are an exercise in situating your argument. It is a sad fact that you can get away in Harvard with not having actually read any of those authors, but only another author who has described their opinions. But this is acceptable because what you are actually doing is establishing to which school of opinion, or methodology or political stance you subscribe, or which school etc. you think has got it terribly wrong. You are identifying your critical family, and the line of descent of your thinking.
If you are a student, I hope that helps. If you are an academic of any discipline or an editor, please feel free to weigh in.
Citation matters, and the ideology of why we cite helps us to get it right.