DOCSLIB.ORG

No. 25 a Secret Index—

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
No. 25 a Secret Index— a secret index— division leap no. 25 a secret index— Booksellers, publishers and researchers of the history of print culture. Collections purchased. Books found. Appraisals performed. Libraries built. divisionleap.com no. 25 83. 35. 59. 39. 39. 27. 30. 25. 21. 65. 48. 72. 6. contents a. Walter Benjamin—German Expressionism—Raubdrucke 17 b. Reproduction—Computing—Classification—Architecture 23 c. The Body—Tattooing—Incarceration—Crime—Sexuality 33 d. Social Movements—1968—Feminism—The SI & After 47 e. Music 57 f. Literature—Poetry—Periodicals 63 g. Film—Chris Marker 77 h. Art 85 i. Punk Zines 91 Additional images of all items available at divisionleap.com or by request. a. Walter Benjamin—German Expressionism—Raubdrucke 17 2. 1. 18 a. The Birth of Walter Benjamin’s Theory Heuber so messianically feels is near … ” of the Messianic McCole, analyzing this same letter, notes that this appears to be Benjamin’s first use of the term 1. [Victor Hueber] Die Organisierung der “Messianic” in his writings [McCole, p. 61]. The Intelligenz. Ein Aufruf. Zweite, erweiterte Auflage. idea would haunt Benjamin’s subsequent works Als Manuskript gedruckt. on history, and reach its conclusion in the second [Prague]: Druck H. Mercy, [1910]. 8vo, thesis in On the Concept of History, written just 107 pp, stab-stapled and glue bound into violet before his march into the mountains. “The past printed wraps. Front and back panels of wraps carries with it a secret index, by which it is referred detached but present, with the paper covering to its resurrection. There is an agreement and an the spine mostly perished. Marginal annotations appointment between us and the generations of the in pencil throughout. past. For we have been expected upon this earth. The second edition of this privately published Like the generations before us, we have been and circulated utopian proposal to create an given a weak messianic power, which the past can organized intelligentsia and foster human creativity lay claim to. This claim is not to be settled lightly. against capitalism. Published around Whitsun in The historical materialist knows why.” Prague, it includes reactions from readers who Rare. OCLC locates only two holdings, and had received the first version of the text. A third, none in North America. The preceding edition is publicly published edition would follow later this not located in OCLC. $1,000 same year [see item no. 2]. The work was written by Viktor Hueber, a 2. Viktor Hueber. Die Organisierung former Austrian captain who became a member of der Intelligenz. the circle which published the short-lived magazine Leipzig: Johann Ambrosius Barth, 1910. Der Anfang, in which Benjamin published his first The third, expanded, and first public edition. poems and essays. Hueber was later associated 8vo, vii, 234 pp. Bound in violet paper covered with Franz Pfemfert’s better known periodical boards with titles stamped in white. Foreward Die Aktion, and early issues of the magazine bore by Ernst Mach. With the ownership signature the subtitle “Publikationsorgan der Organization of Wely v. Döring to title page, and on the fep der Intelligenz”, a reference to this work, though a full page inscription to him from his uncle, subsequent efforts to create an actual organization with reference to Schopenhauer. On the title based on the book’s principles failed due to page a quote from Benjamin is written in red ink infighting [Portner, p. 140]. in a different, unknown hand. Benjamin discusses the book in a September 15, The Benjamin passage written on the title page 1913 letter to Carla Seligsohn, the first person he’d is the same excerpt on Hueber from his letter to met who had also read the book. “Those of us who Carla Seligsohn on September 15, 1913 which is understand Hueber feel our youth complete only in quoted above. the presence of his ideas- the others, who feel noth- Boards faded at extremities, with a bump to ing, are not young. They have simply never been upper tip of front board. Very good. $500 young. They took pleasure in their youth only when it was over, just a memory. They did not know the 3. Benjamin, Walter. Eine Kommunistische great joy of its presence, which we are now feeling Paedagogik—Spielzeg und Spielen—Programm and which I sense in your words … But in every eines Proletarischen Kindertheater—Baustelle + individual who is born, no matter where, and turns Diskussion + Anhang. out to be young, there is, not ‘improvement,’ but West Berlin: Zentralrat der sozialistischen perfection from the very start. This is the goal that Kinderläden, 1969. First edition thus. 8vo, 93 pp, 19 a. saddle-stapled wraps. of the Passagen-Werk in Germany, with reference A raubdruck, or unauthorized reprint issued to “die Frankfurther Monopolisten.” The pamphlet from the German student movement. Beginning in also prints letters between Benjamin and the 1960’s there was an explosion of such publica- Horkheimer, Herbert Marcuse, and Adorno tions in West Germany, filling the void left by the and Horkheimer. lack of official publications of works dealing with This essay was also published in the pirate leftist and critical thought – especially the work edition of Passagen-Werk, edited by “Detlef Holz”— of Benjamin and other members of the Frankfurt a pseudonym which Benjamin himself used to School. Often made in haste and for distribution in write Deutsche Menschen in 1936. Conrad and small numbers for discussion groups, with fictitious Stempflinger were also pseudonyms used by or facetious places of publication and pseudonyms, Benjamin himself. these publications have parallels with Samizdat References: von Olenhusen, Der Weg vom publications, and anticipate some of the same Manuscript … 11. Brodersen F30. aesthetics and strategies of the zine movement. Very good. Sold There is a complete lack of English language literature on these publications, though Olenhusen 5. Benjamin, Walter. Analytische has issued a couple excellent German language Beschreibung von Deutschlands Untergang in bibliographies on them. zwanzig Thesen und andere Text. References: Olenhusen, Der Weg … No. 1. Münster [actually Berlin]: Aurin Verlag, 1987. Handbuche der Raubdrucke No. 69. 16mo, 78 [2] pp, perfect bound in illustrated wraps. Very good. $75 Text in German. Prints the title work by Benjamin as well as 4. [Walter Benjamin] C. Conrad & K. A. his essay on Lebel, and Werner Fuld’s essay Die Stempflinger. Die Zerstückelung des Walter Aura. This little book concludes by reprinting item Benjamin oder Die Heiligsprechung des no. 4 item with a reset title page and the addition Max Horkheimer. of footnotes. Edited by “Detlef Holz” [see no. 4], Oxford, New York, San Remo: 1980 – 82. and likely connected with the raubdruck of 8vo, 16 sheets mimeographed from typescript on Passagen-Werk which was issued under the both recto and verso, with the exception of the same name. title leaf, which is printed on recto only, and the References: von Olenhusen, Der Weg … 15. final leaf, which is blank. Stapled once at the upper Not in Brodersen. left hand corner. Near fine with some light foxing to the A critique of the then recently-released edition wraps. $50 20 1. 21 a. 2. 22 b. Reproduction—Computing— Classification—Architecture 23 6. 24 b. 6. Verifax Printer, Type 1 [with] Paper. A collection of songs published for employees Rochester, NY: Kodak Company, c. 1950’s – at IBM, including music composed specifically for late 1960’s. the company, including March on With the IBM Kodak’s Verifax machine was a duplicating by Vittorio Giannini, Hail to the IBM by Fred W. machine that used a wet colloidal diffusion transfer Tappe and Giannini, “Ever Onward” (aka the technique to make reproduction. The machine IBM rally song) and the “IBM School Song”, utilized special chemical paper, and was marketed and the “IBM Country Club Song.” to offices, being a cheaper technology than the The IBM songbook, and the body of songs photostat. However, the multiple step process, the which make it up, was the work of the founder, expense of the chemical paper the machine utilized Thomas Watson, Sr., who sought to inspire and and the instability of the printed images over time create a strong corporate identity against the back- meant that the technology was not widely used, and ground of the Great Depression. The first iteration became quickly obsolete, to be replaced with the of the songbook was published in 1927. We’ve not machine that the Verifax laid the technical ground- encountered this edition before, which is undated. work for, the xerox photocopier, which launched An explanatory note to “Hail to the IBM” explains the era of immediacy in print culture which the the genesis of the song in 1938, but we believe this Verifax could only suggest. printing to predate the 1941 edition, which had The Verifax was utilized by a handful of artists, more than twice the pages. including Wallace Berman, who used a Verifax Near fine with minor toning to extremities, which he had been given by Billy Jahrmarkt – and the wrap slightly pulling away from the who had already incorporated the machine into top staple. $450 his own, neglected artworks. These machines are an important part of the rapid technological 8. IBM [International Business Machines]. changes in printing processes of the Mimeograph A Souvenier of the New York World’s Fair. Revolution, and are now quite uncommon – it [New York]: IBM, 1964. 3 1/4 x 7 3/8" seems likely that few were saved due to their rapid computer punchcard, printed on orange card stock. obsolescence and bulk. A souvenir, which we presume to have been This example of the machine appears to be printed in conjunction with the IBM Pavilion at complete, though the power cord is severed and the 1964 World’s Fair in New York City.
Load more

Recommended publications
  • How to Create a Word Document That Uses Different Page Numbering Formats
    How to create a Word document that uses different page numbering formats You can use Microsoft Word to create complex documents. Books and other large documents occasionally require different page number formats in different sections of one document. For example, you can number the index pages with Roman numerals (for example, "i.", "ii.", "iii.") and the main document with Arabic numerals (for example, "1", "2", "3"). This article describes how to set up different page numbering formats. Format Page Numbering To format the page numbering for different sections, follow these steps: 1. Click between two parts of your document that you want to number differently. 2. On the Insert menu, click Break. 3. Click Next Page, Even Page, or Odd Page, and then click OK. For Help on an option, click the question mark, and then click the option. 4. Click in the first section. 5. On the View menu, click Header and Footer. 6. Click in the header or footer where you want the page number. 7. On the Header and Footer toolbar, click Insert Page Number. 8. On the Header and Footer toolbar, click Format Page Number. 9. In the Number format box, click the format that you want for the numbers in this section. 10. Do one of the following: o If you want the page numbering for the first page in this section to start at a particular number other than the first number in the format series, click Start at under Page numbering, and then enter the first number that you want to appear on the first page of the section.
    [Show full text]
  • First Line of Title
    HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in American Material Culture Spring 2014 © 2014 Alexander Lawrence Ames All Rights Reserved HEAVENLY HANDWRITING, TEUTONIC TYPE: FAITH AND SCRIPT IN GERMAN PENNSYLVANIA, CA. 1683 – 1855 by Alexander Lawrence Ames Approved: __________________________________________________________ Consuela Metzger, M.L.I.S. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ J. Ritchie Garrison, Ph.D. Director of the Winterthur Program in American Material Culture Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS Whom does one thank first for assistance toward completion of an academic project only brought to fruition by the support of dozens of scholars, professionals, colleagues, family members, and friends? I must first express gratitude to my relations, especially my mother Dr. Candice M. Ames and my brother Andrew J. Ames and his family, without whose support I surely never could have undertaken the journey from Minnesota to the Winterthur Program in American Material Culture nearly two years ago. At Winterthur, I found mentors who extended every effort to encourage my academic growth. Rosemary Krill, Brock Jobe, J. Ritchie Garrison, and Greg Landrey did much to help me explore new fields. I owe a particular debt to Winterthur’s art conservators. In one, Consuela Metzger, I found a thesis advisor willing to devote countless hours to guiding my intellectual exploration.
    [Show full text]
  • The Title Page Includes Five Elements: Title, Running Head, Author Byline, Institutional Affiliation, and Author Note
    Adapted from “Top 10 APA Basics” by the Grace Abbott School of Social Work, UNO Top 10 APA Basics As of 7-15-2013, UNO Writing Center **Use this as a quick reference guide only. Use the APA Manual,6th Edition, as your authoritative guide. American Psychological Association. (2010). Publication manual of the th American Psychological Association (6 ed.). Washington, DC: American Psychological Association. An excellent resource: http://www.apastyle.org/learn/index.aspx 1) Font (p. 228) Times New Roman 12-point Correct spelling and grammar 2) Margins (p. 229) are always 1” on left, right, top and bottom important!! 3) Justification/Spacing (p. 229) Left-justified The entire paper is double-spaced, including block quotes and the Reference page Do not use the default settings; reset your paper to 0 pt. spacing and check the box “Don’t add space between paragraphs of the same style” (located on the paragraph dialog box on Microsoft Word) 4) Page Headings (p. 229-230) The title page includes five elements: title, running head, author byline, institutional affiliation, and author note. The running head is an abbreviated title in all capital letters, flush left in the header. It is a maximum of 50 characters. Page numbers are located in the upper right-hand corner of the page (in the header), 1” from the right, ½” from the top. Identify the title page with the number 1. Running head: MULTIPLE INTELLIGENCES 1 Multiple Intelligences: New Horizons in Theory and Practice Howard Gardner University of Nebraska at Omaha Adapted from “Top 10 APA Basics” by the Grace Abbott School of Social Work, UNO MULTIPLE INTELLIGENCES 2 5) Section Headings (p.
    [Show full text]
  • Autumn 2020 2020-11-07 View This Catalogue (.Pdf)
    Susanne Schulz-Falster RARE BOOKS A AUTUMN A A 2020 A A A A A A A A A A A A A A 4 Harrison’s Lane Woodstock OX20 1SS A A www.schulz-falster.com A +44 (0)1993811100 A [email protected] A Susanne Schulz-Falster RARE BOOKS ECONOMICS Green Vellum Publishing Pirated Editions [AMSTERDAM.] D'Erve der Wed. C. Stichters Almanach, voor 't jaar 1792. BAUDRY. Libraire pour les Langues with: 1)Naamwyzer waar in vertoond Etrangeres. Receipt & Catalogue. Paris, worden de namen en woonplaatsen van Baudry, 1829. £400 [...] regeerders der stad Amstelredam, 2)Het edel mogende collegie ter Handbill (260 x 205mm), printed on recto and verso in two columns, to the left ‘extrait des catalogues’, admiraliteit, 3)Hollands en Utrechts with manuscript invoice on recto a detailing 16 titles hoogheemraadschap van den Zeeburg en supplied. Diemerdyk, 4)Naamen en woonplaatsen van de heeren professoren, 5)Naam- An interesting and informative receipt for register van al de predikanten, 6)Lyste van books supplied by the publisher/bookseller de capiteinen, luitenants en officieren, Baudry to fellow bookseller Pichon & Didier. 7)Naamregister van alle de kooplieden, Louis-Claude Baudry (1793-1853) opened his 8)Naamen en woonplaatsen van de heeren first bookshop in Paris in 1815. He specialised assuradeurs, 9)Lyste der naamen en in foreign language books under the name woonplaatsen van de makelaars, ‘Librairie pour les Langues Etrangères’, which 10)Naamen en woonplaatsen van de later, probably by 1831, turned into the solliciteurs, 11)Verbetert specie-boek. Librairie Européenne, also known as Baudry’s Amsterdam, Josiah Schouten, 1792.
    [Show full text]
  • How to Page a Document in Microsoft Word
    1 HOW TO PAGE A DOCUMENT IN MICROSOFT WORD 1– PAGING A WHOLE DOCUMENT FROM 1 TO …Z (Including the first page) 1.1 – Arabic Numbers (a) Click the “Insert” tab. (b) Go to the “Header & Footer” Section and click on “Page Number” drop down menu (c) Choose the location on the page where you want the page to appear (i.e. top page, bottom page, etc.) (d) Once you have clicked on the “box” of your preference, the pages will be inserted automatically on each page, starting from page 1 on. 1.2 – Other Formats (Romans, letters, etc) (a) Repeat steps (a) to (c) from 1.1 above (b) At the “Header & Footer” Section, click on “Page Number” drop down menu. (C) Choose… “Format Page Numbers” (d) At the top of the box, “Number format”, click the drop down menu and choose your preference (i, ii, iii; OR a, b, c, OR A, B, C,…and etc.) an click OK. (e) You can also set it to start with any of the intermediate numbers if you want at the “Page Numbering”, “Start at” option within that box. 2 – TITLE PAGE WITHOUT A PAGE NUMBER…….. Option A – …And second page being page number 2 (a) Click the “Insert” tab. (b) Go to the “Header & Footer” Section and click on “Page Number” drop down menu (c) Choose the location on the page where you want the page to appear (i.e. top page, bottom page, etc.) (d) Once you have clicked on the “box” of your preference, the pages will be inserted automatically on each page, starting from page 1 on.
    [Show full text]
  • Guide to Creating an Index for Mcfarland (Please Read Carefully)
    Guide to creating an index for McFarland (Please read carefully) 1. Introduction An index is a vital component of your book—for some readers, especially in a library setting, it will be the first point of entry, and many others will rely on it as they read or consult your book. The purpose of an index is to enable your readers to find specific information quickly. It is not intended to inform, educate, or tell a story. No one reads an index, and readers won’t take the time to puzzle through a complex structure. They want instant, direct access, and for this reason, the simplest indexes are often the most user-friendly. We strongly recommend that you compose your own index rather than hiring a professional indexer. You are the authority on your book and your subject; no one else knows equally well how its topics relate to one another, which are important or how best to phrase them. In addition, the indexing process often turns up small discrepancies in the text that need the author’s judgment to resolve. Do not worry overmuch about the length of your index. It needs to be thorough. If that makes it somewhat lengthy, this is acceptable. The goal is to serve the user. When trying to decide what should be included, put yourself in the mind of the user. If he would expect to find a certain reference in the index, make sure it is there. We prefer that you submit your index in Microsoft Word, but most other word processing programs are fine as well.
    [Show full text]
  • Thesis and Dissertation
    Thesis and Dissertation UWG General Guidelines for Formatting and Processing Go West. It changes everything. 2 TABLE OF CONTENTS Table of Contents Thesis and Dissertation Format and Processing Guidelines ...................................................... 3 General Policies and Regulations .................................................................................................. 5 Student Integrity ........................................................................................................................ 5 Submission Procedures ............................................................................................................ 5 Format Review ...................................................................................................................... 5 Typeface .................................................................................................................................... 6 Margins ...................................................................................................................................... 6 Spacing ...................................................................................................................................... 6 Pagination ................................................................................................................................. 6 Title Page .................................................................................................................................. 7 Signature Page ........................................................................................................................
    [Show full text]
  • Revisiting the So-Called “Legibility Wars” of the '80S and '
    58 PRINT 70.3 FALL 2016 PRINTMAG.COM 59 HAT DID YOU DO during the Legibility Wars?” asked one of my more inquisitive design history students. “Well, it wasn’t actually a war,” I said, recalling the period during the mid-’80s through the mid- to late-’90s when there were stark divisions “Wbetween new and old design generations—the young anti- Modernists, and the established followers of Modernism. “It was rather a skirmish between a bunch of young designers, like your age now, who were called New Wave, Postmodern, Swiss Punk, whatever, and believed it necessary to reject the status quo for something freer and more contemporary. Doing that meant criticizing old-guard designers, who believed design should be simple—clean on tight grids and Helveticized.” “Do you mean bland?” he quizzed further. “Maybe some of it was bland!” I conceded. “But it was more like a new generation was feeling its oats and it was inevitable.” New technology was making unprecedented options possible. Aesthetic standards were changing because young designers wanted to try everything, while the older, especially the devout Modern ones, believed everything had already been tried. “I read that Massimo Vignelli called a lot of the new digital and retro stuff ‘garbage,’” he said. “What did you say or do about it back then?” “I was more or less on the Modernist side and wrote about it in a 1993 Eye magazine essay called ‘Cult of the Ugly.’” I wasn’t against illegibility per se, just the stuff that seemed to be done badly. I justified biased distinctions not between beauty and ugly, but between good ugly and bad ugly, or what was done with an experimental rationale and with merely style and fashion as the motive.
    [Show full text]
  • Chapter 15 Tables of Contents, Indexes, Bibliographies Copyright
    Writer 6.0 Guide Chapter 15 Tables of Contents, Indexes, Bibliographies Copyright This document is Copyright © 2018 by the LibreOffice Documentation Team. Contributors are listed below. You may distribute it and/or modify it under the terms of either the GNU General Public License (http://www.gnu.org/licenses/gpl.html), version 3 or later, or the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), version 4.0 or later. All trademarks within this guide belong to their legitimate owners. Contributors Jean Hollis Weber Bruce Byfield Gillian Pollack Acknowledgments This chapter is updated from previous versions of the LibreOffice Writer Guide. Contributors to earlier versions are: Jean Hollis Weber John A Smith Ron Faile Jr. An earlier version appeared in the OpenOffice 3.3 Writer Guide. The contributors were: Martin Fox John Kane Rachel Kartch Sigrid Kronenberger Peter Kupfer Paul Miller Iain Roberts Gary Schnabl Rob Scott Janet Swisher Catherine Waterman Jean Hollis Weber Claire Wood Michele Zarri Feedback Please direct any comments or suggestions about this document to the Documentation Team’s mailing list: [email protected] Note Everything you send to a mailing list, including your email address and any other personal information that is written in the message, is publicly archived and cannot be deleted. Publication date and software version Published July 2018. Based on LibreOffice 6.0. Note for macOS users Some keystrokes and menu items are different on macOS from those used in Windows and Linux. The table below gives some common substitutions for the instructions in this book. For a more detailed list, see the application Help.
    [Show full text]
  • How to Re-Shine Depeche Mode on Album Covers
    Sociology Study, December 2015, Vol. 5, No. 12, 920‐930 D doi: 10.17265/2159‐5526/2015.12.003 DAVID PUBLISHING Simple but Dominant: How to Re­shine Depeche Mode on Album Covers After 80’s Cinla Sekera Abstract The aim of this paper is to analyze the album covers of English band Depeche Mode after 80’s according to the principles of graphic design. Established in 1980, the musical style of the band was turned from synth‐pop to new wave, from new wave to electronic, dance, and alternative‐rock in decades, but their message stayed as it was: A non‐hypocritical, humanist, and decent manner against what is wrong and in love sincerely. As a graphic design product, album covers are pre‐print design solutions of two dimensional surfaces. Graphic design, as a design field, has its own elements and principles. Visual elements and typography are the two components which should unite with the help of the six main principles which are: unity/harmony; balance; hierarchy; scale/proportion; dominance/emphasis; and similarity and contrast. All album covers of Depeche Mode after 80’s were designed in a simple but dominant way in order to form a unique style. On every album cover, there are huge color, size, tone, and location contrasts which concluded in simple domination; domination of a non‐hypocritical, humanist, and decent manner against what is wrong and in love sincerely. Keywords Graphic design, album cover, design principles, dominance, Depeche Mode Design is the formal and functional features graphic design are line, shape, color, value, texture, determination process, made before the production of and space.
    [Show full text]
  • Submission-Guidelines.Pdf
    Submission Guidelines Please use this section as a guideline for preparing your manuscript. This set of guidelines (updated November 2007) replaces all previously issued guidelines. Please ensure that you take into consideration each of the points in the following sections. These instructions should, wherever there is doubt about the standard to be used in issues not considered here, be supplemented by the Chicago Manual of Style, 15th Edition. Once you have prepared the manuscript, please mail the disks to Cambridge Scholars Publishing Ltd. PO Box 302, Newcastle-upon-Tyne NE6 1WR, United Kingdom, or email the files to your editor. Key Formatting Issues 1. Software: This guide is intended primarily for those working with Microsoft Word 2003 or earlier. This software should be adequate for preparing the manuscript according to CSP guidelines, although there may be exceptions where the author intends to make use of images or illustrations in the text which need to be especially positioned. If Word cannot deal with such requirements, it is recommended that a desktop publishing software such as Pagemaker or Indesign be used. However, if Word or Rich Text Format files are not supplied, then the final submission must be in the Portable Document Format (pdf) and must constitute a single file to include any front matter supplied by us, i.e. any merging of files must be undertaken before the submission to CSP. In the case of photographs or portraits that need to be placed in a separate section please include these in a separate file, ensuring that images are labelled with captions that are consistently positioned and formatted.
    [Show full text]
  • How to Build a Table of Authorities and Table of Contents in Word
    How to Build A Table of Authorities in Word* By: Morgan Otway Overview: • A Table of Authorities (TOA) is a list of all of the sources cited in a legal document that notes the page numbers on which each source has been cited. • To create a TOA, you must “mark” each of your citations. Once all citations have been “marked,” Microsoft Word will generate a TOA that organizes the sources by category (e.g. cases, statutes, etc.) and alphabetically within each category. • NOTE: Once you “mark” each citation, Word will add hidden characters to that citation to designate that it has been “marked.” Don’t be alarmed by this! You can toggle this ON and OFF by checking and unchecking the ¶ symbol on the Home tab (located on the left-hand side of the toolbar). Instructions: 1. Locate the first citation in your document > highlight the full citation > go to Insert > Index and Tables > Table of Authorities. 2. Click “Mark Citation.” * Although differences should be slight, these instructions were based off of Microsoft Word for Mac 2011. 3. Once you click Mark Citation, the citation should appear in the “Selected text” box (see diagram on the next page). The way that the citation appears in the Selected text box is how it will appear in the TOA, once it has been generated. Therefore, you MUST remove the pincite from the citation in the “Selected text” box in order for the TOA to work properly. 4. From the list of categories, choose the category that describes the authority you’ve selected (e.g.
    [Show full text]