MLA Handbook by 
The Chicago Manual of Style, 17th Edition by See also: Citing Archival Materials in Chicago
MLA Handbook by The Modern Language Association of America
The Modern Language Association, the authority on research and writing, takes a fresh look at documenting sources in the eighth edition of the MLA Handbook. Works are published today in a dizzying range of formats. A book, for example, may be read in print, online, or as an e-book--or perhaps listened to in an audio version. On the Web, modes of publication are regularly invented, combined, and modified. Previous editions of the MLA Handbook provided separate instructions for each format, and additional instructions were required for new formats. In this groundbreaking new edition of its best-selling handbook, the MLA recommends instead one universal set of guidelines, which writers can apply to any type of source. Shorter and redesigned for easy use, the eighth edition of the MLA Handbook guides writers through the principles behind evaluating sources for their research. It then shows them how to cite sources in their writing and create useful entries for the works-cited list. More than just a new edition, this is a new MLA style
Book
Ontiveros, Randy J. In the Spirit of a New People: The Cultural Politics of the Chicano Movement. New York UP, 2014. This book analyzes the journalism, visual arts, theater, and novels of the Chicano movement from 1960 to the present as articulations of personal and collective values. Chapter 3 grounds the theater of El Teatro Campesino in the labor and immigrant organizing of the period, while Chapter 4 situates Sandra Cisneros’s novel Caramelo in the struggles of Chicana feminists to be heard in the traditional and nationalist elements of the Chicano movement. Ontiveros provides a powerful and illuminating historical context for the literary and political texts of the movement.
Journal article
Alvarez, Nadia, and Jack Mearns. “The Benefits of Writing and Performing in the Spoken Word Poetry Community.” The Arts in Psychotherapy, vol. 41, no. 3, July 2014, pp. 263-268. ScienceDirect, doi:10.1016/j.aip.2014.03.004. Spoken word poetry is distinctive because it is written to be performed out loud, in person, by the poet. The ten poets interviewed by these authors describe “a reciprocal relationship between the audience and the poet” created by that practice of performance. To build community, spoken word poets keep metaphor and diction relatively simple and accessible. Richness is instead built through fragmented stories that coalesce into emotional narratives about personal and community concerns. This understanding of poets’ intentions illuminates their recorded performances.
