In breve
Un saggio su un’ode di Keats, come lo stampa una rivista letteraria. L’autrice scrive un breve codice per ogni fonte; Postext stampa autore e pagina tra parentesi e alla fine l’elenco delle opere citate, in stile MLA.
Che cosa comporrai
Un saggio di una rivista letteraria trimestrale: quattro pagine su chi pronunci gli ultimi due versi della «Ode on a Grecian Urn» di Keats. La pagina è quella di una rivista di 150 × 230 mm composta in Spectral, con titoli di sezione e testatine in Spectral SC, e l’apertura sta in una fascia del colore della vernice nera sopra una striscia di argilla rossa, i due colori di un vaso attico. Le citazioni seguono MLA 9, lo stile della maggior parte dei dipartimenti di letteratura e di storia dell’arte: autore e pagina tra parentesi, la sola pagina quando la frase nomina l’autore, un titolo breve quando due opere hanno lo stesso autore, e una lista Works Cited su una pagina propria. Ogni citazione è una chiave nel testo e lo stile è una sola impostazione.
Questa ricetta risponde a
- Come cito le opere e costruisco la bibliografia in APA, IEEE o un altro stile citazionale?
La risposta breve
// The text cites with [@keats-letters, 48] → (Keats, Letters 48): MLA prints the author
// and the page, and adds a short title when two works share an author. [-@eliot1932, 230]
// drops the name the sentence already gives → (230). The list is alphabetical, and a
// second work by the same author opens with a dash (MLA's ---) instead of the name.
registerCitationEngine(createCiteprocEngine({ styles: STYLES, locales: LOCALES }));
const citations = {
style: 'modern-language-association', // MLA 9th edition, author-page
link: true, // a citation jumps to its entry in Works Cited
bibliography: {
// MLA's half-inch hanging indent, scaled to a 108 mm measure.
fontSize: em(0.94), lineHeight: pt(13.4), hangingIndent: em(2.2), entrySpacing: pt(3),
},
};
Ingredienti
- Funzionalità
- Citazioni in uno stile citazionaleBibliografia dai riferimentiAperture progettateAttributi dei titoliStili di titoloTestatine e folioMargini speculariStili di paragrafoTavolozza di colori semanticaEsportazione in PDF
- Usa anche
- RimandiColore della cartaTestatine secondo il ruolo della paginaFont incorporati nel PDFSpazio verticale esplicito
- Tipo
- Spectral, Spectral SC (SIL OFL 1.1)
- Risorse
- Nessuna: ogni immagine è disegnata nel codice
Preparazione
#1 · Lo stile è MLA, i dati sono BibTeX
Il codice è nella risposta breve qui sopra. Il motore delle citazioni si registra una volta sola e citations.style nomina lo stile MLA incluso; citeproc-js scrive da esso ogni citazione e la lista. I riferimenti stanno in un blocco :::references{format=bibtex} alla fine del saggio, scritti come li esporta un gestore di bibliografie. MLA ha bisogno di un titolo breve per le due opere di Keats, e il campo shorttitle di ogni voce lo fornisce (in CSL il campo si chiama title-short).
#2 · Quattro tipi di citazione
Il testo cita un’opera con [@jack1967], che stampa «(Jack)» perché il saggio si riferisce al libro nel suo insieme. Con una pagina, [@keats-letters, 41] stampa «(Keats, Letters 41)»: si citano due opere di Keats, quindi citeproc aggiunge il titolo breve per distinguerle. Quando la frase nomina già il critico, [-@eliot1932, 230] omette il nome e stampa «(230)». Una citazione narrativa senza pagina, @stillinger1974 records, stampa il solo nome, «Stillinger records», con uno spazio dopo: MLA non ha nulla da mettere tra parentesi. Una volta citata l’ode con i numeri dei versi, le citazioni successive ne riportano solo i numeri, digitati tra semplici parentesi tonde, come MLA consente.
#3 · Una citazione in blocco con il riferimento dopo il punto
// More than four lines of prose go in a Markdown blockquote: in ink, indented, with no
// first-line indent. Its citation follows the final full stop, as MLA asks.
const blockquote = {
color: col('ink'), italic: false, indent: em(2), firstLineIndent: em(0),
};
La lettera sulla capacità negativa supera le quattro righe di prosa, quindi è staccata come blockquote Markdown: in tondo, in nero, rientrata di 2 em senza rientro della prima riga. MLA mette il riferimento di una citazione in blocco dopo il suo punto finale, e il sorgente fa lo stesso: …fact and reason. [@keats-letters, 48]. Un :::space{lines=0.5} sopra e sotto separa la citazione dai paragrafi intorno.
#4 · Works Cited su una pagina propria
headingStyles: [{ id: 'works-cited', breakBefore: { enabled: true, parity: 'any' } }],
Il titolo prende uno stile che va a una nuova pagina, e :::bibliography{title=""} colloca la lista sotto di esso senza un secondo titolo. La lista è in ordine alfabetico con un rientro sporgente, e la seconda opera di Keats si apre con una lineetta di tre em al posto del suo nome, come MLA chiede per gli autori ripetuti. Un folio al piede si stampa in questa pagina e in quella d’apertura, dove le testatine si fanno da parte.
#5 · L’apertura nei due colori di un vaso
const BAND = 116; // mm from the trim's top
const opener = {
enabled: true,
minHeight: mm(BAND - MARGIN.top + 4), // the text starts a line under the band
slot: { elements: [
{ kind: 'box', id: 'band', style: { backgroundColor: col('glaze') },
placement: { ...at('page', 'top-left'), size: { width: 'fill', height: mm(BAND) } } },
{ kind: 'box', id: 'foot', style: { backgroundColor: col('clay') },
placement: { ...at('page', 'top-left', 0, BAND - 3), size: { width: 'fill',
height: mm(3) } } },
{ kind: 'text', id: 'kicker', content: '{attr.kicker}', fontFamily: LABEL, fontWeight: 600,
fontSize: pt(9), letterSpacing: pt(1.6), color: col('slip'), align: 'left',
placement: at('container', 'top-left', 0, 6) },
{ kind: 'text', id: 'title', content: '{titleText}', fontFamily: TEXT, fontWeight: 300,
italic: true, fontSize: pt(56), lineHeight: 0.95, color: col('paper'), align: 'left',
overflow: 'wrap', placement: { ...at('container', 'top-left', -1, 30),
size: { width: mm(110), height: 'auto' } } },
{ kind: 'text', id: 'sub', content: '{attr.sub}', fontFamily: TEXT, fontWeight: 300,
fontSize: pt(13), lineHeight: 1.25, color: col('paper'), align: 'left', overflow: 'wrap',
placement: { ...at('container', 'top-left', 0, 66),
size: { width: mm(96), height: 'auto' } } },
{ kind: 'text', id: 'byline', content: '{attr.byline}', fontFamily: LABEL, fontWeight: 600,
fontSize: pt(9.5), letterSpacing: pt(1.2), color: col('slip'), align: 'left',
placement: at('container', 'top-left', 0, 82) },
] },
};
const palette = {
ink: '#1f1a17', glaze: '#231c19', clay: '#9a3d22', slip: '#e3a27e', rule: '#c9bdb0',
muted: '#6b6159', paper: '#fffdf9',
};
// Every colour is linked to its palette entry by id.
const col = (id) => ({ hex: palette[id], model: 'hex', paletteId: id });
const colorPalette = Object.entries({ ...palette, 'main-color': palette.clay })
.map(([id, hex]) => ({ id, name: id, value: { hex, model: 'hex' } }));
La fascia è alta 116 mm e contiene l’occhiello, il titolo in corpo 56 in Spectral Light corsivo, il sottotitolo e la firma, tutti alimentati dagli attributi del titolo. La striscia d’argilla è un secondo riquadro ancorato 3 mm sopra il piede della fascia.
La ricetta completa
// ═══ Postext Cookbook · Nº 096 · A humanities essay with MLA works cited ══════════ // https://postext.dev/en/cookbook/mla-humanities-essay // Code: MIT · Text: original (CC BY 4.0) · Pictures: none // Fonts: Spectral, Spectral SC (SIL OFL 1.1) · Needs postext ≥ 1.25.0 import { buildDocumentWithFonts, renderPageToCanvas, registerCitationEngine, } from 'https://esm.sh/postext'; import { renderToPdf, decompressWoff2 } from 'https://esm.sh/postext-pdf'; import { createCiteprocEngine, STYLES, LOCALES } from 'https://esm.sh/postext-citeproc'; const LANG = 'en'; // @lang: the language of the sample document ('en' | 'es') const RECIPE = 'mla-humanities-essay'; // ─── 1 · Design ───────────────────────────────────────────────────────────── // #region palette: the black glaze and the red clay of an Attic vase const palette = { ink: '#1f1a17', glaze: '#231c19', clay: '#9a3d22', slip: '#e3a27e', rule: '#c9bdb0', muted: '#6b6159', paper: '#fffdf9', }; // Every colour is linked to its palette entry by id. const col = (id) => ({ hex: palette[id], model: 'hex', paletteId: id }); const colorPalette = Object.entries({ ...palette, 'main-color': palette.clay }) .map(([id, hex]) => ({ id, name: id, value: { hex, model: 'hex' } })); // #endregion const TEXT = 'Spectral', LABEL = 'Spectral SC'; const TRIM = { width: 150, height: 230 }; // a literary quarterly const MARGIN = { top: 22, bottom: 22, inner: 19, outer: 21 }; const LEAD = 14.4; // pt const at = (to, edge, x = 0, y = 0) => ({ anchor: { to, edge }, offset: { x: mm(x), y: mm(y) } }); // #region answer: MLA 9 author-page citations and a Works Cited list // The text cites with [@keats-letters, 48] → (Keats, Letters 48): MLA prints the author // and the page, and adds a short title when two works share an author. [-@eliot1932, 230] // drops the name the sentence already gives → (230). The list is alphabetical, and a // second work by the same author opens with a dash (MLA's ---) instead of the name. registerCitationEngine(createCiteprocEngine({ styles: STYLES, locales: LOCALES })); const citations = { style: 'modern-language-association', // MLA 9th edition, author-page link: true, // a citation jumps to its entry in Works Cited bibliography: { // MLA's half-inch hanging indent, scaled to a 108 mm measure. fontSize: em(0.94), lineHeight: pt(13.4), hangingIndent: em(2.2), entrySpacing: pt(3), }, }; // #endregion // #region quotation: a block quotation, set in and upright // More than four lines of prose go in a Markdown blockquote: in ink, indented, with no // first-line indent. Its citation follows the final full stop, as MLA asks. const blockquote = { color: col('ink'), italic: false, indent: em(2), firstLineIndent: em(0), }; // #endregion // #region opener: the title in a band of black glaze with a red clay foot const BAND = 116; // mm from the trim's top const opener = { enabled: true, minHeight: mm(BAND - MARGIN.top + 4), // the text starts a line under the band slot: { elements: [ { kind: 'box', id: 'band', style: { backgroundColor: col('glaze') }, placement: { ...at('page', 'top-left'), size: { width: 'fill', height: mm(BAND) } } }, { kind: 'box', id: 'foot', style: { backgroundColor: col('clay') }, placement: { ...at('page', 'top-left', 0, BAND - 3), size: { width: 'fill', height: mm(3) } } }, { kind: 'text', id: 'kicker', content: '{attr.kicker}', fontFamily: LABEL, fontWeight: 600, fontSize: pt(9), letterSpacing: pt(1.6), color: col('slip'), align: 'left', placement: at('container', 'top-left', 0, 6) }, { kind: 'text', id: 'title', content: '{titleText}', fontFamily: TEXT, fontWeight: 300, italic: true, fontSize: pt(56), lineHeight: 0.95, color: col('paper'), align: 'left', overflow: 'wrap', placement: { ...at('container', 'top-left', -1, 30), size: { width: mm(110), height: 'auto' } } }, { kind: 'text', id: 'sub', content: '{attr.sub}', fontFamily: TEXT, fontWeight: 300, fontSize: pt(13), lineHeight: 1.25, color: col('paper'), align: 'left', overflow: 'wrap', placement: { ...at('container', 'top-left', 0, 66), size: { width: mm(96), height: 'auto' } } }, { kind: 'text', id: 'byline', content: '{attr.byline}', fontFamily: LABEL, fontWeight: 600, fontSize: pt(9.5), letterSpacing: pt(1.2), color: col('slip'), align: 'left', placement: at('container', 'top-left', 0, 82) }, ] }, }; // #endregion const head = (id, content, parity, edge, x, align) => ({ kind: 'text', id, content, parity, pages: 'body', fontFamily: LABEL, fontWeight: 500, fontSize: pt(8.5), letterSpacing: pt(1), color: col('muted'), align, placement: at('page', edge, x, 12), }); const config = () => ({ locale: t({ en: 'en-us', es: 'es' }), // hyphenation patterns and the engine's own words colorPalette, citations, page: { sizePreset: 'custom', width: mm(TRIM.width), height: mm(TRIM.height), dpi: 150, backgroundColor: col('paper'), margins: { top: mm(MARGIN.top), bottom: mm(MARGIN.bottom), left: mm(MARGIN.inner), right: mm(MARGIN.outer), mirror: true }, }, layout: { layoutType: 'single' }, bodyText: { fontFamily: TEXT, fontSize: pt(10.6), lineHeight: pt(LEAD), color: col('ink'), boldColor: col('ink'), italicColor: col('ink'), referenceColor: col('ink'), textAlign: 'justify', firstLineIndent: mm(5), indentAfterHeading: false, hyphenation: { enabled: true }, optimalLineBreaking: true, avoidWidows: true, avoidOrphans: true, avoidRunts: true, blockquote, }, headings: { fontFamily: LABEL, fontWeight: 600, color: col('clay'), levels: [ // parity 'any': an essay starts on the next page, left or right. { level: 1, fontFamily: TEXT, fontSize: pt(56), marginBottom: pt(0), breakBefore: { enabled: true, parity: 'any' }, advancedDesign: opener }, { level: 2, fontSize: pt(11.5), letterSpacing: pt(0.9), lineHeight: pt(LEAD), marginTop: pt(LEAD), marginBottom: pt(LEAD / 2) }, ], }, // #region works-cited: MLA starts the list on a page of its own headingStyles: [{ id: 'works-cited', breakBefore: { enabled: true, parity: 'any' } }], // #endregion paragraphStyles: [ { id: 'colophon', fontFamily: LABEL, fontSize: pt(7.5), lineHeight: pt(10), color: col('muted'), textAlign: 'left', firstLineIndent: pt(0), marginTop: pt(LEAD * 2) }, ], header: { elements: [ head('verso-folio', '{pageNumber}', 'even', 'top-left', MARGIN.outer, 'left'), head('verso-author', '{attr.byline}', 'even', 'top-left', MARGIN.outer + 8, 'left'), head('recto-title', '{title}', 'odd', 'top-right', -(MARGIN.outer + 8), 'right'), head('recto-folio', '{pageNumber}', 'odd', 'top-right', -MARGIN.outer, 'right'), ] }, footer: { elements: [ // a drop folio where the running heads stand down { ...head('drop-folio', '{pageNumber}', 'all', 'top', 0, 'center'), pages: 'opener', placement: at('container', 'top', 0, 9) }, ] }, }); // ─── 2 · Content ──────────────────────────────────────────────────────────── const markdown = String.raw`---Esempio Markdown · 95 righe · content.en.md
title: "Cold Pastoral" author: "Helena Ward" --- # Cold Pastoral {#essay kicker="Essays · Romantic Poetry" sub="On the voice in the last two lines of Keats’s “Ode on a Grecian Urn”" byline="Helena Ward"} No Greek urn answers to the one Keats describes. Readers who went looking for it in the British Museum found parts of several: the heifer led to sacrifice on the Parthenon frieze, which Keats saw among the Elgin Marbles in the spring of 1817, and the Bacchic dancers of the Townley Vase, with those of the Borghese Vase in the Louvre, known in London through engravings [@jack1967]. The nearest thing to a single source is a sheet of paper. Keats traced an engraving of the Sosibios Vase, a marble krater signed by an Athenian sculptor of the first century BCE, from Henry Moses’s book of antique vases, and the tracing survives [@mcdermott1948]. The urn of the poem is a composite, assembled from marbles and from prints of marbles, and at the end it speaks. Keats wrote the ode in May 1819. It was first printed in January 1820 in the *Annals of the Fine Arts*, a London magazine about painting and sculpture, and that summer he collected it in his third and last book of poems. The two printings differ in one mark of punctuation, and much of what has been written about the poem since turns on that mark. ## The questions The ode opens by naming its object three times, as a “still unravish’d bride of quietness,” a “foster-child of silence and slow time” and a “Sylvan historian” [@keats-ode, lines 1–3]. The names are a courtesy: the speaker wants the historian to tell its tale. “What men or gods are these? What maidens loth? / What mad pursuit? What struggle to escape?” (8–9). The urn does not answer, and for three stanzas the speaker answers for it, praising the “unheard” melodies of the painted pipes over heard ones (11–12) and a lover who will never reach the girl but will always love her. The fourth stanza turns from the dancers to a procession, a priest leading a heifer “lowing at the skies” (33), and then to a town that is not on the urn at all, emptied of its people by the sacrifice and left silent “for evermore” (38). Here the questions stop being answerable even in principle. The town exists only because the procession has to have come from somewhere. ## The punctuation of the last lines In the last stanza the speaker gives up questioning. The urn “dost tease us out of thought / As doth eternity: Cold Pastoral!” (44–45), and it will outlast this generation as “a friend to man, to whom thou say’st, / ‘Beauty is truth, truth beauty,’—that is all / Ye know on earth, and all ye need to know” (48–50). In the 1820 volume the inverted commas close after “beauty,” so the urn says five words and someone else says the rest. The *Annals* text has no inverted commas, and @stillinger1974 records that neither have the transcripts made by Keats’s friends. An editor has to choose, and the choice decides who says “that is all”: the urn to mankind, the poet to his reader, or the poet to the figures on the urn. The lines have had hostile readers. T. S. Eliot found the couplet “a serious blemish on a beautiful poem” [-@eliot1932, 230], a statement that was either untrue or one he could not understand. Cleanth Brooks answered that the words are “a speech ‘in character’” [-@brooks1947, 165], fitted to the urn that utters them, and set them beside Edgar’s “Ripeness is all” in *King Lear*. His reading needs the 1820 punctuation: if the urn speaks only the five words inside the commas, the motto is the urn’s, and the comment after the dash belongs to the poet who has listened to it. ## The letters Keats had written about beauty and truth before he wrote about the urn. “What the Imagination seizes as Beauty must be truth—whether it existed before or not,” he told Benjamin Bailey in November 1817 [@keats-letters, 41]. A month later, walking home from the Christmas pantomime, he named the quality he thought a poet most needed: :::space{lines=0.5} > I had not a dispute, but a disquisition, with Dilke upon various subjects; several things dove-tailed in my mind, and at once it struck me what quality went to form a Man of Achievement, especially in Literature, and which Shakspeare possessed so enormously—I mean Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason. [@keats-letters, 48] :::space{lines=0.5} Read with the letter beside it, the couplet is less a doctrine than a refusal. The urn has answered none of the speaker’s questions about who the figures are or where the town stands. What it offers instead is a sentence that cannot be checked, and the poet’s comment accepts that this is all the urn will give. The speaker who began by demanding a tale ends content with half knowledge, which is the state the letter asks a poet to bear. ## Works Cited {style="works-cited"} :::bibliography{title=""} :::paragraphs{style="colophon"} Set in Spectral and Spectral SC (SIL OFL). Text: original essay, CC BY 4.0; quotations from Keats’s 1820 volume and Colvin’s edition of the letters. ::: :::references{format=bibtex} @incollection{keats-ode, author = {Keats, John}, title = {Ode on a Grecian Urn}, shorttitle = {Ode}, booktitle = {Lamia, Isabella, The Eve of St. Agnes, and Other Poems}, publisher = {Taylor and Hessey}, year = 1820, pages = {113--116}, } @book{keats-letters, author = {Keats, John}, editor = {Colvin, Sidney}, title = {Letters of John Keats to His Family and Friends}, shorttitle = {Letters}, publisher = {Macmillan}, year = 1925, } @book{jack1967, author = {Jack, Ian}, title = {Keats and the Mirror of Art}, publisher = {Clarendon Press}, year = 1967, } @article{mcdermott1948, author = {McDermott, William C.}, title = {Keats and Sosibios}, journal = {The Classical Journal}, volume = 44, number = 1, pages = {33--34}, year = 1948, } @book{stillinger1974, author = {Stillinger, Jack}, title = {The Texts of Keats’s Poems}, publisher = {Harvard UP}, year = 1974, } @incollection{eliot1932, author = {Eliot, T. S.}, title = {Dante}, booktitle = {Selected Essays, 1917--1932}, publisher = {Faber and Faber}, year = 1932, } @book{brooks1947, author = {Brooks, Cleanth}, title = {The Well Wrought Urn: Studies in the Structure of Poetry}, publisher = {Reynal and Hitchcock}, year = 1947, } :::`; // ─── 3 · Fonts ────────────────────────────────────────────────────────────── // Every face the design uses. const FONTS = { Spectral: ['300', '300i', '400', '400i', '600', '600i'], 'Spectral SC': ['400', '500', '600'], }; // ─── 4 · Build & show ─────────────────────────────────────────────────────── const doc = await buildDocumentWithFonts({ markdown }, config(), kitFonts(FONTS)); const title = t({ en: 'A humanities essay with MLA works cited', es: 'Un ensayo de humanidades con obras citadas en MLA' }); showPages(doc, { title }); offerPdf(() => renderToPdf(doc, { fontProvider: fontsourceProvider }), `${RECIPE}.pdf`);Kit · core, fonts, viewer, pdf: uguale in ogni ricetta · 269 righe
// ─── Kit ── helpers shared by every Cookbook recipe · postext.dev/cookbook ───── // ─── Kit · core v1 ── the same in every recipe · postext.dev/cookbook function mm(value) { return { value, unit: 'mm' }; } function pt(value) { return { value, unit: 'pt' }; } function em(value) { return { value, unit: 'em' }; } /** The sample language's string: t({ en: 'Figure', es: 'Figura' }). */ function t(strings) { return strings[LANG] ?? Object.values(strings)[0]; } /** A file in this recipe's assets folder, served from the Postext repo by jsDelivr. */ function asset(file) { return `https://cdn.jsdelivr.net/gh/drnachio/postext@main/cookbook/${RECIPE}/assets/${file}`; } // ─── Kit · fonts v3 ── the same in every recipe · postext.dev/cookbook // Postext loads the faces a config asks for before layout (prepareFonts, // buildDocumentWithFonts) and asks the kit for the files: Fontsource's, the // files the PDF embeds too. /** The options of buildDocumentWithFonts / prepareFonts / withLoadedFonts: * the Fontsource resolver, and the faces of FONTS loaded with the ones the * config names. FONTS = { 'Family Name': ['400', '400i', '700'] }. */ function kitFonts(FONTS = {}) { const faces = Object.entries(FONTS).flatMap(([family, specs]) => specs.map((spec) => ({ family, weight: parseInt(spec, 10), style: spec.endsWith('i') ? 'italic' : 'normal' }))); return { resolve: fontsourceResolver, faces }; } /** A face's Fontsource files, in a fixed order: latin, then latin-ext and greek * when `text` needs them and the family ships them (kitSubsetsFor), each with * its unicode-range. Null for a weight or slant Fontsource does not ship. */ async function fontsourceResolver(family, weight, style, { text = '' } = {}) { const id = fontsourceId(family); const meta = await fontsourceMeta(family); if (meta && !(meta.weights.includes(weight) && meta.styles.includes(style))) return null; kitStatus('Loading fonts…'); const at = await fontsourceAt(id); return ['latin', ...kitSubsetsFor(text, meta)].map((subset) => ({ source: `${at}files/${id}-${subset}-${weight}-${style}.woff2`, unicodeRange: kitRanges()[subset], })); } /** The unicode-range of each Fontsource file the kit loads (a function: the * kit is inlined after the pen's code, which runs before a const would be set). */ function kitRanges() { return { latin: 'U+0000-00FF,U+0131,U+0152-0153,U+02BB-02BC,U+02C6,U+02DA,U+02DC,U+0304,U+0308,U+0329,' + 'U+2000-206F,U+20AC,U+2122,U+2191,U+2193,U+2212,U+2215,U+FEFF,U+FFFD', 'latin-ext': 'U+0100-02BA,U+02BD-02C5,U+02C7-02CC,U+02CE-02D7,U+02DD-02FF,U+0304,U+0308,U+0329,' + 'U+1D00-1DBF,U+1E00-1E9F,U+1EF2-1EFF,U+2020,U+20A0-20AB,U+20AD-20C0,U+2113,U+2C60-2C7F,U+A720-A7FF', greek: 'U+0370-03FF', }; } /** For the cjk, arabic and comics blocks, which add their own files: the * faces of `faces` = { 'Family Name': ['400', '400i', '700'] }. `text` is the sample: * č ł † α χ also load latin-ext and greek files (kitSubsetsFor). With * `optional`, a face Fontsource does not ship is skipped instead of failing. * The files are added once all have loaded, in the order asked (latin, then * latin-ext, then greek), whatever order they arrive in: the last one added * wins a character two files hold. Resolves to the number of faces added. */ async function loadFonts(faces, text = '', { optional = false } = {}) { kitStatus('Loading fonts…'); const ranges = kitRanges(); const jobs = []; for (const [family, specs] of Object.entries(faces)) { const id = fontsourceId(family); const todo = [...new Set(specs)].map((spec) => [parseInt(spec, 10), spec.endsWith('i') ? 'italic' : 'normal']) .filter(([weight, style]) => !hasFace(family, weight, style)); // before any await const at = fontsourceAt(id); const meta = optional || /[^\0-ÿ]/u.test(text) ? await fontsourceMeta(family) : null; const subsets = ['latin', ...kitSubsetsFor(text, meta)]; for (const [weight, style] of todo) { if (optional && !(meta?.weights.includes(weight) && meta.styles.includes(style))) continue; for (const subset of subsets) { const url = `${await at}files/${id}-${subset}-${weight}-${style}.woff2`; const face = new FontFace(family, `url(${url}) format('woff2')`, { weight: String(weight), style, unicodeRange: ranges[subset] }); jobs.push(face.load().catch(() => { if (subset === 'latin' && !optional) throw new Error(`Fontsource has no ${family} ${weight} ${style}`); })); } } } const ready = await Promise.all(jobs).catch((error) => { kitFail(error); throw error; }); return ready.filter((face) => face && document.fonts.add(face)).length; } /** A loaded FontFace covers this family, weight and style (fonts.check() would * also say yes for families nobody declared). */ function hasFace(family, weight, style) { for (const face of document.fonts) { if (face.status !== 'loaded' || face.style !== style) continue; if (face.family.replace(/^["']|["']$/g, '') !== family) continue; const [low, high = low] = face.weight.split(' ').map(Number); if (weight >= low && weight <= high) return true; } return false; } /** The files beyond latin `text` needs that `meta`'s family ships. */ function kitSubsetsFor(text, meta) { return [[/[Ā-˿ᴀ-ᶿḀ-ỿ†ℓⱠ-Ɀ꜠-ꟿ]/u, 'latin-ext'], [/[Ͱ-Ͽ]/u, 'greek']] .filter(([re, x]) => re.test(text) && meta?.subsets?.includes(x)).map(([, x]) => x); } /** Fontsource's id for a family: 'Source Serif 4' → 'source-serif-4'. */ function fontsourceId(family) { return family.toLowerCase().replace(/\s+/g, '-'); } /** A package's folder at the one version @5 names now (#766). */ function fontsourceAt(id, u = `https://cdn.jsdelivr.net/npm/@fontsource/${id}@`) { return (fontsourceAt.c ??= {})[id] ??= fetch(u + '5/package.json').then((r) => r.json()) .then((p) => p.version || 5, () => 5).then((v) => `${u}${v}/`); } /** The family's Fontsource metadata (weights, styles, subsets), or null. */ function fontsourceMeta(family) { fontsourceMeta.cache ??= new Map(); const id = fontsourceId(family); if (!fontsourceMeta.cache.has(id)) { fontsourceMeta.cache.set(id, fetch(`https://api.fontsource.org/v1/fonts/${id}`) .then((res) => (res.ok ? res.json() : null), () => null)); } return fontsourceMeta.cache.get(id); } // ─── Kit · viewer v2 ── the same in every recipe · postext.dev/cookbook /** The pages as spreads on a dark desk, page 1 alone, then verso | recto, * each painted when it scrolls near. Other options go to renderPageToCanvas. */ function showPages(docs, { title, width = 460, ...render } = {}) { const root = viewer(title); const pages = [docs].flat().flatMap((doc) => doc.pages.map((page) => ({ doc, page, n: (doc.pageIndexOffset ?? 0) + page.index }))); const spreads = []; let verso = null; for (const p of pages) { if (p.n % 2 === 1) { if (verso) spreads.push([verso, null]); verso = p; } else { spreads.push([verso, p]); verso = null; } } if (verso) spreads.push([verso, null]); const density = Math.min(window.devicePixelRatio || 1, 2); showPages.painter?.disconnect(); const painter = new IntersectionObserver((entries) => { for (const { isIntersecting, target } of entries) { if (!isIntersecting) continue; painter.unobserve(target); const { doc, page } = target.postext; renderPageToCanvas(page, doc, target, { ...render, scale: (width * density) / page.width }); } }, { rootMargin: '800px' }); showPages.painter = painter; root.replaceChildren(...spreads.map((pair) => { const spread = document.createElement('div'); spread.className = 'pt-spread'; for (const p of pair) { const figure = document.createElement('figure'); if (p) { const label = p.page.pageLabel || String(p.n + 1); const canvas = document.createElement('canvas'); canvas.postext = p; canvas.style.aspectRatio = `${p.page.width} / ${p.page.height}`; canvas.setAttribute('role', 'img'); canvas.setAttribute('aria-label', `Page ${label}`); const folio = document.createElement('figcaption'); folio.textContent = label; figure.append(canvas, folio); painter.observe(canvas); } else figure.className = 'pt-blank'; spread.append(figure); } return spread; })); kitStatus(`${pages.length} ${pages.length === 1 ? 'page' : 'pages'}`); document.documentElement.dataset.postext = 'ready'; return pages.length; } /** The desk, the bar and the error reporting, created once. */ function viewer(title) { if (!document.getElementById('pt-kit')) { document.head.insertAdjacentHTML('beforeend', `<style id="pt-kit"> :root { color-scheme: dark; } body { margin: 0; background: #0e1014; color: #b9bcc4; font: 13px/1.45 system-ui, sans-serif; } #pt-bar { position: sticky; top: 0; z-index: 1; display: flex; flex-wrap: wrap; align-items: center; gap: 6px 16px; padding: 10px 16px; background: rgb(14 16 20 / .92); backdrop-filter: blur(6px); border-bottom: 1px solid #23262d; } #pt-bar strong { color: #f4f1ea; font-weight: 600; } #pt-actions { display: flex; gap: 12px; margin-left: auto; } #pt-actions a, #pt-actions button { color: #d8a21a; font: inherit; background: none; border: 0; padding: 0; cursor: pointer; } #pages { display: grid; justify-items: center; gap: 48px; padding: 32px 16px 72px; } .pt-spread { display: flex; } .pt-spread figure { margin: 0; width: min(460px, 44vw); } .pt-spread canvas { display: block; width: 100%; background: #fff; box-shadow: 0 1px 2px rgb(0 0 0 / .5), 0 22px 44px -16px rgb(0 0 0 / .8); } .pt-spread figure:first-child canvas { box-shadow: inset -14px 0 14px -14px rgb(0 0 0 / .18), 0 1px 2px rgb(0 0 0 / .5), 0 22px 44px -16px rgb(0 0 0 / .8); } .pt-spread figcaption { margin-top: 10px; text-align: center; font: 600 10px/1 system-ui, sans-serif; letter-spacing: .18em; text-transform: uppercase; color: #6c7079; } .pt-blank { visibility: hidden; } @media (max-width: 760px) { .pt-spread { flex-direction: column; gap: 32px; } .pt-spread figure { width: min(460px, 92vw); } .pt-blank { display: none; } } </style>`); document.body.insertAdjacentHTML('afterbegin', '<header id="pt-bar"><strong id="pt-title"></strong><span id="pt-status" role="status"></span><span id="pt-actions"></span></header>'); document.getElementById('pt-title').textContent = document.title || 'Postext'; addEventListener('error', (event) => kitFail(event.error ?? event.message)); addEventListener('unhandledrejection', (event) => kitFail(event.reason)); } if (title) document.getElementById('pt-title').textContent = title; return document.getElementById('pages') ?? document.body.appendChild(Object.assign(document.createElement('main'), { id: 'pages' })); } function kitStatus(text) { viewer(); document.getElementById('pt-status').textContent = text; } function kitFail(error) { document.documentElement.dataset.postext = 'error'; kitStatus(`Error: ${error?.message ?? error}`); } // ─── Kit · pdf v3 ── the same in every recipe that exports a PDF /** The Fontsource files the screen used, as TrueType, with their range and * place: the nearest weight the family ships, upright with no italic; * latin, then what its letters need (kitSubsetsFor). */ async function fontsourceProvider(family, weight, style, request) { const id = fontsourceId(family); const meta = await fontsourceMeta(family); const weights = meta?.weights?.length ? meta.weights : [400, 700]; const w = weights.reduce((a, b) => (Math.abs(b - weight) < Math.abs(a - weight) ? b : a)); const s = style === 'italic' && meta && !meta.styles.includes('italic') ? 'normal' : style; const text = String.fromCodePoint(...(request?.codePoints ?? [])); const files = await Promise.all(['latin', ...kitSubsetsFor(text, meta)].map(async (subset, order) => { const res = await fetch(`${await fontsourceAt(id)}files/${id}-${subset}-${w}-${s}.woff2`); if (!res.ok) throw new Error(`Fontsource has no ${family} ${w} ${s} ${subset}`); return Object.assign(await decompressWoff2(new Uint8Array(await res.arrayBuffer())), { unicodeRange: kitRanges()[subset], order }); })); return files.length === 1 ? files[0] : files; } /** A "Build the PDF" button; then "Open the PDF" (a new tab: CodePen's frame * shows no PDFs) and a download link. */ function offerPdf(makePdf, filename) { viewer(); const button = Object.assign(document.createElement('button'), { type: 'button', textContent: 'Build the PDF' }); button.dataset.postextPdf = filename; button.addEventListener('click', async () => { button.disabled = true; button.textContent = 'Building the PDF…'; try { const bytes = await makePdf(); const url = URL.createObjectURL(new Blob([bytes], { type: 'application/pdf' })); const size = `${Math.max(1, Math.round(bytes.length / 1024))} KB`; button.replaceWith( Object.assign(document.createElement('a'), { href: url, target: '_blank', rel: 'noopener', textContent: 'Open the PDF ↗' }), Object.assign(document.createElement('a'), { href: url, download: filename, textContent: `Download ${filename} · ${size}` })); } catch (error) { button.disabled = false; button.textContent = 'Build the PDF'; kitFail(error); } }); document.getElementById('pt-actions').append(button); } // ─── /Kit ───────────────────────────────────────────────────────────────────────
Lo script.js composto funziona così com’è: incollalo nello script modulo di qualsiasi pagina, oppure apri la ricetta su CodePen. Cartella della ricetta su GitHub ↗ (si apre in una nuova scheda)
Varianti
#Fai seguire la lista subito dopo il saggio
Una rivista che compone Works Cited dopo l’ultimo paragrafo, senza una nuova pagina, toglie l’interruzione dallo stile del titolo.
- headingStyles: [{ id: 'works-cited', breakBefore: { enabled: true, parity: 'any' } }],
+ headingStyles: [{ id: 'works-cited', breakBefore: { enabled: false } }],#Cita in stile Chicago autore-data
Lo stesso saggio in Chicago mette l’anno dopo l’autore, «(Brooks 1947, 165)», e la lista si adegua.
- style: 'modern-language-association', // MLA 9th edition, author-page
+ style: 'chicago-author-date',Errori frequenti
- citeproc-js stampa i titoli come li danno i dati. MLA usa il title case per i titoli inglesi, quindi scrivili così nei riferimenti.
Crediti
- Ricetta
- Ignacio Ferro
- Testo
- Quotations from “Ode on a Grecian Urn” (1820) · John Keats · pubblico dominio
- Quotations from two letters of 1817, in Letters of John Keats to His Family and Friends, ed. Sidney Colvin (1925) · John Keats · pubblico dominio
- Font
- Spectral (SIL OFL 1.1) · Spectral SC (SIL OFL 1.1)
- Codice
- MIT, come Postext
Modifica questo testo ↗ (si apre in una nuova scheda)Cartella della ricetta su GitHub ↗ (si apre in una nuova scheda)


